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associated the title of the song with Bush’s foreign policy, equating ‘Let the dogs out’ with ‘Let slip the dogs of war’, in Marc Antony’s speech in Shakespeare’s ‘Julius Caesar’, www.phrases.org.uk/ bulletin_board/49/messages/1123.html, accessed 25/1/12. 39 For example, the debates as to whether ancient Egypt was Grecian, African or Arabic, and today whether it is part of the Arabic or African world. African Renaissance and the ‘rainbow nation’ 167 cult it is to separate histories and mythologies from local contemporary politics, as we see in the way the Timbuktu

in South African performance and archives of memory
Love in a postcolonial climate

some place far away from London – in New Zealand or Australia, in South Africa or Canada or in Singapore?’ Both readers and writers of the popular romance were necessarily implicated in the transition from empire to Commonwealth in the aftermath of the second world war; many lived and worked in what had become the former British colonies and the Commonwealth countries represented a significant market for romance fiction. These novels were read by thousands throughout Britain and across the world, and can be understood as a constituent element in a postwar colonial

in End of empire and the English novel since 1945
Contexts and intertexts

, head of the Schools Broadcasting Unit in Nigeria, says in a report on broadcasting developments during this period: In 1949 the desire to take speedy counter measures against Communism provided a powerful, immediate inducement to enhance UK funds specifically for broadcasting developments. In the background was the rising tide of new forces in Africa – the new ‘Africanism’ described by Lord Hailey in his revised African Survey of 1956; but perhaps more realistically labelled ‘African Nationalism’ by Thomas Hodgkin whose ear was sympathetically tuned to the Morrison

in Chinua Achebe
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are in part responses to popular concerns about the state of education, it is significant that Braddon and Collins were writing these novels at a time when scientific theories and social policies were tending towards more deterministic, less optimistic conceptions of heredity, and beginning to consider eugenics as the means of halting social degeneration. Both authors are asserting the ability and responsibility of society to raise good citizens, and are to at least some extent buffering the individual from blame. Reading the novels collectively, there is also an

in Creating character
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Genet our contemporary

as ‘fir[ing] bullets at the Milky Way’ (1992: 7). In today’s France, divided by racism, and increasingly paranoid about the presence of the large North African population in its major cities, Genet’s late theatre has lost none of its profound political and aesthetic significance. Indeed, if anything, its power seems to have intensified, a fact which is borne out by the recent interest in staging his work in Paris since the attacks on New York and Washington on 11 September 2001, and the subsequent invasions of Afghanistan and Iraq by US and UK troops.1 Two decades

in The politics of Jean Genet’s late theatre
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Global Caesars

intimating a terrible, looming future. The colonial and domestic perspectives were not successfully married in a single production until the one that garnered the greatest critical attention from outside Africa: Yael Farber’s 2001 SeZaR, produced for the Grahamstown National Festival of the Arts and restaged at several regional theatres in the UK the following year. Breaking from South African performance

in Julius Caesar
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Neoliberal gothic

conceive of it? Based on the economic theories of Friedrich von Hayek, the 1980s neoliberalism pioneered by Ronald Reagan in the USA and Margaret Thatcher in the UK rested on a radical individualism that eschewed those principles of state welfare, social progress and equality of opportunity on which the postwar consensus in the UK and the Great Society in the US had rested. 11 Economic planning was decried

in Neoliberal Gothic
Orphans learn and remember in African American novels

. Continuing through the 1980s and 1990s in debates concerning radical changes in welfare policy and in new attention to the legacy of slavery, and in the 2000s with attention to the growth of a black middle class, public scrutiny has continued unabated throughout the period we examine. As one scholar puts it, ‘No system of family relations has received as much scholarly and public attention … as that of the African American family’ (K. Anderson, 1991: 259). Repeatedly linked to issues of national welfare, black family relations have been pathologized but sometimes extolled

in Making home
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Manchester and the devolution of British literary culture

/ Theory / Politics, 58, 62–80. Sissay, L. (2000a) ‘Island Mentality’ in Rebel without Applause. Newcastle-upon-Tyne: Bloodaxe, 35. Sissay, L. (2000b) ‘Mill Town and Africa’ in Rebel without Applause. Newcastle-upon-Tyne: Bloodaxe, 45. Sissay, L. (2002c) ‘Rage’ in Rebel without Applause. Newcastle-uponTyne: Bloodaxe, 62. Sissay, L. (2007) ‘The Gilt of Cain’: www.cityoflondon.gov.uk/NR /rdonlyres/94CC1E18–C97F-4475–B082–C9E92316E5CE/0/MC_cain.pdf. 3970 Postcolonial Manchester:Layout 1 28/6/13 12:37 Introduction Page 19 19 Smith, Z. (2000) White Teeth. Harmondsworth

in Postcolonial Manchester
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A breakthrough moment in international theatre-making?

hand, they were a flexible, responsive organisation able to travel fast and light. Although this meant they lacked ‘resilience’ – an increasingly key term for ACE – in the form of a permanent building or full-time administrator, they had great stores of tenacity and innovation.7 The new holistic funding approach I developed built on Barker’s existing rapport with the Academy across the globe. It set out to be mutually beneficial. Increasingly UK academic institutions are looking for high-profile ways of connecting their research to an external audience through

in Howard Barker’s Art of Theatre