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Revolutionary nationalism and women’s representation in Ngugi wa Thiong’o
Elleke Boehmer

BOEHMER Makeup 3/22/05 2:55 PM Page 42 John's G5:Users:john:Public:John's Mac: John's Jobs 2 ‘The master’s dance to the master’s voice’: revolutionary nationalism and women’s representation in Ngugi wa Thiong’o A writer needs people around him. . . . For me, in writing a novel, I love to hear the voices of the people . . . I need the vibrant voices of beautiful women: their touch, their sighs, their tears, their laughter. (Ngugi wa Thiong’o, Detained)1 With these affirmative words, the Kenyan writer Ngugi wa Thiong’o points to the strong position that women

in Stories of women
Open Access (free)
Memory and identity in Marie Redonnet’s fiction of the 1990s
Aine Smith

their success is, as we are about to see, due to their capacity to make memory for and of themselves, to create a past. The artistic endeavour is a recurrent feature of Redonnet’s texts. From Doublures, with its cast of costume-makers, toy-makers, acrobats and performers, right through to Villa Rosa, whose eponymous villa is a haven for painters, dancers and musicians, the desire to invent and create is one which impels a vast array of characters. In many cases a veritable compulsion, the creative act is seen by Redonnet’s characters as a means of generating identity

in Women’s writing in contemporary France
Open Access (free)
Gender and narrative in the postcolonial nation
Author: Elleke Boehmer

Why is the nation in a post-colonial world so often seen as a motherland? This study explores the relationship between gender icons and foundational fictions of the nation in different post-colonial spaces. The author's work on the intersections between independence, nationalism and gender has already proved canonical in the field. This book combines her keynote essays on the mother figure and the post-colonial nation with new work on male autobiography, ‘daughter’ writers, the colonial body, the trauma of the post-colony and the nation in a transnational context. Focusing on Africa as well as South Asia, and sexuality as well as gender, the author offers close readings of writers ranging from Chinua Achebe, Ben Okri and Nelson Mandela to Arundhati Roy and Yvonne Vera, shaping these into a critical engagement with theorists of the nation such as Fredric Jameson and Partha Chatterjee. Moving beyond cynical deconstructions of the post-colony, the book mounts a reassessment of the post-colonial nation as a site of potential empowerment, as a ‘paradoxical refuge’ in a globalised world. It acts on its own impassioned argument that post-colonial and nation-state studies address substantively issues hitherto raised chiefly within international feminism.

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Self-entrapment in Waiting for Godot
John Robert Keller

’s use of art, both in his metaphorical dance (see below), and in his monologue, to disguise (and reveal) his depressed feelingstate. Just as Lucky fears direct confrontation with Pozzo, and must resort to forms of expressive art, so this patient’s writing explored her inner sense of despair and rage. Like Estragon, who must say ‘I am happy’, this patient felt she had to respond to her father in a way that complied with his demand for omnipotent control. Her dependency on him as a primary object, coupled with a fear of abandonment, would eradicate her sense of self at

in Samuel Beckett and the primacy of love
Open Access (free)
John Robert Keller

become. In this, the dream message of the note also becomes an oracular injunction, to ‘network’ with others in an ongoing dance of life. Reader and writer become twinned, coupled themselves, contained and containing, meeting and separating within the unity of a textual, maternal space, going on alone, yet not alone. This seems to me to be Beckett’s primal message to himself, to us – within the nest of his texts, meant to protect a nascent self, there is ultimately the sharing that is life. Keller_06_ch5+Epil 218 23/9/02, 11:03 am

in Samuel Beckett and the primacy of love
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Unearthing the truth in Patrick O’Keeffe’s The Hill Road
Vivian Valvano Lynch

can have a bit of a get-together. Celebrate the life of the dead you or they don’t know a thing about. Their poor mother. Not long after their father. Oh, to be alone! To be alone and far from all of them! Back in my flat in Dublin and dancing on a Saturday night after work, pissed and holding a girl against a wall to the pounding music, and my mickey filled with warm blood. My posters of Bob Dylan and The Smiths above my single bed.8 Minutes later Jack attempts a farewell to his parents’ world and muses that after death: There was only the clay; that’s all we all

in Irish literature since 1990
Martine Pelletier

productions have engaged with this new phenomenon and its implications for Ireland’s identity and self-image and these have, in turn, become the object of critical inquiry. In what follows, I would like to look at a number of plays that engage, directly or indirectly, with the experience of immigration as translated for the stage. I will deliberately frame this study with two plays by the most famous and acclaimed Irish playwright, Brian Friel, in order to show how under the surface of the deceptively ‘traditional’ subject matter of both Dancing at Lughnasa (1990) and The

in Irish literature since 1990
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Irish drama since 1990
Clare Wallace and Ondrej Pilný

absolutely central positions in the modern Irish dramatic canon. Friel has continued in the manner sketched by Kilroy, as a ‘highly formal artist’,13 working with themes mapped out in his earlier work of history, memory, forms of identity and exile, and verbal and nonverbal communication. Indeed, for Friel the period is bounded by two major plays, Dancing at Lughnasa (1990) and The Home Place (2005), which frame a number of new pieces – Wonderful Tennessee (1993), Molly Sweeney (1994), Give Me Your Answer, Do! (1997), Afterplay (2002), Performances (2003) – and adaptations

in Irish literature since 1990
The structures of migration in Tales from Firozsha Baag
Peter Morey

hobby with, someone to mitigate the perpetual disappointment about his son Pesi, he would lose his precious Spanish dancing-lady stamp and renounce Jehangir’s friendship, both in quick succession. And then two years later, he himself would – but that is never knowable. (TFB, 79) This sophisticated opening, blending prolepsis (anticipation) and analepsis (flashback), provides what is virtually a synopsis of the plot, and does so in such a way as to direct our attention in this tale as much to the mode of narration as to what is narrated. Additionally, the story has a

in Rohinton Mistry
Open Access (free)
From content warning to censorship
Jack Halberstam

classroom only as negative examples. How does this work? Well, many commentaries on contemporary masculinity quickly arrive at gangsta rap when  56 56 Vulnerability as a battleground they want to offer a clear example of sexist lyrics and behaviour. And yet numerous soft-​rock songs by John Mayer, Keith Urban, and others convey deeply sexist messages while strumming along to a benign rhythm. In Keith Urban’s song ‘A Little Bit of Everything’ (2013), he proposes: ‘I want a cool chick that’ll cook for me /​But’ll dance on the bar in her tan bare feet’. Okay, he wants a

in The power of vulnerability