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The imperial metropolis of Heart of Darkness
Laura Chrisman

imperialism.18 This can be further fed by developments in materialist cultural studies and cultural geography which take ‘the every day life of modernity’ as their focus, and include the work of Michel de Certeau, David Harvey, Henri Lefebvre, and Edward Soja. By looking in more detail at the ways this text engages issues of reification, bureaucracy and corporatism, we can better situate the metropole itself as Conrad’s ‘Heart of Darkness’. Notes 1 Aimé Césaire, ‘Discourse on Colonialism’, in Patrick Williams and Laura Chrisman (eds.), Colonial Discourse and Post

in Postcolonial contraventions
Remediating theatre through radio
Pim Verhulst

: Edinburgh University Press . Kattenbelt , Chiel ( 2008 ), ‘ Intermediality in Theatre and Performance: Definitions, Perceptions and Media Relationships ’, Cultural Studies Journal of Universitat Jaume , 6 : 1 , pp. 19–29 . Kittler , Friedrich A. ( 1999 ), Gramophone, Film, Typewriter , trans. Geoffrey Winthrop-Young and Michael Wutz, Stanford : Stanford University Press

in Beckett and media
Nicholas Johnson

( 2009 ), ‘ Different Music: Karmitz and Beckett's Film Adaptation of Comédie ’, Journal of Beckett Studies , 18 : 1–2 (September), pp. 10–31 . Jaleshgari , Ramin P. ( 1996 ), ‘ Simultaneously and Continuously, Beckett Joins 21st Century ’, New York Times (25 February). Jenkins , Henry ( 2004 ), ‘ The Cultural Logic of Media Convergence ’, International Journal of Cultural

in Beckett and media
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Fixing the past in English war films
Fred Inglis

, p. 43. 4 Edward Thompson, The Heavy Dancers (Merlin Press, 1985), p. 188. I am Professor of Cultural Studies at the University of Sheffield and author, most recently, of People’s Witness: The Journalist in Modern Politics

in British cinema of the 1950s
Reinventing depression among Rio de Janeiro urban dwellers
Leandro David Wenceslau
and
Francisco Ortega

: OPAS . Iossifova , D. , Doll , C.N.H. , and Gasparatos , A. ( 2018 ). Defining the urban: Why do we need definitions? In D. Iossifova, C.N.H. Doll and A. Gasparatos , Defining the urban: Interdisciplinary and professional perspectives , 1–7 . Abingdon and New York : Routledge . Jenkins , J.H. , Kleinman , A. , and Good , B. ( 1991 ). Cross-cultural studies of depression . In J. Becker and A. Kleinman (eds ), Psychosocial aspects of depression , 67–99. Hillsdale, NJ : Lawrence Erlbaum Associates . Kirmayer , L.J. , Gomez

in Urban transformations and public health in the emergent city
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Displaying the dead
Melanie Giles

and (particularly important for bog bodies) cultural studies of violence (e.g. Mays 2008 ; see also papers in Lohman and Goodnow 2006 ). Yet do we have the right to display them? Alberti et al . ( 2009 : 140) cite the Vermillion Accord (Clause 2), which states that the wishes of the dead (ancient or modern) should be respected where they can be ‘known or reasonably inferred’ – unfortunately the pressures of the contemporary planning and extraction industries often tear the dead out of the place they probably intended to lie in for perpetuity. We have little

in Bog bodies
Foregrounding the body and performance in plays by Gina Moxley, Emma Donoghue and Marina Carr
Mária Kurdi

solution for a woman’s life. By inverting the observed gender roles, Cactus acts out a kind of mimicry of masculine authority that she has seen governing Noel’s behaviour toward Ber. Mimicry is a strategy conceptualised by postcolonial, feminist and cultural studies as a means of interrogating the alterability of power relations and intervening in the hierarchical system of positions. Citing Irigaray, Marvin Carlson contends that mimicry has a disruptive power which ‘lies less in its conflict of codes, . . . than its excess and exaggeration’, and reveals its capacity to

in Irish literature since 1990
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Postcolonial women writers in a transnational frame
Elleke Boehmer

addressing the historical movements of people, are founded upon a critique of fixed origins and ethnic absolutes: in Avtar Brah’s words, diaspora ‘takes account of a homing desire, as distinct from a desire for a “homeland”’.8 As Paul Gilroy influentially argues in The Black Atlantic, cunningly shifting postcolonial and cultural studies preoccupations from ‘roots’ to ‘routes’, modern black identities were developed in motion, through the transmission of peoples and cultural influences, through encounter and dialogue, rather than by way of a competition between static entities

in Stories of women
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John Lydgate’s ‘Soteltes for the coronation banquet of Henry VI’
Heather Blatt

’ in literary and cultural studies, as well as in social sciences, from which the distinction between space and place described here has been drawn, has flourished in recent decades. Some of the major theorists and critics contributing to how we understand space and place include Henri Lefebvre, Michel de Certeau, Judith Butler, Gilles Deleuze, Michel Foucault, and others. For a general introduction, see Phil Hubbard and Rob Kitchin, eds, Key thinkers on space and place, 2nd ed. (London: Sage, 2011). In the field of medieval studies, foundational contributions

in Participatory reading in late-medieval England
The ambivalence of queer visibility in audio- visual archives
Dagmar Brunow

. (2010). ‘We’re here! We’re queer? Activist archives and archival activism’, Lambda Nordica, 15:3–​4, pp. 90–​118. Derrida, J. (1996). Archive Fever: A Freudian Impression, tr. Eric Prenowitz. Chicago: University of Chicago Press. Dewdney, A., D. Dibosa and V. Walsh (2013). Post-​Critical Museology: Theory and Practice in the Art Museum. London and New York: Routledge. Edenheim, S. (2014). ‘Lost and never found: The queer archive of feelings and its historical property’, A Journal of Feminist Cultural Studies, 24:5, pp. 36–​62. Eivergård, M. and A. Furumark (eds) (2017

in The power of vulnerability