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Yvette Hutchison

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’, 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
Deborah Philips

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
Jago Morrison

, 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
Transcending the question of origins
Emna Mrabet

Spaces and Difference in La Graine et le Mulet (2007): A Dialogue with Carrie Tarr,’ in W. Higbee and S. Leahy (eds), Studies in French Cinema – UK Perspectives 1985–2010, Bristol, UK/Chicago: Intellect, 217–29. Higbee, W. (2013). Post-Beur Cinema: North-African Émigré and MaghrebiFrench Filmmaking in France Since 2000, Edinburgh: Edinburgh University Press. 76 Reimagining North African immigration Lowry, S. (2001). ‘ “La Faute à Voltaire”: Entretien avec Abdellatif Kechiche,’ Les Inrockuptibles, February 13. Web. June 3, 2016. Mandelbaum, J. (2001). ‘Un héros

in Reimagining North African Immigration
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Genet our contemporary
Carl Lavery

’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 after his death, Genet remains the poet of the dispossessed

in The politics of Jean Genet’s late theatre
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Manchester and the devolution of British literary culture
Corinne Fowler and Lynne Pearce

/ 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’: /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
Jago Morrison

those surrounding the federal elections of 1964, in which regional political rivalries reached an even greater heat and intensity. According to the historian Max Siollun, ‘[m]any of the politicians were little more than ethnic champions uninterested in a national outlook. The campaign was conducted not on platforms of policy or ideology, but on the basis of personal abuse and vitriolic ethnic chauvinism.’7 Siollun quotes classified diplomatic correspondence from the US State Department, describing a political situation in which Nigeria’s Eastern Region was already

in Chinua Achebe
Susan Watkins

discusses the worsening situation in Zimbabwe under Robert Mugabe’s policy of land reapportionment, was published in 2003 in The New York Review of Books . 18 Her Nobel acceptance speech, ‘A Hunger for Books’, contrasts the experiences of writing and reading in the UK and Zimbabwe. 19 As the child of white settler parents in a British colony who herself relocated from Southern Africa to England, but never quite knew where to think of as ‘home’, Lessing’s personal history provides a very particular, if by no means unique, context and writing

in Doris Lessing
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The postcolonial city
Lynne Pearce

, thirty thousand people were extracted and rehoused’ (Haslam, 2000: xxi). 3 During the 1950s significant numbers of African-Caribbean families migrated to the UK, including Manchester (Panayi, 1999: 14) as a consequence of British recruitment campaign to fill vacancies in key sectors (e.g. London Transport). The ship that first brought these families was the Empire Windrush (in 1948) and the story of this period in Britain’s colonial history has been widely researched and reported on in recent times. See for example the materials written in support of the BBC ‘Windrush

in Postcolonial Manchester
Representations of the immigrant in the contemporary Irish short story
Anne Fogarty

is a fundamental equivalence between esteem of the Other as oneself and the esteem of oneself as an Other. Injustice and ­dissymmetry occur when there is a refusal to accept the cycles of giving and 121 Anne Fogarty receiving he sees as vital for cementing the relations between the ego and the non-self. Political and sociological analyses of the impact of successive waves of immigration into Ireland from Africa, Asia, and the European accession states from the late 1990s onwards have pointed to the contradictions they have opened up within the reigning value

in Literary visions of multicultural Ireland