Gender and narrative in L’Hiver de beauté, Les Ports du silence and La Rage au bois dormant by Christiane Baroche
Gill Rye

   Textual mirrors and uncertain reflections: gender and narrative in L’Hiver de beauté, Les Ports du silence and La Rage au bois dormant by Christiane Baroche Un roman est un miroir qui se promène sur une grande route. (Stendhal) (A novel is a mirror travelling along a highway.) L’écriture est la possibilité même du changement, l’espace d’où peut s’élancer une pensée subversive, le mouvement avant-coureur d’une transformation des structures sociales et culturelles. (Cixous) (Writing is precisely the very possibility of change, the space that can serve as

in Women’s writing in contemporary France
Between “Stranger in the Village” and I Am Not Your Negro
Jovita dos Santos Pinto, Noémi Michel, Patricia Purtschert, Paola Bacchetta, and Vanessa Naef

James Baldwin’s writing, his persona, as well as his public speeches, interviews, and discussions are undergoing a renewed reception in the arts, in queer and critical race studies, and in queer of color movements. Directed by Raoul Peck, the film I Am Not Your Negro decisively contributed to the rekindled circulation of Baldwin across the Atlantic. Since 2017, screenings and commentaries on the highly acclaimed film have prompted discussions about the persistent yet variously racialized temporospatial formations of Europe and the U.S. Stemming from a roundtable that followed a screening in Zurich in February 2018, this collective essay wanders between the audio-visual and textual matter of the film and Baldwin’s essay “Stranger in the Village,” which was also adapted into a film-essay directed by Pierre Koralnik, staging Baldwin in the Swiss village of Leukerbad. Privileging Black feminist, postcolonial, and queer of color perspectives, we identify three sites of Baldwin’s transatlantic reverberations: situated knowledge, controlling images, and everyday sexual racism. In conclusion, we reflect on the implications of racialized, sexualized politics for today’s Black feminist, queer, and trans of color movements located in continental Europe—especially in Switzerland and France.

James Baldwin Review
Open Access (free)
Gender Equality and Culture in Humanitarian Action
Ricardo Fal-Dutra Santos

, N. ( 2010 ), ‘ Discourses on Gender, Patriarchy and Resolution 1325: A Textual Analysis of UN Documents ’, International Peacekeeping , 17 : 2 , 172 – 87 . Rengers , J. M. , Heyse , L. , Otten , S. and Wittek , R

Journal of Humanitarian Affairs
Corporations, Celebrities and the Construction of the Entrepreneurial Refugee Woman
Annika Bergman Rosamond and Catia Gregoratti

includes a variety of publicly available, mostly online sources, which offer rich textual and visual indications as to how humanitarian actors construct problems and justify solutions for refugee women. We sourced this material precisely because of its power to tell us ‘how to interpret the world, and shape our imagination’ ( Johnson, 2011 : 1017). In the case of IKEA, material was collected from IKEA webpages, the Jordan River Foundation’s website, as well as news and

Journal of Humanitarian Affairs
From the Global to the Local
Elena Fiddian-Qasmiyeh

the roles and rights of diverse groups of Palestinians in the Middle East. Equally, it veils the adverse effects of UNRWA’s own regional and local-level operational processes on a wide range of people, including UNRWA’s Palestinian staff members. I demonstrate this, firstly, by developing a close textual analysis of three regional-level UNRWA circulars disseminated to UNRWA staff in early 2018. Several of my interviewees in Lebanon shared the full text of these circulars with me, showing me the circulars they had received by email from

Journal of Humanitarian Affairs
Author: Heather Blatt

Reorienting the narrative of digital media studies to incorporate the medieval, Participatory reading in late-medieval England traces affinities between digital and medieval media to explore how participation defined reading practices and shaped relations between writers and readers in England’s literary culture from the late-fourteenth to early sixteenth centuries. Traditionally, print operates as the comparative touchstone of both medieval and digital media, but Participatory reading argues that the latter share more in common with each other than either does with print. Working on the borders of digital humanities, medieval cultural studies, and the history of the book, Participatory reading draws on well-known and little-studied works ranging from Chaucer to banqueting poems and wall-texts to demonstrate how medieval writers and readers engaged with practices familiar in digital media today, from crowd-sourced editing to nonlinear apprehension to mobility, temporality, and forensic materiality illuminate. Writers turned to these practices in order to both elicit and control readers’ engagement with their works in ways that would benefit the writers’ reputations along with the transmission and interpretation of their texts, while readers pursued their own agendas—which could conflict with or set aside writers’ attempts to frame readers’ work. The interactions that gather around participatory reading practices reflect concerns about authority, literacy, and media formats, before and after the introduction of print. Participatory reading is of interest to students and scholars of medieval literature, book, and reading history, in addition to those interested in the long history of media studies.

Open Access (free)
John Lydgate’s ‘Soteltes for the coronation banquet of Henry VI’
Heather Blatt

stones of the wall. 106 Participatory reading in late-medieval England ‘Abbey Walk’ thus represents reading that emerges from the representation of an overlooked category of medieval textual media that I call ‘extracodexical’. An extracodexical text is a written work that circulates outside the boundaries of the familiar codex, whether manuscript or print book. Heraldry, dishes, walls, tapestries, and embroidered or woven textiles and other objects are common surfaces for medieval extracodexical texts, which can also take the form of various charms and talismans

in Participatory reading in late-medieval England
Laura Chrisman

chapter9 21/12/04 11:23 am Page 145 9 Cultural studies in the new South Africa How we conceptualise future directions of cultural studies depends on how we have conceptualised the origins and genealogy of that discipline. In the UK, two stories of origins have emerged, the textual and the sociological. The future theorisation and analysis of South African cultural studies may follow either story. The textual version is probably dominant within British academia. It locates three texts, Richard Hoggart’s The Uses of Literacy, E.P. Thompson’s The Making of the

in Postcolonial contraventions
Open Access (free)
The Orcherd of Syon, Titus and Vespasian, and Lydgate’s Siege of Thebes
Heather Blatt

2 Nonlinear reading: the Orcherd of Syon, Titus and Vespasian, and Lydgate’s Siege of Thebes Published in 1549, The book of common prayer for the first time presented the reformed services for worship as reconceived in the wake of English separation from the Church of Rome. In considering medieval reading practices, a passage from its preface deserves particular attention. The preface targets for condemnation the consequences of what it considers flawed Catholic practices of textual organization, stating that the Bible ‘hath be so altered, broken and neglected

in Participatory reading in late-medieval England
Open Access (free)
Nicola McDonald

what I think is at stake in our appreciation and enjoyment of these inescapably popular narratives: romance’s status as a socially and aesthetically degenerate form of fiction and its capacity to generate textual pleasure. Not everyone will agree with it, but if it MUP_McDonald_01_Intro 2 11/18/03, 16:56 A polemical introduction 3 stimulates debate about popular romance it will have more than served its purpose. Dangerous recreations Medieval romance shares with other incendiary fictions a reputation for subverting social and moral order: indecent, unorthodox

in Pulp fictions of medieval England