Search results

You are looking at 11 - 17 of 17 items for :

  • Literature and Theatre x
  • All content x
Clear All
Transnational versions of cross-class desire in Cardenio and Mujeres y criados
Barbara Fuchs

again. ( The Tempest , 3.2.130–8) Although the pageant adopts this language to describe the British Isles in order to underscore their wondrousness, the emphasis on their island nature seems uncannily to anticipate Brexit. 5 Alejandro García-Reidy describes his

in Transnational connections in early modern theatre
Hill and the political imagination
Alex Wylie

margins are perceived as more permeable and abstract (though Brexit and the rise of right-​wing populism suggest a dissatisfaction with suchlike official culture). Hill likes writers who perceive the constitution in the double sense of ‘civil polity’ and ‘body’, captured in the image of the ‘body politic’. This kind of ‘constituted’ vision of society has been traditionally expressed as a human body or as a tree; or both, as with Coleridge, who refers in this context to “the circulating sap of life” and “the nisis formativus [shaping power] of the body politic”.12 “Life

in Geoffrey Hill’s later work
Abstract only
Lineation and metre
Richard Danson Brown

may serve to blunt awareness of Spenser's responses to sixteenth-century English verse. In terms of the specifics of metre and lineation, reaction to English poetry was certainly a pivotal aspect of Spenser's dynamic practice. In this context, I stress that a focus on English sources should not be allegorised to any narrow nationalism: Spenser was not a Brexit laureate; his reading was catholic, even if his religion was not. 32 Common lines (1): Tusser and Skelton What follows is not an exhaustive history of sixteenth-century metre but, rather, focuses on two

in The art of <i>The Faerie Queene</i>
Nicholas Royle

forewords: each offers a sort of new entry point for reading Cixous, another beginning or beginningame (to recall a neologism from the previous chapter). 1 Nanoment Nanoment is a portmanteau of ‘nano’ and ‘moment’. As we have seen, Cixous loves portmanteau words: she scarcely ever travels without them. 3 Whether in a literary context (such as Lewis Carroll) or a real-life context (such as a motel or Brexit), the portmanteau draws attention to itself as a fiction or linguistic artifice. Whether dark or funny (or uncertainly both), it does something new

in Hélène Cixous
Open Access (free)
A practical politics of care
Caoimhe McAvinchey

. The company began a restructuring process after a lengthy consultation process with its staff, board members, current students, graduates and stakeholders. A number of factors informed this: the external environment, particularly the combined impacts of Brexit preparations, the impact of austerity with cuts across criminal justice, women’s services, education and the arts, along with, more positively, the company’s ongoing reflection of how best to support women with experience of the criminal justice system through theatre. While previously, Clean Break had four

in Performing care
Anu Koivunen, Katariina Kyrölä, and Ingrid Ryberg

governmental support. The case of Trump’s word ban also makes apparent that the language of vulnerability does not only regard a competition for attention or a politics of recognition, but also a redistribution of resources and access to healthcare (Butler, 1997c; Fraser, 1997; Fraser and Honneth, 2003). In the wake of Brexit (the UK’s decision to leave the European Union), the 2016 US presidential election resulting in Donald Trump’s election, and the rise of European populism, narratives of wounded nations, genders, and classes permeate news and other journalism. As a

in The power of vulnerability
Foreign Antony and Cleopatra in Britain and abroad
Carol Chillington Rutter

-screen presentation of this ‘news’ flatten reaction, betray our ability to achieve perspective, to discriminate the superficial from the profound?) Overhead, a rolling strip of news-feed gave headlines: the day's football scores; progress in the Brexit talks; another immigrant boat capsized in the Mediterranean. The set's oddest feature was an apparatus placed upstage, centre. It looked like a version of the screening devices airport passengers walk through, made of high Perspex panels set parallel to each other; but instead of a walkway between them, it had a

in Antony and Cleopatra