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Political violence in the fiction of William Trevor

paving the way for a renewal of their friendship. Through these somewhat far-fetched means, Trevor emphasises the universal need for hope, including hope for a more peaceful future in Northern Ireland which the fragile new political arrangements flowing from the Good Friday Agreement were designed to bring about. This involved the setting up of a Stormont power-sharing executive in November 1999, the restoration of devolved government a month later, and, also in the closing months of the old millennium, IRA engagement with an international decommissioning body to put

in William Trevor
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of masculinity for centuries. The battlefield presents the ultimate location for ‘being a man’. If alterations in the format of war shift the battlefield into the midst of civilian society, age-old understandings of gender difference may be problematised, if not destroyed. The changes in warfare during the twentieth century could be addressed from a variety of perspectives, political, cultural

in Gender and warfare in the twentieth century
Liam O’Flaherty’s The Informer (1925)

, its psychological structure and its contemporary contours, are the subjects of O’Flaherty’s story. And it’s this sense of a novelist attempting to get to grips with the universal experience of betrayal in a peculiarly Irish context which, more than anything else, links The Informer with Ulysses. Political contexts O’Flaherty’s life and experiences between 1896 (when he was born) and 1924 (when he wrote the novel) prepared him for the images of treason and betrayal that he depicts in The Informer. Those experiences included a relatively impoverished upbringing on

in The Judas kiss
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, ‘Socio-economic inequalities in health in Scotland’, Social Justice Annual Report Scotland 2001 (Edinburgh: Scottish Executive Department of Health, 2001),; Andrew Shaw, Anne McMunn and Julia Field (eds), The Scottish Health Survey 1998, Vol. 1 (Edinburgh: Scottish Executive Department of Health, 2000) (all accessed 15/10/2005). 62 Macdonald Daly, ‘Politics and the Scottish Language’, Hard Times (Berlin), 64/65 (1998), 21–6, http

in James Kelman
Censorship, knowledge and the academy

characterise the difference between ‘progressive’ academic professionals and institutions of the 1970s and 1980s and the 1990s, whereby radically optimistic oppositional politics have gradually been superseded by more subtly nuanced accounts of the various limitations and constraints placed upon the formation of literary and critical discourse, and how to work productively within them

in Rethinking the university

O my body, make of me always a man who questions! (Frantz Fanon, 1952) 1 So I went on with my devilment, changing verses. (Salman Rushdie, 1988, SV, 368) In 1988, after a short creative detour to Nicaragua in his travelogue The Jaguar Smile , Rushdie published his fourth novel, The Satanic Verses . Like Midnight’s Children and Shame before it, The Satanic Verses is a strongly satirical text that takes, as one of its dominant socio-political agendas, the condemnation

in Salman Rushdie
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contradictions are foregrounded through the novel’s hybrid narrative strategies. The mixture of satirical realism, fantasy, and political-moral fable, in a narrative which is also a story about storytelling, creates a peculiar double vision, playfully post-modern and satirically post-colonial at the same time. We can see some of the ambiguities involved by considering first the stylistic and formal aspects of the novel. Although Carey felt at the time that his writing was moving away from the experimental, 2 Bliss is characteristically eclectic

in Peter Carey
Spectacle, allegory and the wound of theatre

The historical materialist leaves it to others to be drained by the whore called ‘Once upon a time’ in historicism’s bordello. He remains in control of his powers, man enough to blast open the continuum of history. (Benjamin, 1969 : 262) Introduction Published in 1956, and revised on three occasions in 1960, 1962 and 1968, The Balcony is the first of Genet’s plays to take contemporary historical and political reality as its major theme. Whereas his early work, most notably the novel Funeral Rites , dealt with history indirectly, without being

in The politics of Jean Genet’s late theatre
The Ground Beneath Her Feet and Fury

It’s time you finally high-tailed it out of the British Empire. (Salman Rushdie, 1999, GBF, 330) Eat me, America. (Salman Rushdie, 2001, F, 44) Rushdie’s bitter critique of Abraham’s cynical business practices in The Moor’s Last Sigh tends, overwhelmingly, to emphasise the destructive effects of rapacious economic globalism in India. Corruption, hypocrisy, violent crime and secret links with back-alley politics are daily fare for the super-capitalist Abraham, and all resources

in Salman Rushdie
Contexts and intertexts

have been easy to assume that Achebe’s status was unassailable. From that moment, however, his position began rapidly to unravel. The new novel depicted a coup – overnight, one had taken place almost exactly as he had described. Nigeria’s first attempt at democratic self-government was at an end, and the following weeks and months saw a rapid unravelling of its political fabric, with escalating ethnic violence against Igbo professionals and their families. The Achebes, who narrowly escaped with their lives, were forced to flee from Lagos to their native South East

in Chinua Achebe