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Speaking pictures?

Alexander’s failure to draw is illustrative of the depiction of visual representations in many early modern English plays; the unsuccessful process of image-making is on display at least as much as is the image itself, which remains notably incomplete. In early modern England, ‘display’ could mean to ‘unfold’ or ‘expose to view’, but from the late sixteenth century this term also indicated verbal revelation

in Making and unmaking in early modern English drama
Open Access (free)
Working memory

imagined’ recurs throughout the book, not as indecision, but as an inclusive disjunction that allows for the performative force of particular narratives and scenarios of change. As any theatre audience can attest, imagined circumstances sometimes produce real effects.) To produce postindustrial space is to recover from the trauma of deindustrialization, to ‘work through,’ in the sense of processing and moving on. It also entails continuing to generate surplus value in a changing economy, ‘working through’ in the way a performer soldiers on despite illness or injury. The

in Street theatre and the production of postindustrial space
Cardboard publishers in Latin America

competitive advantages and increase sales and profits’ (Dauvergne and Lister 2013: 1). The point of the documentary (and the Catador collection in which it is referenced) is to take ownership of sustainable processes, to take the discourses from the clutches of big business and recast them from the perspective of a small cooperative. Catador therefore sheds light on the different components at work in so-called ‘sustainable processes’, from the biological experience of hunger to commercial strategies of marketing. It simultaneously presents and produces some of the agencies

in Literature and sustainability
Open Access (free)
Continuous theatre for a creative city

of and improvement upon past repertoires. 138 Working memories From the launch of the Bougainville to the launch of the Great Elephant, the former shipyards in general, and the Naves in particular, emerged as Nantes’ most hotly contested symbolic space. In public meetings, interviews, pamphlets, and the press, defenders and detractors of the Machines de l’île project clashed over how best to commemorate industrial heritage while strengthening Nantes’ position in an increasingly competitive urban-global economy. City leaders have adopted what Laura Levin and Kim

in Street theatre and the production of postindustrial space
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Putting the countryside back to work

residencies in order to develop, refine, and realize a full production. If a production centre agrees to partner financially with Metalovoice, a number of company members (typically around ten) will spend two to three weeks in residence there. The production centre absorbs all costs incurred during the company’s residency, including room and board; the financially strongest (and most competitive) residencies also include a small salary for company members. Metalovoice and the town council of Corbigny hope to make La Transverse into such a centre of street theatre creation

in Street theatre and the production of postindustrial space
The writers, the artificers and the livery companies

Lord Mayor’s Show was a suitably splendid reflection of the status of the role it inaugurated. The celebration of the glory reflected on the Company by a mayoral incumbent was often informed by a competitive awareness of what the other Great Twelve were capable of doing, so competition between the Companies also played a part in their preparations. Archer notes that ‘companies tried to outbid each other in the sumptuousness of their display, and kept a jealous eye on the practice of the others’.5 When the Merchant Taylors heard that the Goldsmiths had purchased an

in Pageantry and power
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Culture, criticism, theory since 1990

does not bear rigorous scrutiny. Both periods, which harnessed various forms of cultural production to (re)define Irishness amid rapid social and economic change, were at once animated by, and ambivalent towards, modernisation. The Ryanair story might suggest that innovative, competitive Ireland is finally surfing the wave, yet much of Ireland’s economic development has been underpinned by foreign capital investment, and its skilled but relatively low-cost workforce is subject to decisions made in boardrooms thousands of miles away. An offshore subsidiary of

in Irish literature since 1990
The inflection of desire in Yvonne Vera and Tsitsi Dangarembga

peers and competitive/non-competitive ‘sisters’. Opening spaces in Yvonne Vera Like her Opening Spaces anthology, Yvonne’s Vera’s fiction has, subsequent to the retelling of the mhondoro Ambuya Nehanda story in Nehanda (1993), confronted in painfully lyrical ways strong taboos concerning women, and their healing after violation. The taboos include infanticide in Without a Name (1994), incest and sexual abuse within the family in Under the Tongue (1996), and self-induced abortion and self-immolation, a kind of African sati, in Butterfly Burning (1998).29 Moreover

in Stories of women
Open Access (free)
Fetters of an American farmgirl

-identity’.46 Yet this invention was riven by contradictions, not least because, as Timothy Sweet notes, ‘farming often required a good deal of wage labour, supplied by landless men and women’, once Northern slavery was abolished.47 Consequently, drawing on a trope characteristic of much ante-bellum writing, Crèvecoeur is driven further, representing labour not only as operating in a command-free vacuum but also as almost magically issuing from nature’s bounty. In the process his political economy draws on a pervasive American version of the backward-moving pastoral escalator

in Special relationships
Critical and historical contexts of the Lord Mayor’s Show

disparate crowd-pleasing effects such as fireworks and giants on stilts.1 The Lord Mayor proceeded by water to Westminster to take his oath of office before representatives of the sovereign, and then processed back through the City in all his finery accompanied by hundreds of others, including civic dignitaries, members of the livery companies and ‘poor men’ dressed in blue coats. The impact of the Shows has been testified to in various contemporary sources, perhaps most valuably in the eyewitness accounts that survive in surprisingly large numbers. The Shows themselves, as

in Pageantry and power