Actresses, female performers, autobiography and the scripting of professional practice
Maggie B. Gale
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’
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
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
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
The Dream of the Rood and the
Ruthwell monument: Fragility, brokenness
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
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
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
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
Jayne Elisabeth Archer, Howard Thomas and Richard Marggraf Turley
’, Chaucer Review 36
Eaves, Morris, Robert N. Essick and Joseph Viscomi (eds) 1996. The William
Blake Archive. www.blakearchive.org/. Accessed 13 February 2017.
Eliot, George 2010. The Mill on the Floss. London: Vintage.
Felin Ganol Watermill 2015. www.felinganol.co.uk/. 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
(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
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