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discussion of the strategies of writing about Ireland in relation to the critical ‘self’ which becomes implicated in that ‘Ireland’. I examine the role which the ‘warmer memory’ of ‘the people’ crucially undertakes in the processes of a criticism which takes to itself or asserts identity politics, and discuss the ‘organic’ necessities of Norquay_03_Ch2 32 22/3/02, 9:46 am 33 Speaking of Ireland the intellectual as they are reacted against and reconstructed in Joyce’s Stephen Dedalus. Barthes’ Michelet, my argument goes, exemplifies the fact that ‘crossing marginality
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.
, this approach simultaneously resists equating the power of vulnerability with identity politics or reducing it to a ‘politics of pain’. The pull of the neoliberal, individualistic narrative of ‘from vulnerability to resilience’ is forceful both in feminist academic discussions and contemporary public discussions and media cultures. However, in this book we want to follow up on Butler’s call for understanding vulnerability as restraint as well as responsiveness, a concept rife with paradoxes, but also potential. Furthermore, we want to stress vulnerability
), Helgeson (2012), Liljestrand (2012), Svensson (2012), and Wilson (2012). For editorial page commentary on the relevance of the series, see Franchell (2012), Ludvigsson (2012), and Kjöller (2012). For a cultural pages debate about identity politics see Edenheim (2012a; 2012b; 2013), Gardell (2012b), Hilton (2013a; 2013b), Nordenhök (2012), and Wiman (2012b), and a friendly exchange between Gardell and a critic (Gardell and Hilton, 2013). For tabloid publicity see Fårsjö (2012), Fjellborg (2012), Lindberg (2012), Lundberg (2012a), Schulman (2012), and Virtanen (2012). 2
obviously in the Runnymede Trust report. We also want, therefore, to examine the possible intersections between geopolitical markers of supposed ‘marginality’ and other boundaries and hierarchies operating in identity politics – gender, ethnicity, class and sexuality in particular. In this arena we believe that insufficient attention had been placed to the relationship between ‘Celtic spaces’ and other areas of ‘difference’, even within the context of emerging concerns around a ‘New Britishness’: As Robert Crawford notes in the afterword to his influential Devolving
’s writing, this chapter does not wish to play down the variety and hybridity of beur narratives in a quasi-colonialist drive for uniformity and categorisation. Indeed, the very recentness of the emergence of this writing makes any Beur female identity endeavour to characterise its expression of identity politics tentative. Given the diversity of the writers who are conventionally grouped under the umbrella term beur – some writers classed as beur were born in North Africa then came to France, others were born in France of, say, a French mother and Algerian father
/or feminine) writing subjects in the s as they continue to operate in the tension between the postmodern deconstruc- Introduction tion of the subject and a feminist, queer or post-colonial interest in identity politics? On both counts – the postmodern fragmentation of the subject and the demise of authorial power – female/feminine subjects were threatened even as they at last began to come to the fore in French culture. Kristeva’s term, le sujet en procès (subject in process and on trial), is rarely used to describe the late twentieth-century subject of women
Hence, the ‘Beyond the new black’ seminar reframed questions of diversity and representation in an empowering context, and it was also the occasion when the Fusion Programme was presented. The gender equality goal of the Swedish Film Institute had previously been met by suspicion and critique,10 but the loudest criticism coincided with the launch of the Fusion Programme in late 2015 (see figure 9.1). In an article in Dagens Nyheter, several persons questioned what they termed ‘identity politics’ pursued by Anna Serner, the present CEO of the Swedish Film Institute
British theatre, continuing to raise challenging questions about identity politics, gendered experience of criminal justice and modes of theatre production. During the 1980s, the availability of government funding for the arts was increasingly conditional on organisations demonstrating hierarchical management structures that reflected more traditional business models, and the collective identity of Clean Break was necessarily expanded to include artists and arts professionals who shared a commitment to the mission of the company, rather than the shared lived experience
, they are also stories in which desire functions as what Peter Brooks calls the ‘motor force’ of narrative.40 At the start of virtually every romance a desire is present, usually in a state of initial arousal, that is so intense (because thwarted or challenged) that action – some kind of forward narrative movement designed to bring about change – is demanded. Sexual desire (whether wanted, unwanted or feared) is one of the most common initiatory devices, but a desire for offspring, material wealth, a lost identity, political or religious dominion, or simply aventure