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'.
spaces overlap and compete; and a chapter by Peter Childs which offers a
different perspective on the notion of marginality by addressing ‘Englishness’ in relation to ‘migrant’ writing in prose concerned with India and
England after Independence. In each case specific intersections of
identity are used to explore the wider configurations of space and self. In
this section we also include an essay by Colin Graham which offers a
mediation on the broader critical implications of postcolonial theory
through analysis of its application in a specific context. Taking the
At a time when monolingualist claims for the importance of ‘speaking English’ to the national order continue louder than ever, even as language diversity is increasingly part of contemporary British life, literature becomes a space to consider the terms of linguistic belonging. Bad English examines writers including Tom Leonard, James Kelman, Suhayl Saadi, Raman Mundair, Daljit Nagra, Xiaolu Guo, Leila Aboulela, Brian Chikwava, and Caroline Bergvall, who engage multilingually, experimentally, playfully, and ambivalently with English’s power. Considering their invented vernaculars and mixed idioms, their dramatised scenes of languaging – languages learned or lost, acts of translation, scenes of speaking, the exposure and racialised visibility of accent – it argues for a growing field of contemporary literature in Britain pre-eminently concerned with language’s power dynamics, its aesthetic potentialities, and its prosthetic strangeness. Drawing on insights from applied linguistics and translation studies as well as literary scholarship, Bad English explores contemporary arguments about language in Britain – in debates about citizenship or education, in the media or on Twitter, in Home Office policy and asylum legislation – as well as the ways they are taken up in literature. It uncovers both an antagonistic and a productive interplay between language politics and literary form, tracing writers’ articulation of linguistic alienation and ambivalence, as well as the productivity and making-new of radical language practices. Doing so, it refutes the view that language difference and language politics are somehow irrelevant to contemporary Britain and instead argues for their constitutive centrality to the work of novelists and poets whose inside/outside relationship to English in its institutionalised forms is the generative force of their writing.
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.
migrantswriting and speaking the Scots language.
Transformations in these elements of Irishness and
Scottishness also altered over time, a transition that often began at
sea. The absence of certain cooking ingredients, for instance, meant
that certain Scottish foods, such as scones, were made a different way.
The contrasting seasons in the New World also had a role to play in the
celebration of certain
-state paradoxes and their discursive offcuts were not only a commonplace of the early colonial literature: I found them prevalent in the new migrantwriting. Picking up on the phenomenon of ethnographic projection, Sneja Gunew, writing in Australia's Bicentennial year, argued that the perception that nostalgia was the only subject of non-Anglo-Celtic writing was host nation wish-fulfilment: ghettoised as the same old story of leaving, travelling and arriving, ‘the migrant experience’ feeds ‘the nostalgia of “older” white Australians’, reminding them both of their own origins
Images of the ‘Jungle’ in Breach by Olumide Popoola and Annie Holmes
: Wehrhahn , pp. 27–57 .
Nyman , J.
( 2017 ) Displacement, Memory, and Travel in Contemporary MigrantWriting . Leiden : Brill .
Nyman , J.
( 2019 ) ‘ Borders, borderscapes, and border-crossing romances in contemporary migrantwriting in Finland by TaoLin and Arvi Perttu ’, Journal of Borderlands Studies , 34 : 105
unpleasant history: Lebanese migrants had
previously been ‘grouped as undesirable Asians’, an order that
was not rescinded until 1926.9 The war years, and those that
Contexts and intertexts 11
followed, served to put Australia in closer contact with the world
beyond its shores, but also awakened the history of Australia’s
problematically selective refusals of contact with the world.
Hodge and Mishra locate Malouf within the field of migrantwriting, but as an example of ‘reverse assimilationism’, as an
‘expatriate son of an assimilated migrant’. Australia, for Malouf,
Manchester and the devolution of British literary culture
’ that has
concerned Manchester’s black and/or migrantwriting community more
than any other is not ‘them’ (i.e. the black subject’s suffering or alienation) but ‘us’ (the white ‘other’ who, individually, collectively or
institutionally, is violent and hostile at worst, cold and indifferent at
best). This, in turn, raises difficult questions for a project like ‘Moving
Manchester’ which secured government funding on the grounds
(sometimes explicit, always implicit) that our research would somehow
contribute to an improved sense of ‘well-being’ for ‘marginalized
alphabet (which allows
one to learn words by spelling), even a seemingly monolingual Chinese
speaker typically picks up two systems at once – one through sound and
the other through written characters – in the process of learning Chinese’;
Rey Chow, Not Like a Native Speaker: On Languaging as a Postcolonial
Experience (New York: Columbia University Press, 2014), p. 45.
69 Guo, Dictionary, pp. 18, 60. On the ‘homeliness’ of Chinese in Chinese
migrantwriting in Britain, see Diana Yeh, ‘Contested belongings: the
politics and poetics of making a home in Britain’, in A