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Robert Z. Birdwell

Go Tell It on the Mountain sheds light on James Baldwin’s response to his Pentecostal religious inheritance. Baldwin writes protagonist John Grimes’s experience of “salvation” as an act of his own break with his past and the inauguration of a new vocation as authorial witness of his times. This break is premised on the experience of kairos, a form of time that was derived from Baldwin’s experience of Pentecostalism. Through John Grimes’s experience, Baldwin represents a break with the past that begins with the kairotic moment and progresses through the beginnings of self-love and the possibility of freedom enabled by this love. This essay contributes a new perspective on discussions of Baldwin’s representation of time and his relationship to Christianity.

James Baldwin Review
Open Access (free)
Self-entrapment in Waiting for Godot
John Robert Keller

something absolutely required by the self (of which Vladimir and Estragon are manifestations). This is not any sort of legitimacy, which would imply a false-self compliance, but a secure internal sense of love and recognition. The characters cannot be literally nostalgic, since this primary connection is something they have not had. The ‘infinite, postmodern world’ is understandable only as a part of the totality of the human mental universe. It is the province of those Keller_05_ch4 133 23/9/02, 11:00 am 134 Samuel Beckett and the primacy of love positions of the

in Samuel Beckett and the primacy of love
Open Access (free)
Actresses, charity work and the early twentieth-century theatre profession
Catherine Hindson

store, the perfume producer and the theatrical personalities raised one thousand guineas for the Middlesex Hospital Prince Francis of Teck Memorial Fund.4 The contributions made by Harrods and Luce are more tangible than those made by the actresses. Gifting of space and product can be accounted for. They were also relatively low-resource actions: as we will see later, Harrods and Luce gained a considerable amount of recognition and publicity for their involvement, but the transactional costs remained low. Tracing and accounting for the labour of the actresses who

in Stage women, 1900–50
The ambivalence of queer visibility in audio- visual archives
Dagmar Brunow

as a site of knowledge retrieval to a site of knowledge production (Foucault, 1972; Stoler, 2002). Instead of examining how sexual minorities as a priori identities are included in the archives, I suggest studying the processes of regulation according to which different lifestyles and experiences become ‘acknowledgeable’ (Schaffer, 2008; Thomas et al., 2017). Archival practices enacting recognition and regulation include the choice of metadata, the modes of selection for public screenings and online exhibition and the curation and contextualisation of online

in The power of vulnerability
Open Access (free)
Northern Irish fiction after the Troubles
Neal Alexander

fractured psychological or historical puzzle – is the first step to working through, and eventually forgetting, the long-term effects of trauma, whether at an individual or a collective level. If nothing else, the prominence of the issues of memory, remembrance and forgetting in recent Northern Irish fictions suggests a recognition of the difficulty and importance of such an undertaking in all its cultural, social and political implications. Notes 1 2 3 4 5 6 7 8 9 10 11 12 13 14 David McKittrick, Seamus Kelters, Brian Feeney, Chris Thornton and David McVea, Lost

in Irish literature since 1990
Open Access (free)
Debatable lands and passable boundaries
Aileen Christianson

, female writers in exile – cut off from the authenticity of ‘folk’ roots by their class, their gender and their exile. But for those of us brought up as women in Scotland, O Caledonia contains an authenticity of response to the condition of Scottish womanness that Kelman cannot offer.8 Within Scotland’s boundaries there are regional communities demanding a loyalty and recognition as strong as a nationalist commitment with the same shifting perspective of commitment between nation and region as there is between gender and nation. As Cairns Craig writes: ‘Scottish novels

in Across the margins
Open Access (free)
Ecopoetics, enjoyment and ecstatic hospitality
Kate Rigby

semantically slippery rhetoric of sustainability is deployed with a view to maintaining capitalist business-as-usual in ‘developed’ nations, while extending it to ‘developing’ ones. It is for this reason, then, that Fischer et al. call for the reconceptualisation of the three components as a hierarchy of considerations, based on the recognition that ‘[s]ocieties cannot exist without a functioning life-support system, and economics can only flourish within a functioning social system with effective institutions and governance structures’ (2007: 622). In other words, there is

in Literature and sustainability
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.

Steve Sohmer

King reads out a report of the scale of the English victory at Agincourt, Exeter exclaims, ‘’Tis wonderful!’, that is, miraculous (4.8.114). Henry immediately declares, ‘Come, go we in procession to the village: And be it death proclaimed through our host To boast of this or take that praise from God Which is his only’ (115–18). Candlemas celebrates two acts of recognition

in Reading Shakespeare’s mind
Mark Robson

possible to read the emergence of the critique of enlightened modernity, since the fragmentation of reason that the categorial separation reveals may be seen to mirror the fragmentation of modernity itself. This establishes a line of critical thought that we might for convenience’s sake call Hegelian. From this recognition of the failure of Kant’s move in the Critique of Judgement, and its consequences for the idea of the autonomous artwork in modernity, Bernstein puts forward his notion of ‘aesthetic alienation’.22 In this alienated form, aesthetics suffers mourning for

in The new aestheticism