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Reflections on contemporary anarchism, anti-capitalism and the international scene
Karen Goaman

9 Karen Goaman The anarchist travelling circus: reflections on contemporary anarchism, anti-capitalism and the international scene Introduction The phrase ‘anarchist travelling circus’ was uttered in stern tones by Tony Blair, as, after the European Union summit in Gothenburg, Sweden, in June 2001, he condemned the protests that have converged on every significant such gathering over the last few years. The unintentional note of joyfulness, play and spontaneity captured by this phrase was quickly recuperated by the movement itself, appearing on a banner, and

in Changing anarchism
Open Access (free)
Performing in the spaces of city and nation in A Fine Balance
Peter Morey

94 Rohinton Mistry 4 Thread and circuses: performing in the spaces of city and nation in A Fine Balance you only have power over people as long as you don’t take everything away from them. But when you’ve robbed a man of everything he’s no longer in your power – he’s free again. (Alexander Solzhenitsyn, The First Circle, p. 107) M you cannot draw lines and compartments, and refuse to budge beyond them … You have to maintain a fine balance between hope and despair … In the end, it’s all a question of balance. (A Fine Balance, p. 231) ISTRY’S interest in the

in Rohinton Mistry
Angela Carter‘s (Post-)feminist Gothic Heroines
Rebecca Munford

Carter‘s fiction sits uneasily in relation to both Gothic and feminist discourses, especially as they converge through the category of the ‘female Gothic’. Owing to her interest in pornography and her engagement with the sexual/textual violence of specifically ‘male Gothic’ scripts – for example, the Gothic scenarios of Sade, Poe, Hoffmann, Baudelaire and Stoker – Carter‘s Gothic heroines have frequently been censured as little more than objects of sadistic male desires by feminist critics. This article re-reads Carter‘s sexual/textual violations – her defiance of dominant feminist and Gothic categories and categorisations – through the problematic of (post-)feminist discourse and, especially, the tension between ‘victim’ and ‘power’ feminisms as prefigured in her own (Gothic) treatise on female sexual identity, The Sadeian Woman (1979). Mapping the trajectory of her Gothic heroine from Ghislaine in Shadow Dance (1966) to Fevvers in Nights at the Circus (1984), it re-contextualises Carters engagements with the Gothic as a dialogue with both the female Gothic and feminist discourse.

Gothic Studies
Open Access (free)
Lillian Leitzel’s celebrity, agency and her performed femininity
Kate Holmes

9 Aerial star Lillian Leitzel’s celebrity, agency and her performed femininity Kate Holmes Circus was one of the largest mass live entertainments of the early twentieth century and was an industry that secured its popularity through a number of female stars. These women’s careers were not only established by the highest-profile circuses but also contributed to their success. Although circus has been the focus of numerous memoirs or popular histories, few recent layered historical analyses of this complex entertainment form exist. As such, the female performers

in Stage women, 1900–50
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The play’s the thing
Robert Duggan

first published 1979) or in the female performances of Nights at the Circus (1985) and Wise Children (1992, first published 1991), has been a hugely influential and at times controversial aspect of the work of this key post-war British writer. Carter’s artistic legacy has inspired sometimes vexed Grotesque.indd 53 20/03/2013 09:24:29 54  The grotesque in contemporary British fiction critical debates over her fiction’s engagement with sexual and cultural politics, not least in relation to Mikhail Bakhtin’s work on carnival discussed in the previous chapter. It is

in The grotesque in contemporary British fiction
Rebecca Munford

he plunders with Honeybuzzard. When Honey – in the guise of a ‘spectre, a madman, a vampire’ ( SD 136) – tries to scare her (to death), Morris cries out in his sleep that he has killed his own mother ( SD 145). Carter’s fiction is filled too with surrogate mothers – from Aunt Margaret and Mrs Rundle in The Magic Toyshop and Mrs Green in Heroes and Villains to Lizzie in Nights at the Circus

in Decadent Daughters and Monstrous Mothers
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Stephanie Dennison and Lisa Shaw

In this study we have established the multiple roots of commercially successful cinema in Brazilian popular culture, such as the teatro de revista, the circus and carnival. We have identified a number of key elements that link popular Brazilian cinema through the decades since the advent of sound. Popular film in Brazil has historically been characterised by a city-countryside dialectic, to give

in Popular cinema in Brazil, 1930–2001
Peter Marks

performers were given opportunities to create shows. They were also allowed enormous artistic freedom on the content, structure and tone of these programmes. An essential element was the tradition of Oxford and Cambridge university student revues, in which all the British members of what would eventually become Monty Python’s Flying Circus performed. The most important early figures from this tradition were

in Terry Gilliam
Angela Carter’s re-writing women’s fatal scripts from Poe and Lovecraft
Marie Mulvey-Roberts

at the Circus (1987). Imaginatively re-stirring the potion of myth, fairy tale and horror, Carter’s women reject the roles of victims, puppets, pawns, of deadly sexual predators or hags, instead defining and seizing their own sexuality and agency, having the last laugh. 184 The arts of Angela Carter Horror, fairy tale, myth Angela Carter creates her radical work partly in response to the material around her: ‘I found most of my raw material in the lumber room of the Western European imagination’ (1983: 19), and her own reactions against constructions and

in The arts of Angela Carter
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Anne Wohlcke

create a style of pseudoeducational entertainment that emerged later in two popular types of nineteenth- and twentieth-century exhibitions – circus-style ‘side shows’ and informative exhibitions found in venues such as world’s fairs and expositions. By the middle of the eighteenth century, as fairs were increasingly becoming known as dangerous locations, class-specific amusements featuring some of the same entertainments of fairs – music, dancing, food, and sociability – emerged as alternative, more controlled venues for this type of entertainment, especially after

in The ‘perpetual fair’