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the categories of both sex and gender. No longer ‘a woman’, she is also no longer subject to ‘affections’ stereotyped and construed as feminine. In this brief, satirical assertion, Boccaccio encapsulates the twin concerns of this volume: the shifts in social, professional, and personal identity that accompanied changes in religious affiliation, and the ways in which those changes were not simply

in Conversions
And other questions about gender, race, and the visibility of Protestant saints

(whether measured by economic status, gender, or race) but for seemingly being in the wrong place: a singular member of a mid-century London gathered church rather than an indistinguishable product of a large-scale missionary conversion. Because Dinah crosses so many categories, she can help us probe the interrelations of gender, race, and religion. We may also trace the ways cross

in Conversions
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The wild Irish boy and the national tale

mind ‘wandering and unsettled’ as she awaits the death of her English missionary lover, Hilarion. 31 Culturally alienated by her relationship with Hilarion, Luxima undergoes a process of identity fragmentation that translates directly into mental derangement and insanity. 32 A similar moment occurs in The wild Irish girl . As she kneels beside the body of her father, Glorvina

in Charles Robert Maturin and the haunting of Irish Romantic fiction

seem that the UK’s apparently unwelcoming attitude towards the black men and women entering the country from 1948 has roots in a much earlier period. In the works explored in this chapter, Phillips traces the origins of this attitude, and the related anxieties surrounding national identity. In his novel Cambridge (1991), a white plantation-owner’s daughter finds her English identity thrown into confusion in the creolising space of the unnamed Caribbean island, and a male slave reflects on his life as a ‘virtual Englishman’. In Crossing the River (1993), the black

in Caryl Phillips, David Dabydeen and Fred D’Aguiar

country attempted to build a positive national identity through literature. 5 One method of rewriting history and avoiding the ethical dilemma of ‘Indian removal campaigns’ was for white authors to set their texts in a period of history when indigenous peoples were more in control of their land and thus could be portrayed as purely predatory. In ‘The Werewolves’, published

in She-wolf
The poetry of Sinéad Morrissey, Leontia Flynn, Mary O’Malley, and Michael Hayes

Dóchasach constitutes a daring attempt to write African asylum-seekers’ stories into the Irish ancient narratives, familiar scenery, local imagery, and native idiom. 140 Writing the ‘new Irish’ into Ireland’s old narratives Hayes’s collection is inspired by the life of an African refugee who was a survivor of ethnic genocide and an asylum-seeker in Ireland: Jean ‘Ryan’ Hakizimana.6 Hakizimana’s middle name ‘Ryan’ comes from the Irish missionary Fr. Ryan, who helped his family to stay alive in 1972, during the first phase of the Burundian bloodshed. Paradoxical as it may

in Literary visions of multicultural Ireland
Translatina world-making in The Salt Mines and Wildness

temporary, but nonetheless crucial. The trans and straight members of the Salt Mines alike have woven networks of care between each other. They recognise each other as they are, without trying to change each other, and offering what they have to each other. These genuine forms of relation are in a stark contrast to Christian missionaries who appear later in the film. The missionaries are quick to offer the Salt People kind greetings, warm clothing, and a hot meal, but only in exchange for the opportunity to convince the women to give up their feminine identity and accept

in The power of vulnerability

]ny discussion of nationalist reconstruction of identity should take Things Fall Apart as its starting point’.4 In actuality, as we saw in chapter 1, there is little evidence to suggest that by temperament or conviction Achebe was ever a nationalist of any kind, even during his youth and young adulthood. Moreover, there is nothing odd or surprising in this. When we consider Nigeria’s journey through independence in the late 1950s and early 1960s, it is clear that by far the strongest and most consistent voice for the one-nation agenda was not the general population of Nigeria

in Chinua Achebe
The demonic adoptee in The Bad Seed (1954)

premised on the cliché of the United States as a morally superior nation, a shining beacon on a hill or symbol of hope that had a missionary duty to Christianize and Americanize less privileged peoples abroad, redeeming their plight by welcoming them inside the borders of God’s own country if necessary. Considering the importance of family relationships, what better way could there be for bringing the poor

in Gothic kinship

wounds of the period, namely those related to insecurities about France’s ‘racial identity’ on the eve of decolonisation – a moment when the country was faced with the prospect of increased numbers of immigrant workers entering the métropole from the ex-colonies. I do this by arguing that The Blacks uses the heterotopic aspects of theatre to contest the exclusionary tactics adopted by 1 It is interesting to note that Condé’s husband, Amadou Condé, played Archibald in Roger Blin’s 1959 production of The Blacks. Détournement, abjection and disidentification in The

in The politics of Jean Genet’s late theatre