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Travellers in the text

This book traces a number of common themes relating to the representation of Irish Travellers in Irish popular tradition and how these themes have impacted on Ireland's collective imagination. A particular focus of the book is on the exploration of the Traveller as ‘Other’, an ‘Other’ who is perceived as both inside and outside Ireland's collective ideation. Frequently constructed as a group whose cultural tenets are in a dichotomous opposition to those of the ‘settled’ community, the book demonstrates the ambivalence and complexity of the Irish Traveller ‘Other’ in the context of a European postcolonial country. Not only have the construction and representation of Travellers always been less stable and ‘fixed’ than previously supposed, these images have been acted upon and changed by both the Traveller and non-Traveller communities as the situation has demanded. Drawing primarily on little-explored Irish language sources, the book demonstrates the fluidity of what is often assumed as reified or ‘fixed’. As evidenced in Irish-language cultural sources, the image of the Traveller is inextricably linked with the very concept of Irish identity itself. They are simultaneously the same and ‘Other’, and frequently function as exemplars of the hegemony of native Irish culture as set against colonial traditions.

Cultures of male servitude in the tropics, 1880s–1910s
Claire Lowrie

In addition to the cultures of servitude which British colonists and Chinese migrants brought to Singapore, pre-colonial traditions of male servitude existed in Singapore among the Peranakan (Straits Chinese) and Malay populations, such as debt bondage of men and women. 121 Indian migrants also brought their traditions of male servitude with them. 122 The

in Masters and servants
Author: Karen Fricker

This book explores the development of Robert Lepage’s distinctive approach to stage direction in the early (1984–94) and middle (1995–2008) stages of his career, arguing that globalisation had a defining effect in shaping his aesthetic and professional trajectory. It combines examination of Lepage’s theatremaking techniques with discussion of his work’s effects on audiences, calling on Lepage’s own statements as well as existing scholarship and critical response. In addition to globalisation theory, the book draws on cinema studies, queer theory, and theories of affect and reception. As such, it offers an unprecedented conceptual framework, drawing together what has previously been a scattered field of research. Each of six chapters treats a particular aspect of globalisation, using this as a means to explore one or more of Lepage’s productions. These aspects include the relationship of the local (in Lepage’s case, his background in Québec) to the global; the place of individual experience within global late modernity; the effects of screen media on human perception; the particular affect of ‘feeling global’; the place of branding in contemporary creative systems; and the relationship of creative industries to neoliberal economies. Making theatre global: Robert Lepage’s original stage productions will be of interest to scholars of contemporary theatre, advanced-level undergraduates with an interest in the application of theoretical approaches to theatrical creation and reception, and arts lovers keen for new perspectives on one of the most talked-about theatre artists of the late twentieth and early twenty-first centuries.

Abstract only
Georgina Sinclair

Inadequate provisions for the localisation of gazetted officers within most colonies prior to independence led to many expatriates being asked to remain in situ . Essentially, this preserved colonial traditions within police administration and practice. Paradoxically, it allowed also for aspects of Britishness to be retained simply because many officers were British

in At the end of the line
Abstract only
Georgina Sinclair

commissions would theoretically provide a system of checks of balances in a similar manner to the local police authority system operating in Britain. Yet, the nature of colonial policing during the transfer of power was not wholly conducive to a civil model. Prolonged unrest saw a strengthening rather than a weakening of colonial traditions. The emphasis had been on reforming and increasing the

in At the end of the line
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Critical Theorist of Revolutionary Decolonisation
Reiland Rabaka

major dialectical dimensions of Cabral’s concept of “return to the source” hinges on his contention that one of the strengths of a revolutionary nationalist movement, such as the PAIGC, is that it preserves pre-colonial traditions and values but, at the same time, these traditions and values are radically transformed through the dialectical process of revolutionary decolonisation and revolutionary re-Africanisation. 4 In other words, pre-colonial traditions and values are altered by the protracted struggle against the superimposition of foreign imperialist cultures

in The Pan-African Pantheon
German colonial botany at the Botanic Garden and Botanical Museum Berlin
Katja Kaiser

. At the same time a positive memory of the colonial era was cultivated in societies like Verein für das Deutschtum im Ausland (Association for Germanness Abroad) and by veterans’ clubs continuing colonial traditions such us wreath-laying ceremonies at colonial monuments until very recently. 56 Yet, the Botanic Garden and Botanical Museum did not

in Sites of imperial memory
Africa’s Quest for Authentic Knowledge
M. John Lamola

these scholars were not really doing philosophy but ethno-philosophy: they were writing a special chapter of ethnology. 29 Hountondji argued that this ethnophilosophy was demeaning to Africans, as it cohered with the assumptions of the European colonial tradition of anthropology in its implied suggestion that Africans could not engage in any enterprise that demanded a rigorous exertion of reason. He therefore argued that “African Philosophy, like any other philosophy, cannot possibly be a collective worldview. It can exist as a philosophy

in The Pan-African Pantheon
Contested terrains
Mícheál Ó hAodha

native Irish culture as set against British colonial traditions and the ‘talking back’ that is redolent of longsubjugated peoples. These texts highlight the disarticulation of textual representation and the subversion through irony, imitation and colonial mimicry of prevailing power systems. It is a movement into those spaces characteristic of ‘the liminal undecidability of Ireland’s colonial position, producing a sense of dilemma within colonial discourse, within Irish textuality’ (Graham, 2002: 45). Here the text proves inadequate in its regulation of that

in ‘Insubordinate Irish’
Sean W. Burges

sociological construction of daily life in Brazil. The need to manage sensitive relationships between vastly differing socio-economic classes living closely together in a compressed space has created a pattern of domestic social conduct that works hard to avoid direct confrontation. Wrapped on top of this is the reality of living within a juridical system anchored with distressing strength in Portuguese colonial traditions – it is not a surprise that Brazil consistently ranks, in a good year, 120th on the World Bank’s ease of doing business table. The jeito , finding a way

in Brazil in the world