Search results

You are looking at 1 - 10 of 110 items for :

  • missionary identity x
  • Literature and Theatre x
Clear All
Abstract only
Editor: Gregory Vargo

The first collection of its kind, Chartist Drama makes available four plays written or performed by members of the Chartist movement of the 1840s. Emerging from the lively counter-culture of this protest campaign for democratic rights, these plays challenged cultural as well as political hierarchies by adapting such recognisable genres as melodrama, history plays, and tragedy for performance in radically new settings. A communal, public, and embodied art form, drama was linked for the Chartists with other kinds of political performance: the oratory of the mass platform, festival-like outdoor meetings, and the elaborate street theatre of protest marches. Plays that Chartists wrote or staged advanced new interpretations of British history and criticised aspects of the contemporary world. And Chartist drama intervened in fierce strategic arguments within the movement. Most notably, poet-activist John Watkins’s John Frost, which dramatises the gripping events of the Newport rising of 1839, in which twenty-two Chartists lost their lives, defends the rebellion and the Chartist recourse to violence as a means for the movement to achieve its aims. The volume’s appendices document over one hundred Chartist dramatic performances, staged by activists in local Chartist associations or at professional benefits at some of London’s largest working-class theatres. Gregory Vargo’s introduction and notes elucidate the previously unexplored world of Chartist dramatic culture, a context that promises to reshape what we know about early Victorian popular politics and theatre.

Abstract only
Simon Ditchfield and Helen Smith

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
Abigail Ward

some ways enslaved, or restrained, by her position as an English woman in the early nineteenth century, in his time in England, Cambridge also finds that the bondage of slavery is replaced by a very different enslavement in his adherence to nineteenth-century English identity and codes of conduct. We can see from his descriptions of other black people that he feels himself to be superior; Cambridge, he is clear to emphasise, is no ‘common slave’ ( C , 157), and his purpose in returning to Africa is as a missionary. Just as Emily’s narrative – often prejudiced and

in Caryl Phillips, David Dabydeen and Fred D’Aguiar
And other questions about gender, race, and the visibility of Protestant saints
Kathleen Lynch

(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
Abstract only
The wild Irish boy and the national tale
Christina Morin

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
Shannon Scott

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
Katarzyna Poloczek

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
Laura Horak

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
Jago Morrison

]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)
Elisabeth Wesseling

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