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Representations and perceptions of fraudulent identities

Impostors and impostures featured prominently in the political, social and religious life of early modern England. Who was likely to be perceived as impostor, and why? This book offers a full-scale analysis of this multifaceted phenomenon. Using approaches drawn from historical anthropology and micro-history, it investigates changes and continuities within the impostor phenomenon from 1500 to the late eighteenth century, exploring the variety of representations and perceptions of impostors, and their deeper meanings within the specific contexts of social, political, religious, institutional and cultural change. The book examines a wide range of sources, from judicial archives and other official records to chronicles, newspapers, ballads, pamphlets and autobiographical writings. Given that identity is never fixed, but involves a performative dimension, changing over time and space, it looks at the specific factors which constitute identity in a particular context, and asks why certain characteristics of an allegedly false identity were regarded as fake.

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The performance of Basqueness by Carmelo Gómez and Silvia Munt
Rob Stone

) and Baztán (Iñaki Elizalde, 2012) and those of Munt in Akelarre/​ Witches’ Sabbath (Pedro Olea, 1984), Golfo de Vizcaya/​Bay of Biscay (Javier Rebollo, 1985), Alas de mariposa/​Butterfly Wings (Juanma Bajo Ulloa, 1991), Todo está oscuro/​Everything is Dark (Ana Díez, 1997) and El viaje de Arián/​Arián’s Journey (Eduard Bosch, 2000) respectively. By means of close readings of these performances and contextual and comparative analyses, this chapter exposes the screen personas of Gómez and Munt as false identities that complicate the articulation of desirable and

in Performance and Spanish film
Transnational resistance in Europe, 1936–48
Editors: and

This work demonstrates that resistance to occupation by Nazi Germany and Fascist Italy during the Second World War has to be seen through a transnational, not a national, lens. It explores how people often resisted outside their country of origin because they were migrants, refugees or exiles who were already on the move. It traces their trajectories and encounters with other resisters and explores their experiences, including changes of beliefs, practices and identities. The book is a powerful, subtle and thought-provoking alternative to works on the Second World War that focus on single countries or on grand strategy. It is a ‘bottom up’ story of extraordinary individuals and groups who resisted oppression from Spain to the Soviet Union and the Balkans. It challenges the standard chronology of the war, beginning with the formation of the International Brigades in Spain and following through to the onset of the Cold War and the foundation of the state of Israel. This is a collective project by a team of international historians led by Robert Gildea, author of Fighters in the Shadows: A New History of the French Resistance (Faber & Faber, 2015). These have explored archives across Europe, the USA, Russia and Israel in order to unearth scores of fascinating individual stories which are woven together into themed chapters and a powerful new interpretation. The book is aimed at undergraduates and graduates working on twentieth-century Europe and the Second World War or interested in the possibilities of transnational history.

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Sam Rohdie

multiplicity and differential origins that it is a puzzle, not so much false, as incomprehensible, closest perhaps, to another parallel time zone narration, Orson Welles’s Mr Arkadin (1955). Welles, like Nolan, found his inspiration in Shakespeare, and, specifically, as Nolan did, in Macbeth and Julius Caesar, though there are also other Shakespeare citations in the Welles: Othello and Chimes at Midnight and the ubiquity of Wellesian (and Shakespearian) masquerade, trickery and false identities. Kilpatrick is in fact murdered, but at the hands of his friends not his enemies

in Film modernism
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Sam Rohdie

about his documents just as the policeman questions him when he is with Marianne and earlier still at the border crossing (where Nadine, on the telephone confirms to the police inspector, Carlos’s false identity as her father, René Sallanches). Diego follows Marianne at a distance into the station and watches her deposit the suitcase. He is in the same position as the policeman who had followed Nadine and

in Montage
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Sam Rohdie

Athos Magnani, the father, and that out of loyalty to a myth of his father and to the reality of his father (who is a myth-maker), he is constrained to accept. And there Drama 65 is a further echo of that situation in the duplicity and false identity at play in Welles’s Arkadin (1955), where Arkadin (a fiction) must be sustained in order that his other and secret identity, Athabadze, is not revealed. And when it is revealed that Arkadin and Athabadze are the same person, Arkadin/Athabadze has no other choice but that of suicide to protect the name of who he is not

in Film modernism
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Sam Rohdie

Prima della rivoluzione, indeed in all Bertolucci’s films, is subject to doubling (and it is), and to false identities and theatrical masquerades (and it is), there is no one thing that is final, but there are instead multiple comparatives between multiple likenesses, relations that are essentially formal rather than substantive, forms of contradiction and repetition. Fabrizio can never decide, or, when he seems to decide and marries Clelia, it is as if he is not there, his presence an absence that never was present, an inability to act, action that is divorced from

in Film modernism
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Pioneering Feminist
Ada Uzoamaka Azodo

In “ La fonction politique des littératures africaines écrites ” 5 (“The Political Functions of Written African Literatures”), 6 her theoretical essay and laudatory speech, Bâ justifies the political orientation of written African literatures from the 1930s to the 1960s as protest against the false identity imposed on Africa by the colonialists. The European assertion that Africa was barbaric, uncivilised, incapable of rational thinking and without history – according to scholars like British historian Hugh Trevor-Roper 7 – was so hurtful to African traditions

in The Pan-African Pantheon
Lucy Michael

silence in much of the coverage of the asylum issue. The framing of asylum as a security issue is evident in its coverage within the broadsheet newspapers. In 2008, the Irish Independent 's Security Editor claimed ‘Bogus asylum seekers escaping deportation’, using the term ‘illegals’ and ‘asylum shoppers’, implying that ‘last-minute judicial reviews’ to prevent deportation were used to support fraudulent asylum claims. 38 In 2012, the same author claimed ‘Two-thirds of failed asylum seekers had used false identities’, proposing that Somalis

in Immigrants as outsiders in the two Irelands
John le Carré’s A Perfect Spy and the treachery of Kim Philby
Jonathan Bolton

boarding schools cultivate deceit and false identities in ways that shape the perfect spy. Le Carré himself had two crucial formative public-school experiences, one as a student at Sherborne School and the other as a foreign language master at Eton College, both of which contributed to his distaste for public school traditions and the class privileges they bestow. Vivian H. H. Greene, le Carré's chaplain and master at Sherborne and the man on whom George Smiley was modeled, recalls that le Carré “resented the inflexibility of [Sherborne's] moral code, its seeming blind

in The Blunt Affair