VULNERABILITY AS A
A nu Koi v une n, K atar iina K yröl ä
a nd I ngr id Ry berg
day public discussions, questions of power, agency, and
the media are debated more intensely than ever as issues of injury or
empowerment. Vulnerability has emerged as a key concept circulating in
these discussions and their academic analyses. The #MeToo campaign,
as well as its extensions like #TimesUp and versions in various languages
across the globe, has been taken up as a key example of these tendencies,
showing how the public
Francis Bacon’s New Atlantis
Ethics and politics in
the New Atlantis
God forbid that we should give out a dream of our own imagination
for a pattern of the world; rather may he graciously grant to us to
write an apocalypse or true vision of the footsteps of the Creator
imprinted on his creatures.1
The New Atlantis is a text about natural philosophy which seems
to offer connections at almost every point with moral and political philosophy. The celebrated description of Salomon’s House
raises the question of the place of the scientist in
Johanna Gondouin, Suruchi Thapar-Björkert and Ingrid Ryberg
AND THE POLITICS
OF REPRODUCTION IN TOP
OF THE LAKE: CHINA GIRL
Jo ha n na G ond ouin, Suruc hi Thapar- Björ k ert
a nd I ngr id Ry berg
op of The Lake: China Girl (Australia, Jane Campion, 2017) is the sequel
to Jane Campion and Gerard Lee’s crime series Top of the Lake from
2013, directed by Campion and Ariel Kleiman. After four years of absence,
Inspector Robin Griffin (Elisabeth Moss) returns to the Sydney Police Force
and comes to lead the murder case of an unidentified young Asian woman,
found in a suitcase at Bondi Beach
The London Lord Mayors' Shows were high-profile and lavish entertainments that were at the centre of the cultural life of the City of London in the early modern period. The Show was staged annually to celebrate the inauguration of the new Lord Mayor. The London mayoralty was not simply an entity of civic power, but always had its ritual and ceremonial dimensions. Pageantry was a feature of the day's entertainment. This book focuses on the social, cultural and economic contexts, in which the Shows were designed, presented and experienced, and explores the Shows in textual, historical, bibliographical, and archival and other contexts. It highlights the often-overlooked roles of the artificer and those other craftsmen who contributed so valuably to the day's entertainment. The Show was the concern of the Great Twelve livery companies from the ranks of one of which the Lord Mayor was elected. The book discusses, inter alia, the actors' roles, the props, music and costumes used during the Show and looks at how important emblems and imagery were to these productions. Pageant writers and artificers took advantage of the space available to them just as dramatists did on the professional stage. From 1585 onwards the Lord Mayor's Show was with increasing frequency transmitted from event to text in the form of short pamphlets produced in print runs ranging from 200 to 800 copies. The book also demonstrates the ways in which the Shows engaged with the changing socio-economic scene of London and with court and city politics.
This book focuses on the drama and poetry published since 1990. It also reflects upon related forms of creative work in this period, including film and the visual and performing arts. The book discusses some of the most topical issues which have emerged in Irish theatre since 1990. It traces the significance of the home in the poetry of Eiléan Ní Chuilleanáin and Vona Groarke. The book also focuses on the reconfigurations of identity, and the complex intersections of nationality, gender and race in contemporary Ireland. It shows how Roddy Doyle's return to the repressed gives articulation to those left behind by globalisation. The book then examines the ways in which post-Agreement Northern fiction negotiates its bitter legacies. It also examines how the activity of creating art in a time of violence brings about an anxiety regarding the artist's role, and how it calls into question the ability to re-present atrocity. The book further explores the consideration of politics and ethics in Irish drama since 1990. It talks about the swirling abundance of themes and trends in contemporary Irish fiction and autobiography. The book shows that writing in the Irish Republic and in the North has begun to accommodate an increasing diversity of voices which address themselves not only to issues preoccupying their local audiences, but also to wider geopolitical concerns.
The power of vulnerability interrogates the new language of vulnerability that has emerged in feminist, queer and anti-racist debates about the production, use and meanings of media. The book investigates the historical legacies and contemporary forms and effects of this language. In today’s media culture, traumatic first-person or group narratives have popular currency, mobilising affect from compassion to rage to gain cultural visibility and political advantage. In this context, vulnerability becomes a kind of capital, a resource or an asset that can and has been appropriated for various groups and purposes in public discourses, activism as well as cultural institutions. Thus, politics of representation translates into politics of affect, and the question about whose vulnerability counts as socially and culturally legible and acknowledged. The contributors of the book examine how vulnerability has become a battleground; how affect and vulnerability have turned into a politicised language for not only addressing but also obscuring asymmetries of power; and how media activism and state policies address so-called vulnerable groups. While the contributors investigate the political potential as well as the constraints of vulnerability for feminist, queer and antiracist criticism, they also focus on the forms of agency and participation vulnerability can offer.
Francis Bacon produced his final draft of the New Atlantis around the years 1624-1625. Standing at the threshold of early modern thought, Bacon's text operates at the interstices of its contemporary culture and does indeed signal a desire to 'illuminate all the border-regions that confine upon the circle of our present knowledge'. This book presents a collection of essays that show how the New Atlantis negotiates a variety of contexts, namely literary, philosophical, political, religious and social, in order to achieve this. The narrative begins with a standard literary device. When Bacon wrote the New Atlantis, he clearly had More's Utopia in mind as a model. For all his strictures on the use of language for rhetorical effect, Francis Bacon was thoroughly grounded in the Renaissance art of rhetoric. He consciously drew on his rhetorical skill in his writings, adapting his style as occasion demanded. The New Atlantis is a text about natural philosophy which seems to offer connections at almost every point with moral and political philosophy. The book discusses two forms of natural knowledge that Bacon takes up and develops in the New Atlantis: natural magic, and medicine. The modern project is crucially dependent on two fundamental miracles: the miracle of creation and the miracle of divine revelation. The book also analyses Bacon's representations of colonialism and Jewishness in the New Atlantis has revealed. The New Atlantis raises questions concerning the relationship between censorship and knowledge.
The concept of 'margins' denotes geographical, economic, demographic, cultural and political positioning in relation to a perceived centre. This book aims to question the term 'marginal' itself, to hear the voices talking 'across' borders and not only to or through an English centre. The first part of the book examines debates on the political and poetic choice of language, drawing attention to significant differences between the Irish and Scottish strategies. It includes a discussion of the complicated dynamic of woman and nation by Aileen Christianson, which explores the work of twentieth-century Scottish and Irish women writers. The book also explores masculinities in both English and Scottish writing from Berthold Schoene, which deploys sexual difference as a means of testing postcolonial theorizing. A different perspective on the notion of marginality is offered by addressing 'Englishness' in relation to 'migrant' writing in prose concerned with India and England after Independence. The second part of the book focuses on a wide range of new poetry to question simplified margin/centre relations. It discusses a historicising perspective on the work of cultural studies and its responses to the relationship between ethnicity and second-generation Irish musicians from Sean Campbell. The comparison of contemporary Irish and Scottish fiction which identifies similarities and differences in recent developments is also considered. In each instance the writers take on the task of examining and assessing points of connection and diversity across a particular body of work, while moving away from contrasts which focus on an English 'norm'.
Why is the nation in a post-colonial world so often seen as a motherland? This study explores the relationship between gender icons and foundational fictions of the nation in different post-colonial spaces. The author's work on the intersections between independence, nationalism and gender has already proved canonical in the field. This book combines her keynote essays on the mother figure and the post-colonial nation with new work on male autobiography, ‘daughter’ writers, the colonial body, the trauma of the post-colony and the nation in a transnational context. Focusing on Africa as well as South Asia, and sexuality as well as gender, the author offers close readings of writers ranging from Chinua Achebe, Ben Okri and Nelson Mandela to Arundhati Roy and Yvonne Vera, shaping these into a critical engagement with theorists of the nation such as Fredric Jameson and Partha Chatterjee. Moving beyond cynical deconstructions of the post-colony, the book mounts a reassessment of the post-colonial nation as a site of potential empowerment, as a ‘paradoxical refuge’ in a globalised world. It acts on its own impassioned argument that post-colonial and nation-state studies address substantively issues hitherto raised chiefly within international feminism.
Sustainability is a notoriously fraught and slippery term, and yet one that is
now well-established in mainstream usage across the contemporary world. While
sustainability is widely discussed and theorised across range of disciplines,
this book sets out to consider what innovations literary scholarship might bring
to the sustainability debate, and indeed what sustainability as a concept might
bring to literary scholarship. Putting forward a range of essays by leading and
upcoming scholars, this book takes a non-prescriptive and critically reflective
stance towards the problem of sustainability – a stance we describe as critical
sustainability. Essays in this collection accordingly undertake a range of
approaches, from applying tools of literary enquiry in order to interrogate
sustainability’s paradoxes, to investigating the ways in which literature
envisages sustainability or plays out its tropes. Overall, this book seeks to
demonstrate how sustainability’s difficulties might open up a productive
opportunity for interrogation and exploration of the kind that literary scholars
and ecocritics are ideally placed to carry out.