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Anglo-American affinities and antagonisms 1854–1936

This book addresses the special relationship from the perspective of post-Second World War British governments. It argues that Britain's foreign policy challenges the dominant idea that its power has been waning and that it sees itself as the junior partner to the hegemonic US. The book also shows how at moments of international crisis successive British governments have attempted to re-play the same foreign policy role within the special relationship. It discusses the power of a profoundly antagonistic relationship between Mark Twain and Walter Scott. The book demonstrates Stowe's mis-reading and mis-representation of the Highland Clearances. It explains how Our Nig, the work of a Northern free black, also provides a working-class portrait of New England farm life, removed from the frontier that dominates accounts of American agrarian life. Telegraphy - which transformed transatlantic relations in the middle of the century- was used by spiritualists as a metaphor for the ways in which communications from the other world could be understood. The story of the Bolton Whitman Fellowship is discussed. Beside Sarah Orne Jewett's desk was a small copy of the well-known Raeburn portrait of Sir Walter Scott. Henry James and George Eliot shared a transatlantic literary network which embodied an easy flow of mutual interest and appreciation between their two milieux. In her autobiography, Gertrude Stein assigns to her lifelong companion the repeated comment that she has met three geniuses in her life: Stein, Picasso, and Alfred North Whitehead.

Open Access (free)
Towards a contemporary aesthetic
Jonathan Dollimore

misgivings within the tradition itself. Let us go back to the outbreak of another war. W. H. Auden’s poem ‘1st September 1939’ – widely invoked in relation to September 11th – offers a response to the impending Second World War reminiscent of Hesse’s to the First: Art in time of war 39 Defenceless under the night Our world in stupor lies; Yet, dotted everywhere, Ironic points of light Flash out wherever the Just Exchange their messages: May I, composed like them Of Eros and of dust, Beleaguered by the same Negation and despair, Show an affirming flame.5 Reminiscent, yes

in The new aestheticism
De-scribing Imperial identity from alien to migrant
Peter Childs

Third World fiction after the Second World War that the fictional uses of “nation” and “nationalism” are most pronounced.’ He goes on to say that, following the war, English social identity underwent a transformation based on its earlier imperial encounters. Colonialism in reverse created ‘a new sense of what it means to be “English”’ (1990: 46–7). However, Brennan does not consider what changes have been wrought on that society, what reinventions of tradition have manufactured new Englands of the mind, alongside the pronouncements of newly forged nationalist

in Across the margins
Open Access (free)
Debatable lands and passable boundaries
Aileen Christianson

relation to Robert Burns: I don’t think we need a national bard. I think folk call him that out of laziness, because they can’t be bothered to read what’s been written since. It’s a monolithic attitude, where every era seems to have enshrined one male. A vibrant culture, as we have, is in the hands of many, many people. (quoted in Dunkerley, 1996)13 Hugh MacDiarmid, the writer who bestrode the Scottish literary renaissance (in many ways defining it), had an iconographic function similar to Burns in Scottish intellectual and literary life after the Second World War. The

in Across the margins
Open Access (free)
Reading Close Combat
Barry Atkins

4 Replaying history: reading Close Combat Close Combat [inc. Close Combat (1996), Close Combat II: A Bridge Too Far (1997), Close Combat III: The Russian Front (1998), Close Combat IV: The Battle of the Bulge (1999), Close Combat: Invasion Normandy (2000)]. Real-time strategy/wargame. As the titles indicate, various episodes are set in different military campaigns during the Second World War. The game is split between the strategic management of large formations on campaign maps and the tactical control (in ‘real-time’) of small numbers of troops on battlefield

in More than a game
Barry Atkins

abstract gameplay and pixelated graphics that had eaten into my spare time over a number of weeks from any notion of a ‘real’ Second World War, a ‘real’ parachute assault on Arnhem, and a ‘real’ Adolf Hitler, winning not just the game, but the approval of even a simulation of Nazi Germany left me feeling a little flat, to say the least. I was also well aware that if I mentioned my military triumph in the English department where I am a lecturer, then I might find myself treated with the kind of suspicion usually reserved for those who appear to have mistaken the military

in More than a game
Open Access (free)
Theatre and the politics of engagement
Author: Simon Parry

This book is about science in theatre and performance. It explores how theatre and performance engage with emerging scientific themes from artificial intelligence to genetics and climate change. The book covers a wide range of performance forms from the spectacle of the Paralympics Opening Ceremony to Broadway musicals, from experimental contemporary performance and opera to educational theatre, Somali poetic drama and grime videos. It features work by pioneering companies including Gob Squad, Headlong Theatre and Theatre of Debate as well as offering fresh analysis of global blockbusters such as Wicked and Urinetown. The book offers detailed description and analysis of theatre and performance practices as well as broader commentary on the politics of theatre as public engagement with science. It documents important examples of collaborative practice with extended discussion of the Theatre of Debate process developed by Y Touring theatre company, exploration of bilingual theatre-making in East London and an account of how grime MCs and dermatologists ended up making a film together in Birmingham. The interdisciplinary approach draws on contemporary research in theatre and performance studies in combination with key ideas from science studies. It shows how theatre can offer important perspectives on what the philosopher of science Isabelle Stengers has called ‘cosmopolitics’. The book argues that theatre can flatten knowledge hierarchies and hold together different ways of knowing.

Open Access (free)
Different voices, voicing difference
Gilli Bush-Bailey

sketch of Mabel Constanduros as Grandma Buggins, 1937. ­268 Women and popular performance least, by Giles in the Express newspaper comic strip cartoon and, arguably, reaching forward to the twenty-first-century in British comedy actress Catherine Tate’s television character, Nan.6 These are not rosycheeked grandmothers of the middling sort or wide-aproned nannies of the upper-middle-class nursery. Constanduros’s ‘Grandma’ was a cussed old matriarch7 who was popular enough to be used to broadcast recipes during the food shortages of the Second World War, and on film

in Stage women, 1900–50
Open Access (free)
Chantal Chawaf ’s melancholic autofiction
Kathryn Robson

described as ‘melancholic autofiction’, melancholic autobiographical fiction. We know from interviews and publicity notices accompanying Chawaf ’s texts that she was born during a bomb explosion in Paris in  in which her parents were killed and she was extracted from her dying mother’s womb by Caesarian section.2 Since Chawaf ’s first novel Retable/La Rêverie (), which features a melancholic orphan whose parents were killed in a bomb explosion in the Second World War, her novels have repeatedly returned to fictionalised scenes of parental death.3 This chapter deals

in Women’s writing in contemporary France
Open Access (free)
Convergence, emergence and divergence
Simon Parry

experiments. Such a ‘technology of trust and assurance’ relied on the emergence of institutions such as the Royal Society founded in 1660. Many of the national institutions of science and 8 Science in performance discourse, through which relationships between science and society are conceived and practised in the twenty-first century, emerged during the Second World War and from under the shadow of the atomic bomb. During the war, research and technology development in the major combatant nations (USA, UK, Germany, Japan and the Soviet Union) was aligned and organised to

in Science in performance