This is a study on the literary relation between Beckett and Dante. It is a reading of Samuel Beckett and Dante's works and a critical engagement with contemporary theories of intertextuality. The book gives a reading of Beckett's work, detecting previously unknown quotations, allusions to, and parodies of Dante in Beckett's fiction and criticism. It is aimed at the scholarly communities interested in literatures in English, literary and critical theory, comparative literature and theory, French literature and theory and Italian studies.
With race as a central theme, this book presents racial stratification as the underlying system which accounts for the difference in outcomes of Whites and Blacks in the labour market. Critical race theory (CRT) is employed to discuss the operation, research, maintenance and impact of racial stratification. The power of this book is the innovative use of a stratification framework to expose the pervasiveness of racial inequality in the labour market. It teaches readers how to use CRT to investigate the racial hierarchy and it provides a replicable framework to identify the racial order based on insight from the Irish case. There is a four-stage framework in the book which helps readers understand how migrants navigate the labour market from the point of migration to labour participation. The book also highlights minority agency and how migrants respond to their marginality. The examples of how social acceptance can be applied in managing difference in the workplace are an added bonus for those interested in diversity and inclusion. This book is the first of its kind in Ireland and across Europe to present inequality, racism and discrimination in the labour market from a racial stratification perspective. While this book is based on Irish data, the CRT theoretical approach, as well as its insight into migrant perspectives, poses a strong appeal to scholars of sociology, social justice, politics, intercultural communication and economics with interest in race and ethnicity, critical whiteness and migration. It is a timely contribution to CRT which offers scholars a method to conduct empirical study of racial stratification across different countries bypassing the over-reliance on secondary data. It will also appeal to countries and scholars examining causal racism and how it shapes racial inequality.
Responding to the resurgence of verbatim theatre that emerged in Britain, Australia, the United States and other parts of the world in the early 1990s, this book offers one of the first sustained, critical engagements with contemporary verbatim, documentary and testimonial dramaturgies. Offering a new reading of the history of the documentary and verbatim theatre form, the book relocates verbatim and testimonial theatre away from discourses of the real and representations of reality and instead argues that these dramaturgical approaches are better understood as engagements with forms of truth-telling and witnessing. Examining a range of verbatim and testimonial plays from different parts of the world, the book develops new ways of understanding the performance of testimony and considers how dramaturgical theatre can bear witness to real events and individual and communal injustice through the re-enactment of personal testimony. Through its interrogation of different dramaturgical engagements with acts of witnessing, the book identifies certain forms of testimonial theatre that move beyond psychoanalytical accounts of trauma and reimagine testimony and witnessing as part of a decolonised project that looks beyond event-based trauma, addressing instead the experience of suffering wrought by racism and other forms of social injustice.
urbanity, central to the Westerncanon. In work that blurs boundaries between theoretical, critical
and creative literature, they align insight and innovation with a deep
and diverse literary tradition defined by dissent, deviance, digression,
displacement and dispossession. Yet modern exploration of that
domain takes treacherous turns. Modernist poetry and prose slides
steeply into the recesses of the mind, bent in time and space along
Einsteinian lines, marked by the explosive energy of dizzying metaphor
and metonymy, disrupted memory and disorienting madness. Seismic
When ideas travel: political theory, colonialism, and the history of ideas
Burke A. Hendrix and Deborah Baumgold
political thinkers beyond the Westerncanon, but it remains protean in form.
While there are exceptions, much of this scholarship has sought to recognize the
character of political ideas that explicitly come from outside of Western traditions, either to engage in conceptual comparison with Western ideas or to show
the integrity of non-Western ideas on their own terms. The present volume
represents an approach to comparative political theorizing that focuses explicitly
on the interactions created by colonialism.2 With the developed literature on
canonical theorists and
absence of the female subject from the
philosophical canon is noted, however, the question cannot be avoided:
how would things be different if women also had a place? Suppose women
had a voice: what would they say? Luce Irigaray, contemporary French
philosopher, psychoanalyst and linguist, has spent much effort in the
search for a female subject and her significance. Irigaray’s method in her
early work, especially in Speculum. De l’autre femme (1974; SpE 1985a),
consists of a very close and detailed reading of significant works of the
Westerncanon. At least since Hegel
and style of Elemental Passions
texts of the Westerncanon. The most scholarly text of this phase is
Speculum. De l’autre femme, her doctoral thesis, which was published in
1974 and translated into English in 1985 as Speculum of the Other Woman.
The way the title is written immediately illustrates the problems of
translation with regard to Irigaray In her own view, the English title
misrepresents the French by omitting the full stop. She remarks that ‘it
should have been put, Speculum on the Other Woman or On the Other:
Woman. That would have been best’ (Hirsh and
’s Culture and Anarchy (1869), T. S. Eliot’s After Strange Gods: A Primer of Modern Heresy (1934), and W. K. Wimsatt’s The Verbal Icon (1954), all of which invoke Christian iconography in their attempts to define cultural value. 17 A more recent book, Harold Bloom’s The WesternCanon ( 1994 ), enacts the logical consequence of this approach: in an almost papal tone, Bloom identifies himself as a ‘priest of the aesthetic’ (Bloom 1994 : 24), whose job is to defend Western civilisation from ‘Feminists, Afrocentrists, Marxists … New Historicists, or Deconstructors
dealing with macro-challenges to imperialism but when it offers challenges pitched in the field of identity politics to preconceived ideas of race and ethnicity, and when it struggles to give voice and aesthetic form to expressions of identity that are not, conventionally, accommodated within the Westerncanon and the discourses it supports. Hence, when W. L. Webb in interview asks Rushdie to clarify his view (expressed fictionally in The Satanic Verses ) that description can be a political act, it is precisely this aspect of his thought that Rushdie focuses on
matter that has been forbidden from Plato to Lacan.
A fling with philosophy
In discussing Irigaray’s strategy in Speculum, Elizabeth Weed quotes Barthes: ‘An
intellectual cannot directly attack the powers that be, but he [sic] can inject
new styles of discourse to make things change’ (1994: 79). Like Derrida’s,
Irigaray’s ‘cure’ is homeopathic, operating within that she seeks to contest
(Whitford, 1994a: 17).
When she takes on the critical texts of the Westerncanon, it is those texts – Freud,