Search results
By situating Baldwin’s Jimmy’s Blues and Other Poems in conversation with Jericho Brown’s 2019 poetry collection The Tradition, this article examines the theory of love in their poetic thinking. It argues that in their poetry, love emerges as a multifaceted mode of knowing and feeling, grounded in corporeal intensity and imbued with sociopolitical and historical meanings. Both Baldwin and Brown view love as integral to the understanding of queer sexuality and racial politics, foregrounding at the same time the challenges of loving and being loved in a historically anti-Black society. Their poetics of love coalesces the intellectual and the affective, the erotic and the political, moving beyond the conventions of inward-bound and personal lyric toward what Martinican philosopher and novelist Édouard Glissant termed a “poetics of relation.” Such transgenerational reading also allows us to explore Baldwin’s and Brown’s poetry as acutely attuned to historical moments which seem strikingly similar: Reagan’s and Trump’s presidencies.
On its publication, Burke's Reflections entered a highly charged political context. Relatively few positive public responses are documented, partly because, even before one considers the nature of the text, its author was already public property and immersed in a complex set of partisan, and sometimes simply prejudiced, relationships with people in power and with the print culture which surrounded him. Burke's Reflections provides the metaphysical dressing to many brands of conservative and liberal democratic thought. The essays in the book reflect and extend recent trends in critical and historiographical work on the Reflections which have included a desire to return Burke to his original historical context and to see him as a pragmatist whose writing is strategic and provisional rather than theoretical and systematic. Each of the contributors here is engaged in negotiating and traversing the interdisciplinary boundaries between history, politics, aesthetics, and philosophy. They engage in the various kinds of interpretive strategies that are most commonly associated with English studies and cultural studies; and they are all also interested in having to move between the different contexts in which both Burke's text and they themselves are situated. In their different ways, they acknowledge that reading the Reflections is no easy business; any reading of this text has to be argued for and struggled over, and the outcome will be understood against the history of previous readings.
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.
Utopia is an ideal society in an imaginary country. 'Utopia' in Greek means 'No place', and utopias are frustratingly to be found on faraway islands, continents or planets which are difficult to reach. Philosophers and writers have followed the prophets and been quick to offer their own versions of utopia. While anarchism has always had a utopian dimension in the sense of imagining a free society without the state, not all literary utopias have been anarchistic. Anarchist utopias value mutual aid and solidarity as well as personal freedom and autonomy. The anarchist utopia is not the closed space of a perfect society but engages in constant struggle against protean forms of domination, hierarchy and exploitation. Wary of the many potential pitfalls of utopian speculation and, in particular, of the ways in which it may constrain free thinking rather than enrich it, many anarchists are now united far more by what they are against than what they are for. The primary aim of this book is to encourage further reflection on the wisdom of such blanket anarchist anti-utopianism. It does so by assembling the first collection of original essays to explore the relationship between anarchism and utopianism and, in particular, the ways in which their long historical interaction from the Warring States epoch of ancient China to the present day has proven fruitful for emancipatory politics.
texts and Beowulf . While the poem’s account of noble Germanic life before Christianity suggests some nostalgia, its incorporation of Germanic myth and legend serves not only to give veracity to the portrayal of life in the pre-Christian hall, but to emphasize the continuity between life ‘then’ and the audience’s life ‘now’; in the historical continuum both are the one audience of shared stories. The
juncture along their historical continuum; ‘refugee’ is simply an add-on necessitated by an external outcome of global politics and international human rights jargon at this contemporary point of their continuum. Although the Sahrawi refugee camps are places in which the Sahrawi ‘as refugees’ and the humanitarian visitors do make connections, where the camps are the local point of meeting face-to-face, the camps are actually a fully-fledged nation-state, albeit awaiting full international legal recognition. It seems an unintelligible othering where the vision and goals
Whitechapel murders; moreover, what this crisis of rational principles implies is the indissoluble marriage of metropolis and madness. Madness, the text seems to suggest, cannot be eradicated from the metropolitan space of London, which Gull sees as the negotiation of a historical continuum deeply rooted in the Dyonisiac foundations of its architecture, concealed in the occult hot points which Moore identifies in
by ToRL members who argued that, as prostitution was always exploitative, the prostitute was herself always exploited and choice or consent was entirely irrelevant. 24 The National Women's Council of Ireland argued that prostitution was part of a historical continuum of male violence against women and was not a consensual contract involving two parties of equal power. 25 More graphic was the view of Mia, a former sex worker and frequent supporter of the ToRL in
connection between Victorian and modernist literature that allows Levine to argue for ‘a direct historical continuum between the realists who struggled to make narrative meaningful and modern critics who define themselves by virtue of their separation from realism and even from narrativity itself.’19 This similarity can be seen, despite their clear points of difference, in the critical work of two key figures of Victorianism and modernism: George Eliot and Virginia Woolf. Eliot offers something Introduction: Marlow, realism, hermeneutics 5 approximating a manifesto of
result in a break with what had come before, certain inherent contradictions were sharpened and the crisis transformed qualitatively. Extracting profit: the historically dominant accumulation regime of Australian-located capital The dominance of primary resource extraction as a key accumulation strategy for Australian-located capital and subsequent environment degradation are historical continuums. Both agriculture and extractive industries are key causes of ecological exhaustion; turning specifically to water, they