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Paul Salzman

Hythlodaeus. The actual narrative of the New Atlantis simply begins: ‘We sailed from Peru, (where we had continued by the space of one whole year), for China and Japan, by the South Sea; taking with us victuals for twelve months; and had good winds from the east, though soft and weak, for five months’ space and more’ (457). Here we have the typical beginning of many a travel narrative. For example, ‘The Discovery of Guiana’, by Sir Walter Ralegh, in Richard Hakluyt’s influential collection of English voyages, opens: ‘On Thursday the 6. of February in the yere 1595. we

in Francis Bacon’s New Atlantis
James Thompson

‘sensate democracy’ in Butler’s terms. While the examples I examine here are small in scale, somehow these moments opened up something wider and therefore, they suggest something grander as potential sources for gentler, kinder forms of inter-human relations. They were glimpses of an aesthetics of care, and, maybe, hints of a more hopeful, equitable way of being together. The Grandchildren of Hiroshima In April 2015, the London Bubble Theatre was working on a new performance piece in Hiroshima, Japan called The Grandchildren of Hiroshima as part of a project to

in Performing care
Open Access (free)
Irish poetry since 1990
Jerzy Jarniewicz and John McDonagh

voices, including Paula Meehan, Sinéad Morrissey, Vona Groarke, Catriona O’Reilly, Tom French and Justin Quinn, have since emerged – the poets of the two Ulster generations have all been producing an important body of work in the period since 1990. As with Heaney and Carson, the last decade of the century was particularly fruitful for Michael Longley, who broke his long silence with a sequence of exciting new collections: Gorse Fires (1991), The Ghost Orchid (1995), The Weather in Japan, winner of the T.S. Eliot Prize (2000), and Snow Water (2004). Paul Muldoon opened

in Irish literature since 1990
Open Access (free)
The Australian and New Zealand repertoires and fortunes of North American performers Margaret Anglin, Katherine Grey and Muriel Starr
Veronica Kelly

1930 reveals scant examples of the phrase ‘emotional actor’. It was awarded to the great Italian tenor Fiorelli Giraud in I Pagliacci (1901) in Melbourne11 and to the Dutch cellist August van Biene, who performed in his own playlet The Broken Melody over four thousand times.12 As the 1920s proceed, the sole local occurrences of the phrase are found in the country press, and applied only to such film actors as Sessue Hayakawa, ‘the famous Japanese emotional actor’ (The Emotional and natural ­169 17  Katherine Grey, commercial postcard. Call of the East), Henry B

in Stage women, 1900–50
Colonialism, Jewishness and politics in Bacon’s New Atlantis
Claire Jowitt

the authenticity and credibility of his narrative. In the 1620s Europeans still did not know the scope of America. French and English colonial outposts were dotted in a piecemeal fashion along North America’s eastern coastline, and the Portuguese and Spanish in particular had established sizeable settlements in South America.13 Indeed, the occasion for the New Atlantis is its accidental discovery by Spanish tars attempting to sail from Peru to China and Japan. However, America’s Western coastline and, in particular, the continent’s interior, had only been sketchily

in Francis Bacon’s New Atlantis
Open Access (free)
White fragility and black social death
Ylva Habel

. We were natural clowns. In late October, Oivvio Polite and Joanna Rubin-​ Dranger revealed that important parts of the fierce resistance against our critique had been motivated by Wirsén’s large-​scale business interests launched in twelve countries via an Internet-​based licence company (Rubin-​Dranger, 2012b). ‘Brokiga är business’ [‘Brokiga is business’], Polite stated, adding that the product line was extra popular in Japan (2012b). Others, whose identities I am not at liberty to reveal, drew attention on social media to the fact that preceding her visit to

in The power of vulnerability
Open Access (free)
Continuous theatre for a creative city
David Calder

competition, first from Britain and Scandinavia, then from Japan and South Korea. In 1955, ACL merged with shipyards in Normandy to become the Chantiers réunis Loire-Normandie (CRLN). Just six years later, in 1961, this shipyard merged with the ACB to form the Ateliers et Chantiers 144 Working memories de Nantes (ACN). The ACN became the Société financière et industrielle des Ateliers et Chantiers de Bretagne (SFI-ACB) in 1966. Finally, SFI-ACB ceded all its shipbuilding activities to Dubigeon in 1969, and Dubigeon moved from the Chantenay location it had occupied since

in Street theatre and the production of postindustrial space
Johanna Gondouin, Suruchi Thapar-Björkert and Ingrid Ryberg

contracted a surrogate in Thailand. The surrogate gave birth to twins –​a boy and a girl –​ but the couple only brought the daughter home with them since the boy was discovered to have Down’s syndrome and a congenital heart defect (Howard, 2014). It was further revealed that the father was a convicted sex  118 118 Vulnerability and visibility offender, having been found guilty of molestation of two girls aged seven and ten. The other case was that of a twenty-​four-​year-​old Japanese businessman who fathered sixteen babies born from surrogates in Thailand in 2014, and

in The power of vulnerability
The ambivalence of queer visibility in audio- visual archives
Dagmar Brunow

Welfare in 1977, remarkably enough from its budget for birth control education. When Eva and Maria was screened in Japan at a UNESCO health conference, it was distributed alongside guidelines for teaching, which state: Homosexuals often feel that, rather than their sexual or emotional preferences being problematic, the attitudes in the surrounding world cause difficulties … The few times homosexuality is represented in media, criminality and illness are often part of the picture. We want to turn the debate to focus on homophobia (fear of homosexuals) instead. (Ryberg

in The power of vulnerability
Open Access (free)
Representations of Irish political leaders in the ‘Haughey’ plays of Carr, Barry and Breen
Anthony Roche

Finance, but in the delusions of grandeur they both share. Brendan Behan memorably defined an Anglo-Irishman as a Protestant on a horse and the iconic and much reproduced photo of Haughey, sitting on his horse outside his Kinsealy estate, shows how much he cast himself in the role of Anglo-Irish squire. In frequently having an Irish poet at his side, he clearly saw himself as a combination of an Irish chieftain and a Renaissance prince. On his foreign travels, he stood squarely beside Japanese emperors and European monarchs as equal to the best of them. In the late

in Irish literature since 1990