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Evading theology in Macbeth
James R. Macdonald

 142 8 ‘A deed without a name’: evading theology in Macbeth James R. Macdonald In the Life of Samuel Johnson, James Boswell records a conversation on April 8, 1779 among the guests at Allan Ramsey’s house whose subject apparently turned to Macbeth. Dr. Johnson opined that Shakespeare’s witches ‘are beings of his own creation; they are a compound of malignity and meanness, without any abilities: and are quite different from the Italian magician. King James says in his Daemonology, “Magicians command the devils: witches are their servants.” The Italian magicians

in Forms of faith
Liene Ozoliņa

. After seeing her at a few of the seminars, I approached her and explained my research. We started meeting regularly over the course of my fieldwork in one or another little café in the centre of Riga to chat about her experiences at the unemployment office and her attempts to look for a new job. Over a number of conversations, Īrisa also told me more about her life. She had once worked on Soviet trading ships as a crew member and had seen foreign lands and eaten foreign delicacies that most other Soviet citizens could only dream of. After getting married and having

in Politics of waiting
Abstract only
Englishness, ‘race’ and ethnic identities
Paul Thomas

exclusionary, especially at a time when a far-right party, the British National Party, has made significant political advances, The current ‘conversations’ about Englishness have also been triggered by mainstream political and media discourses questioning the national identity and loyalty of non-white British (and English) citizens at a very basic level. This chapter aims to discuss the

in These Englands
The Servant (1963), Accident (1967) and The Go-Between (1971)
Colin Gardner

war. Yet this is never a direct assault, for Pinter’s conversation often comes across as light, oblique badinage, a verbal smokescreen designed to block communication rather than encourage it. This accounts for Pinter’s fondness for both verbal and physical games – the improvised ball game on the stairs in The Servant , and the recurring tennis and cricket matches in Accident and The Go

in Joseph Losey
The documentary legacy of Sara Gómez in three contemporary Cuban women filmmakers
María Caridad Cumaná González and Susan Lord

Our contribution to this volume offers an analysis of contemporary Cuban women filmmakers in whose work we see direct and indirect conversations with Sara Gómez (1943–74), whose 1960s–1970s film practice revolutionised the way in which the gender–nation–revolution nexus could be argued cinematically. Sandra Gómez, Susana Barriga and Gloria Rolando work at the intersection

in Hispanic and Lusophone women filmmakers
Open Access (free)
Jen Archer-Martin and Julieanna Preston

patriarchal justice, embracing a feminine, relational voice of care, Fisher and Tronto’s ( 1990 ) version extended caring from a human–human to human–environment activity, including world-making and maintenance labours. Understandings of care as a social activity, having influenced practices such as nursing, are now filtering across disciplinary boundaries into such fields as performance and design. The present edited collection picks up that discussion at the care/performance intersection, weaving a conversation around care and socially engaged performance. We seek to

in Performing care
The afterlife of Brunias’s imagery
Mia L. Bagneris

dome rimmed with gold-hued metal. The imagery – which includes dark-skinned dancing couples in turbans and kerchiefs, pugnacious negroes fighting with ‘cudgelling’ sticks, fabulously outfitted mulatresses engaged in conversation, and beautiful brown blanchisseuses,3 who are, by contrast, fabulously undressed – unequivocally belongs to Brunias. The buttons, reputedly, belonged to Toussaint L’Ouverture. In ‘A Mystery in Miniature’, an aptly titled article published in Smithsonian Magazine in 2000, Ann Geracimos uses the ‘enigmatic’ buttons as a point of entry for

in Colouring the Caribbean
Marina Warner and Dan Smith

6 Image, technology, enchantment Marina Warner in conversation with Dan Smith Dan Smith: I’d like to discuss a range of topics that arise in your work. But the focus here is the integration of mythic and sacred elements within photographic and institutional technologies. I want to think about this in terms of the impact of ethnographic work and folklore studies in the late nineteenth and early twentieth centuries. We can think of these as discourses that popularised and disseminated the belief systems of different cultures. Your work often reflects upon forms

in The machine and the ghost
Responsibility and obedience in I, Robot and X-Men: First Class
Matt Lorenz

. Similarly, Lanning senses that the Three Laws will be insufficient to protect humanity from V.I.K.I., and he creates further offspring whose suspicions of and departures from robotic principles will enable them to countermand V.I.K.I.’s machinations. After Spooner, Sonny, and Calvin (who is arguably Lanning’s fourth creation) have stopped V.I.K.I., they have a final conversation in which Sonny confesses to assisting Lanning’s suicide – a conclusion that Spooner had come to on his own – and the three of them stand together, each of them beneficiaries of Lanning’s parental

in Adapting Frankenstein
Cosmopolitanism and cultural mediation in aesthetic criticism
Stefano Evangelista

press in the early 1860s, which would eventually make up Essays in Criticism. In 1867 Swinburne took the decision to enter into a public conversation with Arnold in his review ‘Matthew Arnold’s New Poems’, published in the Fortnightly Review in October and later reprinted in Essays and Studies. Swinburne’s essay comes at a crucial time in Arnold’s career as critic, between the

in Algernon Charles Swinburne