Abstract only

the Vietnamese and German diasporas. Nation-building in the GDR and the FRG revolved around their competing claims to be the sole legitimate representative, or ‘rightful political embodiment’ (McKay 1998 , 3) of the German nation. Each state initially supported unification as a means of extending its political system across both territories, with the FRG eventually doing just that in 1990. In contrast

in Soldered states
Open Access (free)
The Admirable Crichton and Look Back in Anger

this kind of cinematic realism that is important to this argument. Opening out the narrative has the effect of diffusing the claustrophobia of the play. Look Back in Anger sits easily within the dominant conventions of the European naturalist tradition, its single playing space (albeit a lower-class bed-sit rather than a bourgeois drawing-room) functioning as an embodiment of the forces of

in British cinema of the 1950s
Abstract only
Great white hope of the Edwardian imperial romancers

Lawrence’s paralysis and withdrawal from public life After stepping onto the international stage as the real-life embodiment of the heroes imagined by the imperial romancers, Lawrence fled the limelight for reasons none could grasp. Deserting All Souls College, he enlisted as a private in the Royal Air Force under the assumed name of Ross. When found out and expelled, he sought

in Imperium of the soul

civil society in a way that civic humanism did not, and thus allowed the middle classes to contribute a civilizing social benefit to the nation. Among the Historic Gallery’s pictures, representations of domesticity and virtuous heroines, depicting the embodiment of feminine sentiment, were given a central role in the aesthetic production of moral sympathy. Like many novelists

in Cultural identities and the aesthetics of Britishness
Milner’s ‘excentric’ High Commision in South Africa

subordination of the High Commission to Rhodes. But the disastrous failure of the Jameson Raid, which for the moment neutralised colonial sub-imperialism, would swing the pendulum back the other way, in favour of greater High Commission involvement as the embodiment of the nownaked Imperial Factor. But in 1896 Robinson (or Lord Rosmead as he had become) still would not conform to

in The South African War reappraised
Black radicalism in the long 1980s

9 ‘Race Today cannot fail’: black radicalism in the long 1980s Robin Bunce No discussion of the British left in the 1980s would be complete without an account of the Race Today Collective. Simply put, the collective was the most influential group of black radicals in the UK, ‘the centre, in England, of black liberation’.1 From its foundation in the mid-1970s to its dissolution in 1991, the collective coalesced around the magazine Race Today. It was the embodiment of C. L. R. James’s vision of a small organisation. Consequently, members saw their role in the

in Labour and the left in the 1980s
Abstract only
The rise of cosmopolitan dystopia

uniformity.16 Their political vision and hopes for liberalism were thus restricted, with the most that could be hoped for being the cautious, prudent relief of extreme human suffering in a world that was irredeemably conflicted, plural and fallen, beyond redemption. Human rights were the legal and institutional embodiment of this exemplary hope that suffering and injustice could be meliorated while at the same time avoiding the terrible, ineluctable fate of utopians, whose radical passion for sweeping political change inevitably leads to dystopian totalitarianism. Yet if

in Cosmopolitan dystopia
Profiteering and money-men

younger, wealthy man. The imposing figure of Mr Fortune MUP_Grandy_Heroes.indd 85 20/02/2014 11:23 86 Heroes and happy endings and his physical embodiment of villainy found cinematic equivalents, if not in the lost 1923 film version of the novel, then in countless other films of the interwar period. The large, scheming wealthy man was so common in bestsellers and films on both sides of the Atlantic as to be almost a stock caricature by the end of the 1930s. In comparison, the pairing of a handsome and sometimes even ordinary young man with villainy seems to further

in Heroes and happy endings
Matrilinearity, Sufism, and l’errance in the autofictional works of Abdellah Taïa

leading Moroccan novelist Tahar Ben Jelloun’ – one of Taïa’s literary precursors – moreover, ‘[h]‌is last lover was Moroccan and Genet is buried in his town, Larache’ ( 1994 , p. xli). Jenih ’s life and art have some echoes in Taïa’s fiction, which I probe forthwith. In this chapter, I examine Taïa’s autofictional literary work, with due reference to his debut film, Salvation Army , released in 2013, by analysing, first, Taïa’s chosen genre of autofiction and its relationship with issues of embodiment. I subsequently link the writing of the self’s body to Taïa

in Queer Muslim diasporas in contemporary literature and film

’s position as principal and archetypal masculine figurehead is paramount due to his dictatorial management style and his embodiment of the ethos. He assumes the combined Cohering contradictions and manufacturing belief59 role of saviour, hero, military commander and business executive in this rigidly hierarchical operation. He leads a redemptive troupe of teachers-as-surrogate parents who labour to redeem a twenty-first-century ‘urban residuum’. Culford symbolises Dreamfields’ mission, embodying its mantra as a self-made, mixedrace man of modest working-class origins who

in Factories for learning