Open Access (free)
Antinomies and enticements
Saurabh Dube

articulated with dominant representations of modernity and its spatial-temporal trajectory as a self-realizing project of progress and a self-evident embodiment of history. As worldly knowledge, then, these neat proposals, abiding oppositions, and their constitutive presumptions entered the lives of historical subjects, albeit at different times and in distinct ways. Formidably if variously disseminated as ways of

in Subjects of modernity
Jane Brooks

embedded in the hospital services of nineteenth-­century Britain, the engagement with patient hygiene meant that in the embodiment of the single, female nurse, ‘women’s purity and impurity were expressed at once morally and physically’.34 Nurses were not only agents of reform, but also potentially suspect. In order to maintain a level of propriety they were advised to be quiet about the more unpleasant aspects of their work.35 For, as Leonore Davidoff argued, those who engaged in ‘dirty work’ not only became defiled by the association with dirt, but also could themselves

in Negotiating nursing
Gill Haddow

of embodiment as a cyborg. While the organism becomes cybernetic, the cybernetic also becomes the organism. When organic hybrids are created through transplantation of non-human animal or human materials, the body and subjectivity is altered in light of the body’s modification. Here, human subjectivity is not altered through the modification, as it would be if it were a transplant from an organic source. The ambiguous form of embodiment in the case of techno-organic hybridity such as everyday cyborgs does not mean that the subjectivity is altered due to the

in Embodiment and everyday cyborgs
Open Access (free)
Kevin Harrison and Tony Boyd

enabled him to be free within his mind, whatever his legal status or the physical constraints placed upon him. In the last resort the slave has the choice between obedience and death: such a choice is a statement of freedom. Niccolo Machiavelli In the Discourses , Machiavelli argued for a republic as the embodiment of the positive value of freedom. Self-government was essentially the same thing as freedom

in Understanding political ideas and movements
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Working memory
David Calder

on that history as a source of stability even as the group shapes and reshapes it, thereby revealing how unstable it is. This interweaving of authenticity and fakery, of duration and ephemerality, of embodiment and absence, of time and space, makes up the fabric of history, memory, and, of course, theatre. Introduction: working memory 3 This is a book about how street theatre companies and their performances produce postindustrial space. It takes as its objects of analysis the institutions and events of contemporary French street theatre. At its core, this book

in Street theatre and the production of postindustrial space
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The complexities of collaborative authorship
Paul Henley

. 12 Djungguwan at Gurka’wuy is at one level merely an ethnographic film about a ceremonial event. But, as with the MacDougalls’ film, Familiar Places , discussed in Chapter 5 , at the same time it acts as the visual embodiment of a claim to the land based on ancestral presences. Moreover, the film and the ceremonial event in combination serve as a means of transmitting this claim

in Beyond observation
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Lillian Leitzel’s celebrity, agency and her performed femininity
Kate Holmes

confidence in the stability of sexual difference restored, some of the harshest opponents were even able to admit a few years later that they actually found short hair quite charming and attractive. (Søland, 2000: 40) Read against this context, Leitzel’s mixing of older and more modern expressions of femininity represents a similar negotiation of gender to that which young women were performing more widely. However, in Leitzel’s case it allowed her to incorporate strength into her embodiment of femininity. Leitzel’s choice of being pulled into place by the property men is

in Stage women, 1900–50
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A theatre maker in every sense
Brian Singleton

victory speech to cement in everyone’s mind the production’s patriotism. This imagery of an assumptive pseudo-royal couple lived on in the production for six months after the Armistice, providing for audiences a repeatedly clear image of Brayton as the very embodiment of nation. Offstage she compounded the image with highly publicised charity work as a direct contribution to the war effort. National sentiment was at its highest, and so too was the popular acclaim of the actress, whose Britannia costume, replacing the scanty clothes of old Baghdad, reminded audiences

in Stage women, 1900–50
Open Access (free)
Margaret Rutherford
John Stokes

’s review suggests that he may have known something about initial differences between author and actress ­296 Women and popular performance – and comes down firmly on the side of the actress. ‘Whether Miss Margaret Rutherford does or does not present the medium Mr Coward first imagined’, wrote Agate, ‘I neither know nor care.’ He continued, ‘nothing could be more wildly funny than this grotesque embodiment, now pursuing the humdrum of her craft as soberly as a monthly nurse, now orgulous and ecstatic in inspired flight, for which sofas and settees are made to serve as

in Stage women, 1900–50
Nico Randeraad

travel grants and subsidise international statistical publications. Quetelet was, after all, the ‘embodiment of internationality’. 183 chap8.indd 183 02/12/2009 12:16:26 States and statistics in the nineteenth century He immediately added that the international legal rules needed to accomplish this were nonexistent. What Europe could not offer statistics, it could not give one of its champions either. Engel’s realism must have been discouraging. Neither the congress nor the permanent commission was viable – that much was already clear in 1876. Was there any scope

in States and statistics in the nineteenth century