Since the publication of The Woman Warrior in 1976, Maxine Hong Kingston has gained a reputation as one of the most popular—and controversial—writers in the Asian American literary tradition. This book traces her development as a writer and cultural activist through both ethnic and feminist discourses, investigating her novels, occasional writings, and her two-book ‘life-writing project’. The publication of The Woman Warrior not only propelled Kingston into the mainstream literary limelight, but also precipitated a vicious and ongoing controversy in Asian American letters over the authenticity—or fakery—of her cultural references. This book traces the debates through the appearance of China Men (1981), as well as the novel Tripmaster Monkey (1989) and her most recent work The Fifth Book of Peace.
centre of discourses surrounding
As has already been suggested in the introduction to this book,
through his culturalreferences and influences Kassovitz makes a
conscious effort to place his films in the realm of mass popular
culture. He does so in order for them to engage with as wide an audience
as possible (both in France and abroad). Nevertheless, his cinematic
A la folie is set in Paris in a vague contemporary
present which provides even fewer socio-culturalreferences than
Après l’amour. Alice, significantly, owes both her living
and working spaces to the benevolence of her agent, a surrogate father
figure. She has a well-equipped artist’s studio and a large attic flat
only a short walk away, with a magnificent rooftop view over the Eiffel
tower which contrasts with the
The cultural impact of punk:
an interview with Jon Savage
Among the numerous accounts of punk’s origins and early development that
now exist, Jon Savage’s England’s Dreaming (1991) is peerless. Combining
sharp critical analysis with participatory insight, it locates British punk squarely within its socio-economic, cultural and political context. Indeed, Savage’s
reading of punk may be traced back to his 1976-produced fanzine London’s
Outrage, which interspersed media clippings and pop culturalreferences with
an essay forewarning Britain
FEW PEOPLE appreciate the skill
required to read political cartoons. Unlike the background information
that accompanies newspaper articles or the captions that frame newspaper
photographs, editorial cartoons provide readers few identifiers or
descriptors needed to identify new actors or concepts. Instead, cartoons
use a combination of physical distortion, culturalreferences and visual
control of audience reception. Instead, I explore how museum publics form individual
responses to cultural heritage, sometimes rejecting official interpretation and drawing upon
wider culturalreferences and experiences. Collections of non-European material culture were
important in establishing British perceptions about the peoples of their empire: through objects, visitors were able to
glean information about diverse peoples’ cultures and climates, make assumptions about
their relative positions in socio
in its shift away from rigid boundaries
of art cinema, while retaining some of its characteristics, to create a
form of cinema which has resulted in increased global consumption.
Thus, aspects of El laberinto can be neatly fitted into Bordwell’s formulation of ‘realism, authorship, and ambiguity’, and Neale’s notion
of the ‘primacy of art’. Art cinema audiences have their expectations
met by culturalreferences from the realms of ‘high art’, the use of
the colour palette, and the engagement with serious social issues.
Nonetheless, other elements of del Toro’s film
literature) is the inclusion of culturalreferences detached from
their contexts and histories; the other is the use of transformational staging moments
as attempts to sum up a production’s meanings, which can lead to erasure of possible
significations and the connection of affective response with semiotic meaning that
registers as prescription rather than invitation.
To begin with, I argue that a thorough consideration of Lepage’s engagement of the
spectator must take on board questions of feeling.
A theatre of meaning
Making people feel things strongly is an articulated
This book explores how contemporary observers located criminal poisoning within a multi-layered network of historical and cultural references. It focuses on the painstaking attempts to construct a 'modern' conceptual and legislative framework for containing the threat posed by criminal poisoning. The book discusses the efforts to delineate the terms of scientific engagement with modern poison and then presents an analysis of how toxicological work was undertaken and represented. In motive and means, William Palmer's was the quintessential 'crime of civilization', and it shows how his case was enmeshed with a core set of concerns about the social and cultural underpinnings of a self-consciously 'modern' Britain. The book examines toxicology in the aftermath of the Palmer trial, showing how the tensions it highlighted within the imaginative landscape of Victorian poisoning led to an implosion of the toxicological project. The epic framing of toxicology's struggles with poison and the poisoner yielded to two (seemingly contradictory) revisions: on the one hand, to a more modest, less individually heroic role for the poison hunter, a vision of expertise as the collective application of consensually developed knowledge; and, on the other, to a literary reworking of the constitutive elements of toxicology's quest for mastery, a transposed re-articulation of the fraught relationship between poison, detection, and the Victorian imagination.
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.