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A Review of The Amen Corner, 2021
Ijeoma N. Njaka

The author reviews the 2021 production of James Baldwin’s play, The Amen Corner, as directed by Whitney White at Shakespeare Theatre Company in Washington, DC. After situating the experience of engaging with Baldwin’s art through a constructivist approach to art-based education and learning design, the piece turns to considering the impact of various interpretive materials and the director’s artistic vision in the production. White’s decision to include an epigraph in the production leaves a notable impact, particularly in conversation with Baldwin’s essays, “Why I Stopped Hating Shakespeare” and “The Artist’s Struggle for Integrity.”

James Baldwin Review
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Anthony Mellors

torn between modernist facture and the desire to achieve a direct poetic language that would correspond with the actuality promised by a step back to the archaic postmodern. Yet he insists that the ‘mythologic, as method’ (meta hodos, not the path itself but the way in which the path is known, the projective totality), the method derived from Eliot and Pound, ‘is the only true one because, it distinguishes blood from sun, and reality from its own identical mythology, and sets sun as source and art as source’.21 Montage, ideogram, constructivism, parataxis

in Contemporary Olson
Jandl and Mayröcker’s radio play Spaltungen
Inge Arteel

position as inflated, not as that of a ‘natural’ leader. And his declamatory voice extremely stretches and stresses the phonemes in a way that defies any eloquence. Spaltungen can moreover be read as exposing the constructivism at work in any unified presentation of the chorus as a group of followers. The different choruses are constantly shifting, both in their interaction with the protagonist and in their relations with each other. Sometimes they occupy all speaking positions, creating a kind of surround modus. Sometimes they provide the acoustic background out of

in Tuning in to the neo-avant-garde
Wallace’s ‘click’ between Joyce’s literary consubstantiality and Wittgenstein’s family resemblance
Dominik Steinhilber

– essentially solipsistic rejection of the communicative other's selfhood and total otherness (Ewijk, 2009 : 138) – are also apparent in Infinite Jest 's depiction of Hal's brother, Orin. The private language user's (semi-)solipsist constructivism absorbs the other as the individual's creation into the self. Orin is exemplary of the postmodern, self-reflexive solipsism that Infinite Jest criticizes. He views ‘truth as constructed ’ (Wallace, 2006: 1048 ) and uses ironic pick-up lines such as ‘Tell me what sort of man you prefer, and then I'll affect the demeanor of that

in Reading David Foster Wallace between philosophy and literature
John Kinsella

and trucks. All those ties, all those routes to ‘constructivism of a shallow grave’. He said it earlier, slightly earlier – the paragraph, the stanza before: ‘In the suprematism of a highway, joining the dots in a history of the Richter scale.’ Threat? Urban wanderings to the ‘End’, as Atkins shows us – responds but not to tell us. These frames. How safe? Melange of populace or specificity of the hazed gaze? That was the urban bucolic. Theocritus looked to his home, Sicily, for his Arcadia. Arcadia for Virgil was, well, Arcadia. In Greece Arcadia is the ground

in Polysituatedness
Texts, intertexts, and contexts
Maria Holmgren Troy
Elizabeth Kella
, and
Helena Wahlström

relevant and to have an effect on literary production. It is clear that multiculturalism ‘takes seriously the desire of groups to conserve group identity and existence’ (Sundstrom, 2008: 102), and the questions that this raises about tradition and change, domination and oppression, and essentialism and constructivism in identities and cultural production make up much of the literary landscape of the orphan figures we examine in the following chapters. The USA is a nation largely constituted by racial encounters, and the social construction of race continues to have

in Making home
The battle of The Screens
Carl Lavery

marks a major departure from the ambiguous metatheatricality dominating The Balcony and The Blacks . Whereas the latter problematised Aristotelian notions of plot, character and space by deliberately deconstructing the gap separating the fictional from the real, The Screens invests in an epic form of storytelling with a discernable beginning, middle and end. In Blin’s production, more than sixty actors were required, and a flotilla of mobile screens was used to point, indexically, to different places and loci. Like the scenic constructivism of Vsevolod Meyerhold

in The politics of Jean Genet’s late theatre
Body hair, genius and modernity
Daniela Caselli

constructivism if this were the case; a plethora of political arguments in favour of social change have historically played that role. One can see how the early debate in feminism regarding body hair follows this logic in claiming that body hair is natural and that if we fight against social constructions and go back to nature we will have moved on in feminist terms. I would like instead to reflect, with Kosofsky Sedgwick, on ‘the basis […] for our optimism about the malleability of culture by any one group or programme.’ 9 Body hair and the circumscribed place that it

in The last taboo
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Babel Tower and A Whistling Woman
Alexa Alfer
Amy J. Edwards de Campos

, chalk, umber’ which cover the snail shells bear testament to the living language which links them to their fossilised ‘congeners’ ( BT: 1). 3 Throughout the novel, constructivism, relativism and the literary obsession with formlessness are depicted in sharp contrast to the scientific perception of inherent patterning and order. In Byatt’s recreation of the 1960s, scientists are engaged in mapping

in A. S. Byatt
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Forms of shared distraction
Andrew Ginger

requires and has no centre, and no order of priority. As in the ‘universal constructivism’ of the Uruguayan Joaquín Torres García nearly a century later, the specific circumstances and art of Latin America are presented as part of a universal, geometrical classicism. That is not because they derive from ancient Greece and Rome, but because across the globe, such aesthetic patterns trace paths through and into universality ( 1944 : 76, 990–7). The suggestion is drawn out in Laso’s painting of an African-Peruvian laundress, La lavandera (1859). As she stretches upwards

in Instead of modernity