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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

those objects as part of culture is addressed in Chapter 7 . 30 http://news.bbc.co.uk/today/hi/today/newsid_9738000/9738782.stm (accessed 27.08.12). 31 See Karin Barber, Africa’s Hidden Histories: Everyday Literacy and Making the Self

in Cultural value in twenty-first-century England
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The Spanish Tragedy IV.iv in performance

.xiii). Oliver Cotton’s Hieronimo tried to be objective about the agonies he asked the artist to depict; he made ‘I do brave things’ confessional. Drury, that is, showed how the Additions allow Hieronimo to investigate his own madness. The NT and RSC, however, preferred Kyd’s original structure. In both cases the repertoire situation was significant. Under Peter Hall the National was pursuing a ‘library’ policy

in Doing Kyd
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Erotic commodification, cross-cultural conversion, and the bed-trick on the English stage, 1580–1630

political gain. 2 When a Christian converted to Islam, this was nearly always described as a betrayal motivated by avarice, lust, or a combination of both. An English captivity narrative from 1622, The famous and wonderful recovery of a ship of Bristol , claimed that many Christian captives in North Africa converted to Islam because they were tortured or threatened with violence, but

in Conversions
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11(4) ( 2002 ): 225–233, pp. 225–226. 25 See www.hlf.org.uk/Pages/Home.aspx (accessed 22.08.12). The policy implications of using the HLF are discussed in Chapter 6 , p. 153. 26 www.artfund.org/what-we-do/art-weve-helped-buy/artwork/8877/madonna

in Cultural value in twenty-first-century England

backfilled, the well was raised to ground level and covered to become a focal point ( Figure 7.13 ). Over time, this well became a structure of commemoration. Visitors threw an array of objects, including of course coins, into it. Dig for Shakespeare revealed several thousand coins spanning the entire period of years since the 1860s, and from a variety of countries including South Africa, the United States of

in Finding Shakespeare’s New Place

an urn, in consternation over the ‘mournful cryes’ of ‘some Neighb’ring shore’ and over weeping Augusta (an allegorical representation of London). Thamesis is attended by the nymphs Peace and Plenty, and by the four parts of the world (Asia, Africa, America and Europe), who, bringing gifts, promise never to forsake her shore. The Genius of Europe enters, disturbed by Augusta’s cries. He notes her penchant for causeless fears, and suggests that Europe alone has reason to lament: ‘The Nymphs of his fair Continent. /​Some Gyants do pursue’. Two heroes, one on sea and

in From Republic to Restoration
Sir Wa’ter’s two Books of Mutabilitie and their subject’s allegorical presence in select Spenserean narratives and complaints

, provide’. Such an insurance policy Raleigh seems to have intended to create by means of his estates in Ireland, or in his conveyance of Sherborne to his heirs and dependants. But the ‘legacy’ in The Ocean to Cynthia, unlike that of the Mutabilitie Cantos, is radically ‘unperfite’.22 It is a testament that might not hold up very well in a court adjudicating claims to an alienable estate. Does it belong to literature or history? Can it possibly re-secure Ocean’s claims to Belphoebe’s favours, or must it utterly despair of them? If Raleigh’s Ocean is all of an

in Literary and visual Ralegh