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Actresses, female performers, autobiography and the scripting of professional practice

of a number which drove the postcard craze in the 1890s and early 1900s.20 Her stage work in her teens gave material presence to her existing celebrity status. After a series of theatre successes, Cooper went into management with Frank Curzon in 1917 and ran the ‘Believe me or not’ ­33 Playhouse Theatre until 1933, when a number of less successful shows left her unable to take any financial risks on future productions. The rest of her career – she carried on performing until her early eighties – was spent between the UK and the US in stage and screen roles

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

the nation, whereas in the UK heritage institutions do not shy away from representations of social inequality and political struggle (Axelsson and Åkerö, 2016). However, a perspective on heritage which glosses over conflicts and political struggle can lead us to believe that our democratic rights can be taken for granted. Instead, these rights are the result of intense political struggle, which is why historical exhibitions should highlight that democratic rights are not won forever, but need to be continuously defended (Eivegård and Furumark, 2017: 13). Therefore

in The power of vulnerability
Open Access (free)
The Republic and Northern Ireland since 1990

Irish writing in very distinct parts of Europe. As well as from Ireland, contributors have been drawn from the Czech Republic, France, Hungary, Poland, Sweden, the UK and USA, which in itself reflects the strong and sustained international interest in and popularity of Irish literature. The period covered by the book, 1990–2007, has witnessed significant developments within Irish culture and society, which have shaped and transformed the writing and reading of identity, sexuality, history and gender. In order to set this remarkable, transformational time into some

in Irish literature since 1990
Fragility, brokenness and failure

175 5 The Dream of the Rood and the Ruthwell monument: Fragility, brokenness and failure In this fifth and final chapter, I want to pay attention to the other side of assemblage –​that is, the way that things break up and break away. The poem (or poems) usually referred to as The Dream of the Rood is a fragile thing that has been, and in a sense asks to be, broken apart and pieced back together time and again. It is not a coherent whole, in any of its forms, but an elusive assortment –​at once breakage and assemblage –​that invites us to participate in its

in Nonhuman voices in Anglo-Saxon literature and material culture
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Ethnicity and popular music in British cultural studies

immigrants was necessarily even-handed. In the preface to The Empire Strikes Back (1982, hereafter Empire), for example, Gilroy acknowledged the relative lack of attention that the authors had paid to the South Asian ethnic group in Britain, explaining: ‘[we] have struck an inadequate balance between the two black communities. Only one of us has roots in the Indian subcontinent whereas four are of Afro-Caribbean origin. This accounts for the unevenness of our text’ (CCCS 1982: 7). Notwithstanding this particular asymmetry, though, the point that I want to make here is that

in Across the margins

governmental support. The case of Trump’s word ban also makes apparent that the language of vulnerability does not only regard a competition for attention or a politics of recognition, but also a redistribution of resources and access to healthcare (Butler, 1997c; Fraser, 1997; Fraser and Honneth, 2003). In the wake of Brexit (the UK’s decision to leave the European Union), the 2016 US presidential election resulting in Donald Trump’s election, and the rise of European populism, narratives of wounded nations, genders, and classes permeate news and other journalism. As a

in The power of vulnerability
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Geoffrey Chaucer’s Troilus and Criseyde and John Lydgate’s Troy Book

constructing authorship also implicitly constructs readership as well. Thus, even though emendation invitations predate Chaucer, his adoption of the emendation invitation signals both recognition of its influential work in constructing readership through a participatory reading practice, and promotes to other writers its utility in constructing relations among writers, texts, and readers – a promotion traceable through how Lydgate and Norton, and many other authors influenced by Chaucer, adopt the emendation invitation even as they use variations of it. That these examples

in Participatory reading in late-medieval England
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Sustainability, the arts and the watermill

’, Chaucer Review 36 (3): 270–6. Eaves, Morris, Robert N. Essick and Joseph Viscomi (eds) 1996. The William Blake Archive. Accessed 13 February 2017. Eliot, George 2010. The Mill on the Floss. London: Vintage. Felin Ganol Watermill 2015. Accessed 13 February 2017. Fitter, Chris. 2000. ‘ “The Quarrel is Between our Masters and us their Men”: Romeo and Juliet, Dearth, and the London Riots’, English Literary Renaissance 30 (2): 154–83. Fletcher, John and William Rowley 1909. The Maid in the Mill. In Francis Beaumont and John

in Literature and sustainability

(at least in the UK) BBC television’s Walking With Dinosaurs (1999) moved us a little further along. But at the end of this particular pathway is the ‘imaginary’ and not the observed ‘real’. The sophistication, effectiveness, or plausibility of the dinosaurs on screen is judged within its comparison with the subsub-genre of the computer-animated dinosaur film, whether it claims to be documentary or entertaining in effect. For all any of us know (and I stress the ‘know’) all dinosaurs hopped and bounced about the landscape like squealing schoolchildren at playtime

in More than a game
Crossing the (English) language barrier

writers like Burns, Boswell, Stevenson, and Scott, on the one hand, and Wilde, Shaw, Yeats, and Joyce, on the other? (Reizbaum 1992: 168–9) One measure of the strength of a new subject is its capacity to attract major funding. With this in mind it is worth noting that the Irish Government recently gave its largest ever grant in the humanities – £400,000 – to Trinity College Dublin to develop Irish–Scottish Studies. At the same time, the UK’s Arts and Humanities Research Board (AHRB), from a list of 145 applications, published a shortlist of twentyfive that included

in Across the margins