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Brian Baker

) comes to a similar diagnosis, but his terms are different. He suggests that ‘welfare capitalism’ dominates the post-war consensus, which he defines as a kind of corporatism in which ‘the state takes on the running of the economy and the responsibility for social justice, and seeks, through a network of influence and control, to reconcile capital and labour by drawing them into the process of government’. 12 In Britain, argues Sinfield, welfare capitalism was ‘doomed almost from the start because it requires a powerful commitment to social justice to secure popular co

in Iain Sinclair
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Daniel Lea

McCarthy, the fusion of the visual, conceptual, sonic, and literary arts offer opportunities to cross-pollinate ideas beyond the very conservative corporatism of the contemporary publishing scene: ‘I still find the art world tends to be the type of place where lots of literary ideas get played out in a much more uncensored way because curators, unlike publishers, are not so concerned about the bottom line’ (in Slenske, 2010). Certainly McCarthy’s work with the INS enabled him to promote his ideas and artistic vision during the difficult process of finding a publisher for

in Twenty-first-century fiction
Tom Woodin

energy and enthusiasm necessary to a voluntary movement. The corporatism and fixed institutional settings of the post-war world were being shaken by the winds of Thatcherism and its injection of commercialism into the social fabric. It was not only the trade unions that were under scrutiny; many public bodies were subjected to it as well. From the inside it regularly looked like the world could fall apart; ‘we’ve got to keep our limits or else we lose all sense of coherence’, Bragg is reported as saying at a meeting.60 It was this coherence that was being eroded from

in Working-class writing and publishing in the late twentieth century
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John Kinsella

no government or military control or corporatism can extract this completely from us. Even in the Nazi death-camps, language and memory persisted and the place was written with this as much as the tidal waves of blood drawn by the murderers. The place becomes so present as a testament to its crimes, its absolute haunting, that it defies any visitor not to feel culpable as a human for allowing such crimes to be performed by others acting in human bodies. Celan’s ‘Todesfuge’ is an endgame in the trauma of writing, of speaking … as John Felstiner has written, ‘How

in Polysituatedness