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John Kinsella

. Like when Tracy and I heard all of Daydream Nation played by Sonic Youth by the Swan River under the gaze of King’s Park and the mining towers of Perth: surreal, extra-natural, slightly incongruous, but brilliantly and excitingly a trashing of the pastoral. That’s what I like about this process: streetwise Cage undoing Arcadia, death being overtaken by the zip of life. Buñuel, surrealism, Dada, Doris Day, performance, skateboards, punk love, sex, city meets country, Warhol and heavy weather in the Guggenheim. I am not really sure what my part is, but I am also there

in Polysituatedness
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1994 and 1999
Michael D. Friedman and Alan Dessen

of Western culture from classical to punk’ (Blumenthal, 8). Scenic designer Derek McLane’s set consisted of ‘ancient Roman columns that were black-and-white xeroxed photo blow-ups on stretched translucent plastic that could track in and out of the space. The back wall was occupied by a plastic cyc[lorama] that was distressed and scarred with black ink.’ The stage also featured two versatile set pieces, ‘a Victorian, Roman-style bathtub that tripled as the public bath where the soldiers purified themselves, the pit in

in Titus Andronicus
Marie Helena Loughlin

undermine their frequently xeno-homophobic agenda, and ostensibly celebratory works sometimes intermingle the figure of the faithful friend with that of the despised sodomite or tribade. Satiric genres, discourses, and modes refer to the sodomite and sodomy in a variety of contexts.9 In the sixteenth century, classical satire modelled on Juvenal and Horace depicted the sodomite either as the licentious gentleman/courtier with his ingle or catamite on one arm and his female punk or whore on the other; or as the physically abusive schoolmaster, whose corporal punishment of

in Same-Sex Desire in Early Modern England, 1550–1735
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The story of a voice
Emer Nolan

completed: the aftermath of representation, its incompletion. The lion and the cobra in 1987 announced the arrival of a major new talent in Irish popular music. While the Irish identity of some earlier rock stars such as Phil Lynott or Bob Geldof had depended more on their projection of a soulful or rebellious masculinity than on particularly ‘Irish’ sounds, O’Connor sang in an unmistakably Irish accent and in styles that often evoked traditional or folk modes. With its elements of rock, punk and hip-hop and arrangements involving a huge variety of instruments including

in Five Irish women
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Dominic Head

Love, Last Rites and In Between the Sheets (1978), as well as the first longer fiction, The Cement Garden. Moving beyond the studiedly anarchic and iconoclastic element of the early work, the chapter considers ways in which the iconoclasm – a literary branch of the punk movement, perhaps – suggests the felt need to revitalize the British literary scene. Behind the immediate impact of these fictions, we can discern thoughtful deliberations on the role and function of literature, the germ of more extended deliberations in the later work. The readings given of stories

in Ian McEwan
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The limits of comedy
Robert Duggan

the catalogue of sexual harassment experienced by Selina in Money: [A] musk-breathing, toffee-offering sicko on the common, the toolshed interrogations of sweat-soaked parkies, some lumbering retard in the alley or the lane, right up to the narcissist photographers and priapic prop-boys who used to cruise her at work, and now the scowling punks, soccer trogs and bus-stop boogies malevolently lining the streets. (Amis, 1985a, 14) Amis’s work contains many such examples of what we can call a proliferation of details and of description, combined with his much

in The grotesque in contemporary British fiction
Coupland, consumption and junk culture
Andrew Tate

integrity, its ability to generate real resistance to dominant culture?’ asks Leslie Haynsworth. Citing the promisingly seditious energies of Coupland’s writing and best-selling politicized punks Green Day, Haynsworth identifies the re-emergence of a long-standing question: ‘Is it possible to be subversive from within the system?’16 The capacity of a free-market economy to exploit new and potentially subversive art forms is seemingly limitless. This idea surfaces in Microserfs as part of Susan’s discussion of René Magritte and early-twentieth-century painting

in Douglas Coupland
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Gilli Bush-Bailey

seem to be Of such demure pretended Modesty When ‘tis apparent she’ll in private prove As Impudent as any Punk in Love Strangers she fears so cares not much to roam Whilst she can have a Sharer’s prick at home Corey’s27 ‘tis time thou wert to Ireland gone Thy utmost Price is here but half a Crown Ask Turner28 if thou art not fulsom grown Su: Percivall29 so long has known the Stage She grows in lewdness faster than in Age From eight or Nine she there has frigging been So counts that natural which is counted Sin Her Coffee Father30 too so basely poor And such a

in Treading the bawds
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Naomi Baker

nauseous Punks, and dowdy Blouzes: Why not great Fiddles please your Maids, For wearing strange prepost’rous Heads? Or Barber’s Block be priz’d for having A phiz to humour Fools while shaving? For awkward Things effect the Eyes The most, by giving new Surprize. 62

in Plain ugly
Queering ethnicity and British Muslim masculinities in Sally El Hosaini’s My Brother the Devil (2012)
Alberto Fernández Carbajal

confrontational sound, has been the most significant and controversial musical expression to emerge from the UK since punk. Essentially an authentic response to hip hop, it conveyed the hopes and frustrations of an apolitical generation locked into London’s decaying housing estates’ ( ). Because of the lack of a party-political approach, grime may be considered a micropolitical response to older forms of black counterculture, such as hip hop, and arising culturally from the direct experiences of London’s council estate inhabitants; hence, it is

in Queer Muslim diasporas in contemporary literature and film