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The ‘outside’ in poetry in the 1980s and 1990s
Linden Peach

6 Paper margins: the ‘outside’ in poetry in the 1980s and 1990s LINDEN PEACH Poetry emanating from what a few decades ago would have been deemed ‘the margins’ has become the major focus of publishing houses, journals and criticism, the latter evident in two recent collections of essays: Poetry in the British Isles: Non-Metropolitan Perspectives (Ludwig and Fietz 1995) and Contemporary British Poetry: Essays in Theory and Criticism (Acheson and Huk 1996). I say ‘were deemed’ because, as Terry Eagleton has observed, the marginal has become ‘somehow central’ (1989

in Across the margins
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Introducing a stronger form of regulation in Bombay
Richard Philips

as in Malabari’s active reading and appropriation of English campaign journalism and legislative models ( chapter 2 ), the city sometimes led rather than followed the political field. These observations give rise to some specific and some broader questions about ways in which places cast – however problematically – as the margins of empire can be politically productive, sites of political experimentation and innovation. They suggest ways in which sexuality politics were structured by geographies of power. Dyer

in Sex, politics and empire
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Cultural identity and change in the Atlantic archipelago

The concept of 'margins' denotes geographical, economic, demographic, cultural and political positioning in relation to a perceived centre. This book aims to question the term 'marginal' itself, to hear the voices talking 'across' borders and not only to or through an English centre. The first part of the book examines debates on the political and poetic choice of language, drawing attention to significant differences between the Irish and Scottish strategies. It includes a discussion of the complicated dynamic of woman and nation by Aileen Christianson, which explores the work of twentieth-century Scottish and Irish women writers. The book also explores masculinities in both English and Scottish writing from Berthold Schoene, which deploys sexual difference as a means of testing postcolonial theorizing. A different perspective on the notion of marginality is offered by addressing 'Englishness' in relation to 'migrant' writing in prose concerned with India and England after Independence. The second part of the book focuses on a wide range of new poetry to question simplified margin/centre relations. It discusses a historicising perspective on the work of cultural studies and its responses to the relationship between ethnicity and second-generation Irish musicians from Sean Campbell. The comparison of contemporary Irish and Scottish fiction which identifies similarities and differences in recent developments is also considered. In each instance the writers take on the task of examining and assessing points of connection and diversity across a particular body of work, while moving away from contrasts which focus on an English 'norm'.

Brian Baker

connection is strong in London Orbital .) The imagination of a ‘sixty miles out’ London, and its vision of a Dome which encompasses centre and margins of the city, repeats the long history of London’s ‘development’ from City to ‘world city’. As Roy Porter’s London: A Social History (2000) suggests, London’s expansion to connect all its outlying villages and towns into one vast conurbation was a ‘fungus-like growth’, a history of private speculation, commerce and only latterly (in the Victorian-era Metropolitan Board of Works and after 1888, the

in Iain Sinclair
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Ethnicity and popular music in British cultural studies
Sean Campbell

7 Sounding out the margins: ethnicity and popular music in British cultural studies SEAN CAMPBELL Introduction In their discussion of the development of British cultural studies,1 Jon Stratton and Ien Ang point out that the ‘energizing impulse’ of the field has ‘historically … lain in [a] critical concern with, and validation of, the subordinate, the marginalized [and] the subaltern within Britain’ (1996: 376). Accordingly, many of the field’s principal practitioners have paid a considerable amount of attention to questions of ‘race’2 and ethnicity in post

in Across the margins
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Mao and visuality in twentieth-century India
Sanjukta Sunderason

Framing margins: Mao and visuality in twentieth-century India Sanjukta Sunderason What do Mao and Maoism look like when we explore the field of visual art in India? Must we look for images of Mao Zedong, or of art inspired by the Cultural Revolution? Should we look for popular appropriations of the iconic imagery of Chairman Mao, or postmodern kitsch that subverts iconicity via commodity fetishism? What must global Maoism mean if India is brought into the conversation? Such questions rattle multiple corners of the twentiethcentury visual field in India. As a

in Art, Global Maoism and the Chinese Cultural Revolution
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Un prophète and Dheepan
Gemma King

5 Urban margins: Un prophète and Dheepan W e now move from the city to the banlieue for Jacques Audiard’s 2009 Un prophète and 2015 Dheepan. Each of these banlieue-set films is composed of multilingual dialogue and features characters who frequently code-switch as a strategy for dominating one another. Un prophète is set in the Brécourt male prison, ruled and divided by two conflicting cultural gangs: the Arabs and the Corsicans. The young Franco-Maghrebi protagonist, Malik, finds himself simultaneously subjugated by, and torn between, these two groups, as he

in Decentring France
Ménilmontant, Le Sang des bêtes, Colloque de chiens
Erik Bullot

6 Margins and thresholds of French cinema: Ménilmontant, Le Sang des bêtes, Colloque de chiens Erik Bullot French cinema since the New Wave has repeatedly manifested a desire for a juste milieu by seeking to strike a balance between artistic ambition and the ability to connect with a wider audience. This balance contributed in part to its singular wealth. As recently as the mid 1970s idiosyncratic filmmakers working on the margins of the industry, such as Philippe Garrel or Jean Eustache, had been able to create radical, almost experimental films, and into the

in Screening the Paris suburbs
Chris Beasley
Heather Brook

13 Responses from ‘the margins’ While we have acknowledged that the past and continuing global dominance of Hollywood movies remains obvious and at present apparently inexorable, debate continues about whether this domination is, in essence, to be celebrated or condemned. Competing views about Hollywood are associated with questions regarding what effects arise from this domination. To examine and assess the cultural politics of American imperialism – that is, the socio-political effects of Hollywood’s cinematic dominance – it is necessary to consider debates

in The cultural politics of contemporary Hollywood film
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Identities and incitements
Saurabh Dube

and the colonized. They have crucially considered the mutual shaping of European processes and colonial practices in order to imaginatively analyze how developments in distant margins could influence metropolitan transformations of identity, how the impulses of empire and their reworking in the colonies brought about changes at the heart of Western history. 15 Here, the explorations have included the

in Subjects of modernity