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Notes on the art of the contemporary
Andrew Benjamin

in which realism equals political conservatism warrants a detailed analysis.5 The position contains a fundamental flaw. While it may be the case that direct causality no longer pertains such that it is not possible to argue that a series of political actions or even artistic actions will have necessary effects, it does not follow that arguments for a politicisation of art are themselves no longer possible. (Politicisation, in 210 Reflections this context, involves the affirmed retention of transformation thought in terms of an interruption of the repetition of

in The new aestheticism
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Irish drama since 1990
Clare Wallace and Ondrej Pilný

responsible for various experimental pieces such as Here Lies (Antonin Artaud) (2005), Passades (2004) or Angel/Babel (1999). Fouéré’s commitment to powerful physical performance provocatively marks out a new territory on the contemporary Irish scene. 9780719075636_4_003.qxd 52 16/2/09 9:24 AM Page 52 Drama Finally, although it has oft been the target of criticism for its conservatism, Ireland’s National Theatre has been home to much dynamic new theatre since 1990. While fostering new writers like Marina Carr and Mark O’Rowe, the Abbey has also continued to celebrate

in Irish literature since 1990
Open Access (free)
Reading Half-Life
Barry Atkins

overarching plot, both Tomb Raider and Half-Life are essentially heroic adventures apparently inviting the most basic form of identification (‘and with one mighty bound I was free’) that are as notable for their political naivete and ideological conservatism as they are for their technological achievement in presenting detailed worlds on screen. It is possible, for example, to see many of the individual episodes in Tomb Raider as providing a remarkably consistent metaphor for a kind of (British) imperialism that is, understandably, only rarely celebrated in contemporary

in More than a game
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Different voices, voicing difference
Gilli Bush-Bailey

’. (Higgins, 2015: 9, citing Reith, 1924) This was also an essentially conservative project, and to pick up Alison Light’s argument, radio was part of a ‘contradictory process of a modernizing conservatism […] central to the period [the interwar years] and to its formation, or reformation, of Englishness’ (Light, 1991: 215). Reith’s democratising vision for the BBC might also be critiqued for its patriarchal assumptions about class and gender difference, an instance of the careless masculinity that has made and continues to make histories that marginalise or simply forget

in Stage women, 1900–50
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What lovers want
Arlyn Diamond

practice married among themselves.8 However, such flexibility was never without its tensions, as the rise of the ambitious encountered the inherent conservatism of a class where rank and wealth were based on birth. Degrevant reveals the potential for conflict in a shifting social landscape. Underlying the reconciliation with which the romance ends is a deployment of the trappings of chivalry to endorse aggression and violence as the normative way to achieve a social harmony identified with the privileges and property rights of great householders, both male and female. In

in Pulp fictions of medieval England
Crossing the (English) language barrier
Willy Maley

dressed up as ‘poet’s talking’. A third was market conservatism. I found his answer – that he had seen unsuccessful efforts to render that speech into print – somewhat evasive. If you look at the couple of instances where Derry speech is invoked in Reading in the Dark it is in the kind of comiccut way that Scottish writers like James Kelman have argued against, wearing the clothes-pegs of dialogue rather than being integrated into the narrative. Accent is almost always apostrophised in contemporary Irish poetry, trapped in a speech bubble, denied the oxygen of publicity

in Across the margins
Sarah Orne Jewett, The Tory Lover, and Walter Scott, Waverley
Alison Easton

revolution leads only to anarchy and military rule).28 While some of his nineteenth-century readers might be drawn to what they thought of as Scott’s via media, finding its combination of progress and conservatism appealing, Jewett’s novel insists on the issue of ‘rights’ (paradoxically rights learnt, across the Atlantic, from Britain) and hence the unavoidable break with established authority to secure these. The novel 148 Alison Easton plays self-consciously several times with the image of the conflict simply as a family quarrel, and each time the metaphor is rethought

in Special relationships
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Corruption, community and duty in Family Matters
Peter Morey

it occur to Yezad that his Parsi purism is of a piece with the exclusionary compartmentalising of those Hindu nationalist forces he has previously despised. Mistry understands the psychological and nostalgic impulses behind social and cultural conservatism as well as any other contemporary writer. But his sympathies for the consoling qualities of religion and tradition evaporate when, as so often, they become a stick with which to beat others. For him ritual and dogma is of less consequence than social morality. In a comment that sums up the choices confronting so

in Rohinton Mistry
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Defining the nation differently
Elleke Boehmer

reserve or relative conservatism is corroborated: there is no significant disruption of conventional heterosexual identity-formation. Pipee insists all too soon on becoming the dominant partner, so repeating the power differential between Astha and her husband and precipitating the breakdown in their affair (MW 233, 234). Astha never uses the words lesbian or woman-loving of herself. She is not given to looking into her sexuality to that extent. She also avoids any allusion to adultery and finds the prospect of leaving her family to set up with Pipee unthinkable (MW 232

in Stories of women
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An introduction
John J. Joughin and Simon Malpas

critique in the academy effectively expanded at an inversely proportional rate to its ability to intervene in, let alone stem or prevent, the ravages of capital’s advance on the public sphere. So much so, that by way of consolidating the material gains it had safely accrued 18 13 14 15 16 17 18 19 20 21 22 23 The new aestheticism during Reaganism and Thatcherism, the ideological offensive of 1990s neo-conservatism, manifested during the so-called ‘culture-wars’, had very little difficulty in caricaturing and hijacking its radical ‘opponent’. In this climate claims

in The new aestheticism