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James Baldwin’s Radicalism and the Evolution of His Thought on Israel
Nadia Alahmed

This article traces the evolution of James Baldwin’s discourse on the Arab–Israeli conflict as connected to his own evolution as a Black thinker, activist, and author. It creates a nuanced trajectory of the transformation of Baldwin’s thought on the Arab–Israeli conflict and Black and Jewish relations in the U.S. This trajectory is created through the lens of Baldwin’s relationship with some of the major radical Black movements and organizations of the twentieth century: Malcolm X, Elijah Muhammad and the Nation of Islam, and, finally, the Black Power movement, especially the Black Panther Party. Using Baldwin as an example, the article displays the Arab–Israeli conflict as a terrain Black radicals used to articulate their visions of the nature of Black oppression in the U.S., strategies of resistance, the meaning of Black liberation, and articulations of Black identity. It argues that the study of Baldwin’s transformation from a supporter of the Zionist project of nation-building to an advocate of Palestinian rights and national aspirations reveals much about the ideological transformations of the larger Black liberation movement.

James Baldwin Review
Elisa Narin van Court

’) is preceded in Romans 11:15 by an equally significant statement concerning Jewish disbelief which adds another variable to the perception of the divided Jews: ‘For if the loss of them be the reconciliation of the world, what shall the receiving of them be, but life from the dead?’ That is, Jewish disbelief is part of the Divine plan (‘that blindness in part has happened in Israel, until the fullness of the Gentiles should come in’ (Romans 11:25)) – and once the world is reconciled under Christ, the conversion of the Jews, which is certain to follow, will augur the

in Pulp fictions of medieval England
Open Access (free)
An examination of Godder’s socially engaged art and participatory dance for Parkinson’s work
Sara Houston

programme was that Gillette, in particular, was eager to explore what dance could offer in terms of thinking physically about movement challenges and what dancers with Parkinson’s could offer to the inquisitive dance artist. In 2015, Gillette helped set up the collaborative German and Israeli project Störung/Hafra’ah. 3 In conjunction with Theatre Freiburg and the University of Freiburg, it brought together dance artists in Europe and Israel, postgraduate scientists from several universities in the two countries and people with Parkinson’s who danced. I was invited to

in Performing care
Heidi Hansson

nationhood have dominated the scene since the early 1990s, with examples like David Lloyd’s Anomalous States: Ireland and the Post-Colonial Moment (1992), Declan Kiberd’s Inventing Ireland: The Literature of the Modern Nation (1995), Gerry Smyth’s The Novel and the Nation: Studies in the New Irish Fiction (1997), Seamus Deane’s Strange Country: Modernity and Nationhood in Irish Writing since 1790 (1997), Joe Cleary’s Literature, Partition and the Nation State: Culture and Conflict in Ireland, Israel and Palestine (2002) and Ray Ryan’s Ireland and Scotland: Literature and

in Irish literature since 1990
Open Access (free)
Going on without in Beckett
John Pilling

1 On not being there: going on without in Beckett John Pilling ‘The essential is never to arrive anywhere, never to be anywhere . . .’ (Samuel Beckett, The Unnamable)1 Not much in Beckett is left wholly unaffected by the notion of ‘not being there’, even though he remains haunted by the self-imposed imperatives of ‘going on’. Not being there is only one of ‘the problems that beset continuance’ of which Beckett spoke in connection with the art and craft of his Israeli friend Avigdor Arikha, to which there can only ever be temporary solutions. The problems derive

in Beckett and nothing
Steve Sohmer

, that he should not see death before he had seen the Lord’s Christ’. Luke describes Simeon taking the baby Jesus in his arms and declaring, ‘mine eyes have seen thy salvation ... A light to lighten the Gentiles, and the glory of thy people Israel’ (Luke 2:22–32). This is overheard by the elderly widow and prophetess Anna, who ‘gave thanks likewise unto the Lord, and spake of him

in Reading Shakespeare’s mind
Thomas Docherty

‘partisan’ position whereby the preference for one reading ‘kills’ the other (14 May 1948 is nakba, say, thereby ‘killing’ the possibility of Israeli culture; or vice versa). Rather, I am stressing that the preference for one reading must always maintain the other reading, as unrealised potential or possibility; and that it must maintain it as ‘ghostly’, as a potential ‘guest’ in a spirit or occasion of hospitality. That hospitality is what I will now identify firmly with and as culture; or, as Derrida has it in a different context: ‘Hospitality is culture itself and not

in The new aestheticism
Nicola McDonald

, imaginatively at least, when, transformed into something edible, he is ingested. In the endless reiteration of animosity, Israeli prime minister Ariel Sharon, in a candid moment during the 2001 election campaign, provides a salutary reminder that the line between the literal and the metaphoric is almost imperceptible: ‘I am known as someone who eats Arabs for breakfast.’14 Eating people then has very little to do with conventional morality, as ‘wrong’ implies; it is rather part – a legitimated one at that – of the complex way in which we, as individuals and communities

in Pulp fictions of medieval England
Howard Caygill

6 Howard Caygill The Alexandrian aesthetic For the most central pathway in this city is more vast and more impassable than even that extensive and untrodden desert that it took Israel two generations to cross.1 Still the most unreal of the unreal cities, Alexandria remains emblematic of the modern aesthetic, with its most significant monument dispersed between the Embankment in London and Central Park, New York.2 The exile of the monumental fabric of the city to the capitals of modernity testifies to Alexandria’s condition as a figure for diaspora as well as

in The new aestheticism
The Actresses’ Franchise League from 1914 to 1928
Naomi Paxton

Garden. At the Shakespeare Hut, which had Johnston Forbes-Robertson, Gertrude Elliott and Israel Gollancz on its committee for Drama and Music, the entertainments featured a mix of plays, music, songs and recitations.32 For a night of variety entertainment on 6 January 1917, Gertrude Elliott organised a packed programme of one-act plays, including J. M. Barrie’s The Twelve Pound Look and Gertrude Jennings’s The Bathroom Door, alongside songs and recitations from AFL members Irene Vanbrugh and Decima Moore.33 The entertainment committee for the Military Hospital on

in Stage women, 1900–50