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Nicholas Royle

UK are implicitly charged to forget, or at any rate not think about, the fundamental indebtedness of ‘Brexit’ to the nonsensical portmanteau-making of Lewis Carroll’s Humpty Dumpty) 70 seems set to make the kinds of translational, translanational, transliterational, transgenic, telephonic might of ‘side thinking’ appear more irrelevant than ever. 71 But in the same breath, the same sigh, we might also suggest that now – more than ever – side thinking is needed. This postscript, seeking to return us to the beginning ‘at last’, offers another O, a side

in Hélène Cixous
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Robert Henke

italicised by an historical and contemporary understanding of the resistance to international mobility, which is being manifested all too clearly in the Brexit and Trump era. The very mobility of performing Jews in Venice and Mantua, as Erith Jaffe-Berg shows in the present volume, emerged from their separation and confinement in the Ghetto. Studies of mobility can do well to examine

in Transnational connections in early modern theatre
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
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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
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