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Public unhappiness and theatrical scapegoats

between the twin rhetorics of self-​improvement and  109 The killjoy 109 self-​excoriation to elaborate contradictory demands to cultivate a work ethic and responsible constraint while simultaneously manifesting a voracious appetite for consumption. Through a reading of this double-​ bind as a form of ‘bad faith’ self-​deception, I  turn to Gary Owen’s Iphigenia in Splott –​set in austerity-​hit Wales –​to re-​frame the killjoy as an unhappy scapegoat whose disorderly public affects advertise the personal sacrifices she is required to make on behalf of her community

in Queer exceptions
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The modern drive to emigrate

example, went through successive stages of austerity up to the early 1960s, and the emigration of the period was itself one of austerity. By contrast, the succeeding decades, with some interruptions, ushered in a relative age of prosperity and affluence, and from the 1970s a decline of income differentials between Britain and receiving countries.3 The changes heralded a gradual shift to a migration of prosperity, best exemplified by the discretionary choices migrants faced when they moved, not just for better employment opportunities but in search of preferred

in Migrants of the British diaspora since the 1960S
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Austerity, abundance and race in post-war visual culture

interesting trajectories and conversations around foreignness. Though the connection between the material abundance of Bratby’s so-called tabletop paintings – of which Jean and Still Life in Front of Window ( Figure 4.1 ) is a notable example – and the culture of austerity from which they emerged may seem obvious, there are multiple ways in which the relationship between the visual

in Cultures of decolonisation
Post-connoisseurial dystopia and the profusion of things

this ‘drain’ has occurred as cost analyses have been carried out, such as one UK museum service calculating that building additional storage space costs £1,000 per square metre.13 Such neo-liberal framing, which emphasises ‘accountability’ in primarily auditable economic terms, and which continually seeks ways of ‘making effective’ and ‘increasing profit’ according to such terms, has certainly also shaped the sense that museums have a profusion problem. Austerity politics, with its prioritising of cutting costs above all else, of ‘lean efficiency’, has sharpened this

in Curatopia
The 1980 Moscow boycott through contemporary Asian–African perspectives

authorities and media. There was no single boycott, as re-examination of the boycott within different national contexts shows a complicated variety of purposes for joining the boycott, ranging from public display of governmental fiscal austerity by corrupt regimes, to support for a growing pan-Islamic movement, to reinvigorating the non-aligned movement in order to punish a belligerent superpower, to enforcing authoritarian rule at home. The 1980 boycott also resonated with the memory of previous Olympic protests, particularly Indonesia’s attempt to create an alternate

in Sport and diplomacy
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International Gothic in the Neoliberal Age

Over the course of the past twenty-five years, as neoliberal economics has transformed the geopolitical landscape, monsters have overrun popular culture. This book explores literary, televisual, filmic and dramatic works from distant and diverse countries. It traces the vampire's evolution from the nineteenth-century past of industrial capitalism to the neoliberal present's accelerated violence and corrupt precarity, and discusses the NBC television mini-series Dracula, perfectly encapsulating our own post-recessionary subjectivity. The book addresses state capitalism but turns readers' attention away from the vampire and towards the ghost, focusing on the ways in which such spectral figures have come to dominate new German theatre. On the biotechnology sector, the book presents three examples: cinematic depictions of the international organ trade in Asia, the BAFTA award winning three-part series In the Flesh broadcast in BBC3, and literary representations of the dehumanised South African poor. The book moves from the global to the local, and charts the ways in which post-2006 house owners are trapped in the house by the current economic situation, becoming akin to its long-term resident ghosts. The ghost estates, reanimated and reimagined by the Irish artists and film-makers, are shown to embody the price paid locally for failures in global economic policy. The preoccupation with states of liminality is encapsulated by showing that the borders of the nation state have become a permeable membrane. Through this membrane, the toxic waste of first world technology seeps out alongside the murderous economic imperatives of the neoliberal agenda.

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Reading, space and intimacy in Chaucer’s Troilus and Criseyde

In purely structural terms, Chaucer’s poem Troilus and Criseyde erects a narrative edifice impressive for its classical austerity. In fact, the text seizes every opportunity of showcasing its highly artificial symmetry: for example, each of the five books begins with an invocation of the Muses or a similar rhetorical topos – the first instances of such invocations in

in Love, history and emotion in Chaucer and Shakespeare
Social commentary of 1980s Britain in Clive Barker’s Weaveworld

evocative reflection on the times in which it was written. These were the 1980s, and the decade was marked by a number of dramatic and unprecedented events: Margaret Thatcher was at the helm of the British government with her monetarist fiscal policies, austerity measures, and the call for a return to core values; sexual equality had gained considerable ground from the tentative gains made in the

in Clive Barker
The Prisoner, authorship and allegory

irrational premodern residue of messianic religiosity and hysteria about female sexuality; and in Frankenstein (1931) fabulous electrical equipment hums and sparks and sputters in a run-down Gothic turret. Similarly, The Prisoner depicts a post-austerity Britain, modern and affluent, but weighed down by history and tradition. Number 6 drives a Lotus 7, but drives it past the Houses of Parliament, an institution which could be seen as modern and democratic were it not for its backward-looking architecture and the archaic privilege of the upper house. Number 6’s London

in Popular television drama

crimes, including innovative large-scale organized thefts made profitable by continued post-war austerity.3 The Metropolitan Police’s Register of Deaths by Violence also showed a new pattern of violence: by 1953 the numbers of infanticides and women’s deaths from abortion had dropped under new social provisions for mothers and families, while deaths caused by firearms and service rifles increased. Diminished manpower and a shifting population led the Metropolitan Police to develop new investigative techniques, with increased training in specimen collection and the re

in Murder Capital