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A Review of Hilton Als’ God Made My Face: A Collective Portrait of James Baldwin
Leah Mirakhor

This essay reviews Hilton Als’ 2019 exhibition God Made My Face: A Collective Portrait of James Baldwin at the David Zwirner Gallery. The show visually displays Baldwin in two parts: “A Walker in the City” examines his biography and “Colonialism” examines “what Baldwin himself was unable to do” by displaying the work of contemporary artists and filmmakers whose works resonate with Baldwin’s critiques of masculinity, race, and American empire. Mirakhor explores how Als’ quest to restore Baldwin is part of a long and deep literary and personal conversation that Als has been having since he was in his teens, and in this instance, exploring why and how it has culminated via the visual, instead of the literary. As Mirakhor observes, to be in the exhibit is not to just observe how Als has formed and figured Baldwin, but to see how Baldwin has informed and made Als, one of our most lyrical and impassioned contemporary writers and thinkers.

James Baldwin Review
Open Access (free)
Greeks and Saracens inGuy of Warwick
Rebecca Wilcox

and their production, while M. Mills, J. Burton, P. Price, R. Dalrymple, T. Turville-Petre, S. Crane and V. B. Richmond elaborate Guy’s structure, its connections to hagiography and social MUP_McDonald_11_Chap10 217 11/18/03, 17:06 218 Rebecca Wilcox politics, and its analogues in visual art and non-romance literature.4 Yet, despite their interest in the romance, critics have almost entirely ignored one of the central themes in Guy: the hero’s domination of Eastern empires, both Christian and Saracen. This neglect has limited criticism of Guy to fairly local

in Pulp fictions of medieval England
Crossing the (English) language barrier
Willy Maley

, there are very good historical reasons for Scotland and Ireland being averse to one another, to do with Empire and Union, and I have written elsewhere on that aversion (Maley 2000a; 2000b). Here, I want to accentuate the positive. In this essay I shall explore the missing middle of the vernacular in Irish writing, drawing on Edna Longley’s perceptive remarks about Tom Paulin’s poetic project and the vexed issue of UlsterScots. I propose to take in other kinds of writing than just poetry, though the chief part of what I have to say does relate to verses. A few years

in Across the margins
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.

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British masculinities, pomophobia, and the post-nation
Berthold Schoene

postmodern? (1996: 24–5) But pomophobia does not always of necessity manifest itself in crass, catastrophically violent, fascistic reassertions of the ancient self/other binary. Its presence may be latent in a culture as, I find, it is in Britain, particularly in English culture but perhaps also, so I would like to argue, in Scottish culture. Since the collapse of the Empire, the British nation has been suffering from a severe cultural identity crisis, considerably exacerbated by the fact that it now sees its socio-economic status, cultural prestige and national identity

in Across the margins
Open Access (free)
Farah Karim-Cooper

to another. Refreshingly, this awareness is heightened throughout the chapters in this volume. MUP_Smith_Printer.indd 217 02/04/2015 16:18 218 The senses in early modern England, 1558–1660 As the editors point out in their introduction, being able to recreate the early modern sensory environment or replicate the early modern subject’s sensory experience would be impossible and in many ways misses the point of why we should historicize the senses. As David Howes suggests in Empire of the Senses: The Sensual Culture Reader, culture mediates the senses and vice

in The senses in early modern England, 1558–1660
De-scribing Imperial identity from alien to migrant
Peter Childs

discourse only as the West’s immaterial opposite. From the legacy of Huxley, Hesse and Isherwood, the British, from the Beatles to Iris Murdoch (for example, Bruno’s Dream, 1969), sought enlightenment in India just as many of their ancestors claimed to export it there. But to most British people, the sun had set on not just the Empire but the Commonwealth too. At the end of the decade, the editorial of a special sixtieth anniversary edition of The Round Table lamented that [the] fading of the vision of Empire-Commonwealth as an instrument of British world power has

in Across the margins
Open Access (free)
Simon Smith, Jackie Watson, and Amy Kenny

associated trap of linguistic identity’.17 The new availability of this canonical text in translation is significant for Anglophone cultural and literary studies. David Howes’s influential edited collection, Empire of the Senses: The Sensual Culture Reader, appeared some 20 years after the original composition in French of Serres’s seminal work. Howes can thus articulate the changed scholarly relationship since 1985 with both language and the body, resonating MUP_Smith_Printer.indd 8 02/04/2015 16:18 Introduction 9 powerfully with Serres’s aspirations in The Five

in The senses in early modern England, 1558–1660
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Where postcolonialism is neo-orientalist – the cases of Sarojini Naidu and Arundhati Roy
Elleke Boehmer

:john:Public:John's Mac: John's Job Stories of women ways in which the west has always scrutinised and objectified the other, whether the east in the case of India, or the south more generally? Aren’t there elements of this criticism that create a profound sense of déja vu? Have Indian writers not been feted and exceptionalised in this way before, at the height of Empire, and feted in very similar terms? Expanding these questions, the neo-orientalist tendency I want to underline is a critical inclination to regard as more culturally alive, interestingly authentic and intensively

in Stories of women
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Actresses, charity work and the early twentieth-century theatre profession
Catherine Hindson

commercialised craft performances also found a home in Harrods, where lace-making, embroidery and hand weaving were ‘executed by pretty Irish colleens in their national costumes’, echoing the living displays of national cultures and empire that permeated London’s exhibition culture.6 The promotion of British products provided an overarching theme for a week of commercial activities driven by spectacle, performance, publicity and financial opportunity. Harrods’ charity Salon distinguished the store within London’s up-market consumer culture by offering a space in which shopping

in Stage women, 1900–50