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Tracing literary sites of activism
Author: John Kinsella

The essential purpose of my work is to challenge familiar topoi and normatives of poetic activity as they pertain to environmental, humanitarian and textual activism in ‘the world-at-large’: to show how ambiguity can be a generative force when it works from a basis of non-ambiguity of purpose. The ‘disambiguation’ is a major difference with all other critical works on generative ambiguities: I state there is a clear unambiguous position to have regarding issues of justice, but that from confirmed points, ambiguity can be an intense and useful activist tool. There is an undoing of an apparent paradox of text in terms of ‘in the real world’ activism. It becomes an issue of consequences arising from creative work and positioning. Whether in discussing a particular literary text or ‘event in the world’, I make use of creative texts at specific sites of a broader, intertextual and interconnected activism.

Simone de Beauvoir and a Global Theory of Feminist Recognition
Monica Mookherjee

3 Ambiguity, Existence, Cosmopolitanism: Simone de Beauvoir and a Global Theory of Feminist Recognition Monica Mookherjee Introduction Given the diverse violations of human rights affecting women throughout the world, and the likelihood that such violations misrecognize their moral worth, a

in Recognition and Global Politics
Family Portrait
Keith Beattie

An ambiguous national iconography: Family Portrait 6 A critical shibboleth concerning Jennings’ work holds that his best or most accomplished films were produced during the war years. Reflecting this position Lindsay Anderson opened his well-known reap­ praisal of Jennings’ career with the argument that the war ‘fertilised [Jennings’] talent and created the conditions in which his best work was produced’.1 In the same vein another critic has insisted that ‘war unmis­ takably brought out the best in Jennings’.2 Within the terms of such assessments Jennings’ pre

in Humphrey Jennings
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The Innocents (1961)
Neil Sinyard

ambiguity. This in turn set Clayton a formidable technical challenge in that it was a tale in which mood and mystery were all-important. Were the ghosts real or figments of the governess’s imagination? To this end, Clayton was to experiment with multiple dissolves, ‘images which hang there’, as he put it, ‘and have a meaning which applies both to the end of the last scene and the beginning of the next’. 3 In a visit to the set at Pinewood

in Jack Clayton
Katherine Fierlbeck

. . . until about a hundred years ago democracy was a bad thing . . . in the next fifty years it became a good thing, and . . . in the last fifty years it has become an ambiguous thing. (C.B. Macpherson 1965 : 4) Can democracy be defined

in Globalizing democracy
G. W. M. Reynolds and The Mysteries of London
Rob Breton

justice or a sense of fairness. High and low spaces are also subject to infiltration by the low and high. Fourth, that despite its melodramatic sensationalism, the line separating fiction and reality in the novel is unbearably thin. And finally, that the politics of the novel are far from simple; again, it dares to write against any ideological or political position it might otherwise confirm. In both its political and cultural confrontations, The Mysteries of London is a wildly ambiguous, elastic novel. As Rohan McWilliam says, ‘Reynolds was like a sponge

in The penny politics of Victorian popular fiction
Gill Haddow

embodiment. That is, whether an individual has a body which they are separate from as the body-as-machine model suggests, or whether a person experiences embodiment as being a body and there is no separation. Or indeed whether the experience of embodiment is ambiguous, variable and fluid, affected by events occurring in the body, and the environment outside it. Through a review of social science research conducted with organ transplantation recipients, it is shown that the identity changes most frequently mentioned are an alteration in gender or age, or preferences for

in Embodiment and everyday cyborgs
Creations of diasporic aesthetics and migratory imagery in Chinese Australian Art
Birgit Mersmann

and diaspora study contexts, it missed the opportunity to locate and expand on the transversality of diasporic Chineseness as a migratory phenomenon of transcultural imagery. My investigation of Chinese Australian art shall demonstrate how cross-culturally migrating perspectives on space representation, materiality, artistic techniques and image genres produce multiple, even ambiguous, senses of Chinese attachment and belonging. The concept of ‘diasporic Chineseness’ that I intend to adopt in this chapter for art historical migration and diaspora studies was

in Art and migration
Indigenous peoples and the development of international law
Patrick Thornberry

Ambiguous discourses 3 Ambiguous discourses: indigenous peoples and the development of international law Introduction Discussion of concept and practice on indigenous peoples facilitates responses to the question of whose history is to be recalled from among the infinity available. The retrospective element in the definitions suggests that we should find relevant histories in and beyond the discourses of colonialism; our presumptive universalism suggests that the frame for a search is global.1 The draft Declaration is replete with historical recollection. The

in Indigenous peoples and human rights
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Ethical virtue in Iris Murdoch’s The Black Prince (1973) and Simone de Beauvoir’s The Mandarins (1954)
Miles Leeson

Henri whilst he becomes entangled with Nadine, acts as a commentary on not only Beauvoir’s earlier work in The Second Sex (published in France just before she began The Mandarins in 1949), but the discussion of personal freedom in her essay ‘The ethics of ambiguity’ (1945). In a letter to her lover, Nelson Algren, Beauvoir writes ‘I put a lot of things in it [ The Mandarins ], travels, drunken evenings

in Incest in contemporary literature