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

star and society celebrity – with an uncanny onscreen resemblance to the film ‘vamp’ Pola Negri (Darewski [Miller], 1933: 178; Miller, 1962: 111–12). Miller’s intense authorial voice shifts in register between a woman concerned to assert her professional achievements and one still grieving for a love lost too soon. Her second autobiography, Champagne from My Slipper (Miller, 1962), repeats numerous anecdotes from the 1933 autobiography, but covers an additional thirty years of professional activity: it speaks to an altered market and an ageing, differently nuanced

in Stage women, 1900–50
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Aesthetics, fragmentation and community

– it always has the potential to signify more than can be summed up in a single reading or analysis – and yet it remains indissociable from, and opens questions about, the social space within which it appears. In this respect, Adorno’s formulation of art’s problematic autonomy helpfully captures the disruptive relations obtaining between art, the empirical world and historical specificity: art, he argues, ‘harbours what is empirically existing in its own substance. . . . Even the most sublime artwork takes up a determinate attitude to empirical reality by stepping

in The new aestheticism
Gender and nationalism in the early fiction of Flora Nwapa

John's G5:Users:john:Public:John's Mac: John's Jobs Stories of women narratives as speakers, decision-makers, brokers of opinion and market prices, and unofficial jurors in their communities. But Nwapa’s specific intervention as a writer goes beyond her interest in women subjects. What also distinguishes her work from that of her counterparts in the ‘Igbo school’ are the ways in which she has used choric language to dramatise and empower her representations. In this way she creates the effect of a women’s verbal presence within her text, while at the same time bringing

in Stories of women
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Defining the nation differently

interface between, on the one hand, market-driven, frequently hyper-exploitative transnational relations, and, on the other, local issues and venues, which have a tendency to become inward-looking, obsessed with cultural authenticity, resistant to change.6 Despite the globalisation of national economies and of communication technologies, political, social and cultural management in the world today remains divided along national borderlines, as Samir Amin and Neil Lazarus among others contend.7 The nation-state continues to be an important agent in the world political

in Stories of women
Father– daughter incest and the economics of exchange

children not raised by the relations they desire, it is more closely linked to the types of incest uncovered in the Gothic than a purely Freudian interpretation. The sexism underlying Freudian theory is pointed out by feminist scholar Gayle Rubin, who finds it challenging to use Freud and Lévi-Strauss to account for the incest taboo as ‘[they] write within an intellectual tradition produced by a culture in

in Gothic incest
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Behind the screen

the process of commodification mystifies social relations of production. 22 Accounts of individual artistic and literary activity contribute to the construction of the ideology of the aesthetic, effacing the status of the art object as commodity by obscuring the social relations of its production. This is the effect that is achieved, for example, by the focus in

in Making and unmaking in early modern English drama
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White male vulnerability as heterosexual fantasy

figure of the broken, rich, sad white man entails, motivates and fuels. Second, and in connection with Eva Illouz’s (2014) analysis of Fifty Shades as self-​help, I inquire after the interconnections of trauma and sexual fantasy within the novels’ broad appeal. Third, bringing these strands of discussion together, I ask how male vulnerability of the spectacular kind works in relation to social and economic privilege, the dynamics of BDSM and gendered relations of power  –​namely, how the narrative centrality of a privileged yet broken white man attunes the imagery of

in The power of vulnerability
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Henry David Thoreau

, ecstatic gospels’ and for whose ‘orphic speech’ ‘Neoplatonism and both German and French Romanticism’ afforded the best parallels.7 More than most, more than anybody perhaps – more, as Walden demonstrates, than his mentor Emerson – Thoreau knew what enthusiasm could mean. Circulating In turning to think about Thoreau and circulation I take it as read that Thoreau, in the guise of Walden at least, has circulated. He only published two books during his lifetime, A Week on the Concord and Merrimack Rivers and Walden, the former making so slight an impression on the market

in Enthusiast!
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Putting the countryside back to work

-dwellers (often retirees, but also young working people) leave dense urban centres in search of improved quality of life. These ‘neo-rurals’ seek a lower cost of living and proximity to natural green space, but they also tend to relocate to those rural communities that can offer the cultural amenities of a larger city.3 As a result, Corbigny and other small towns in France have begun to use cultural projects to compete in an emerging rural market of place. The discourse Reincorporation 61 of the creative economy – a model in which artists must create jobs, generate revenue

in Street theatre and the production of postindustrial space

politics of reproduction 121 Dorothy Roberts and other feminists of colour draw attention to how childbearing by wealthier women is encouraged and bolstered through the use of advanced technological interventions, while lacking financial resources, public policy measures, invasive and abusive medical and surgical procedures, or forced child removal prohibit the motherhood of poor women of colour (Roberts, 1996: 944). Furthermore, scholars such as Kalindi Vora (2012) and France Winddance Twine (2015) have drawn attention to how the current market in reproductive labour

in The power of vulnerability