Open Access (free)
Ian Scott
Henry Thompson

4 Love Introduction I liked Heaven and Earth and Alexander for their tenderness. I dedicated both to my mother for that reason.1 With the exception of U Turn, all of my films have an aura of optimism about them. In World Trade Center it is feelings of family that help pull the people out of the hole. In W. Laura Bush is a binding force. In Wall Street love is also important. U Turn demonstrates the problem of isolation.2 In the opening scenes of Salvador (1986), Richard Boyle (James Woods) is arrested for multiple traffic offences and then bailed by his friend

in The cinema of Oliver Stone

This study is about the central place of the emotional world in Beckett's writing. Stating that Beckett is ‘primarily about love’, it makes a re-assessment of his influence and immense popularity. The book examines numerous Beckettian texts, arguing that they embody a struggle to remain in contact with a primal sense of internal goodness, one founded on early experience with the mother. Writing itself becomes an internal dialogue, in which the reader is engaged, between a ‘narrative-self’ and a mother.

Aurélie Griffin

8 Love melancholy and the senses in Mary Wroth’s works Aurélie Griffin In his Anatomy of Melancholy (1621), Robert Burton defines the effects of love on humankind: How it tickles the hearts of mortall men,    Horresco referens, — I am almost afraid to relate, amazed, and ashamed, it hath wrought such stupend and prodigious effects, such foule offences. Love indeed (I may not deny) first united Provinces, built citties, and by a perpetuall generation, makes and preserves mankind, propagates the Church; but if it is rage it is no more Love, but burning lust, a

in The senses in early modern England, 1558–1660
Interactional strategies in late-nineteenth-century Classical archaeology: the case of Adolf Furtwängler
Ulf R. Hansson

7 ‘More feared than loved’: interactional strategies in late-nineteenth-century Classical archaeology: the case of Adolf Furtwängler Ulf R. Hansson Knowledge production in archaeology and elsewhere in academia is naturally dependent on the interaction between actors who connect, cluster and collaborate on fieldwork or other projects, and exchange information or test out new discoveries and ideas with colleagues within the various institutional and informal structures of the discipline such as university departments, professional societies, museums, congresses

in Communities and knowledge production in archaeology
Joe Turner

2 Making love, making empire On 19 April 1899 a troupe of South African ‘tribal’ groups landed at Southampton docks on the South Coast of England. Later that month they were due to perform a central role in the Earl’s Court exhibition Savage South Africa. Local reports claimed that ‘among the effects were over 200 natives of South African tribes, a number of Boer families, representatives of the mounted police, and a number of animals’ (Shephard 1986: 97). Early film footage, archived by the Colonial Film Project, shows the apparent moment when the groups

in Bordering intimacy
Open Access (free)
A Review of Hilton Als’ God Made My Face: A Collective Portrait of James Baldwin
Leah Mirakhor

This essay reviews Hilton Als’ 2019 exhibition God Made My Face: A Collective Portrait of James Baldwin at the David Zwirner Gallery. The show visually displays Baldwin in two parts: “A Walker in the City” examines his biography and “Colonialism” examines “what Baldwin himself was unable to do” by displaying the work of contemporary artists and filmmakers whose works resonate with Baldwin’s critiques of masculinity, race, and American empire. Mirakhor explores how Als’ quest to restore Baldwin is part of a long and deep literary and personal conversation that Als has been having since he was in his teens, and in this instance, exploring why and how it has culminated via the visual, instead of the literary. As Mirakhor observes, to be in the exhibit is not to just observe how Als has formed and figured Baldwin, but to see how Baldwin has informed and made Als, one of our most lyrical and impassioned contemporary writers and thinkers.

James Baldwin Review
Gill Haddow

then he would breathe again. So, I really was, he was totally unaware of that because he was asleep … So that I was very keen for him to have an ICD because I thought, well at least if I’m asleep and he stops breathing or whatever then something’s going to happen to, to save him. Loved ones and significant others were fully aware of the ICD’s benefits and saw it as life insurance. In an exchange between Audrey and her husband Joseph, Audrey’s ICD was explicitly referred to as ‘life insurance’: Audrey: Yes, I just … Joseph: It’s like having an insurance

in Embodiment and everyday cyborgs
Black Queer Feminism and the Sexual Politics of Another Country
Matty Hemming

This essay explores Black queer feminist readings of the sexual politics of James Baldwin’s Another Country. Recent work at the intersection of queer of color critique and Black feminism allows us to newly appreciate Baldwin’s prescient theorization of the workings of racialized and gendered power within the erotic. Previous interpretations of Another Country have focused on what is perceived as a liberal idealization of white gay male intimacy. I argue that this approach requires a selective reading of the novel that occludes its more complex portrayal of a web of racially fraught, power-stricken, and often violent sexual relationships. When we de-prioritize white gay male eroticism and pursue analyses of a broader range of erotic scenes, a different vision of Baldwin’s sexual imaginary emerges. I argue that far from idealizing, Another Country presents sex within a racist, homophobic, and sexist world to be a messy terrain of pleasure, pain, and political urgency. An unsettling vision, to be sure, but one that, if we as readers are to seek more equitable erotic imaginaries, must be reckoned with.

James Baldwin Review
Collaborating with James Baldwin on a Screenplay of Giovanni’s Room
Michael Raeburn

The author discusses his personal relationship with James Baldwin, recounting their collaboration on a film script for an adaptation of Giovanni’s Room.

James Baldwin Review
Science fiction, singularity, and the flesh
Caroline Bassett

ontology: organic or artificial, human or machine. This alive but not-human being, who is neither he, nor she, nor feels himself to be an it, is self-consciously aware of having an uncertain claim to aliveness. Sex and gender intervenes, as it has done from Turing on to underscore the complexity of such questions as: ‘Is it alive?’ ‘Is life enough to be a person?’ ‘Is intelligence enough?’ Yod passes the Turing test – now made flesh, made sex, made love. But the issue is not centrally about simulation, a matter of passing, which is always in a sense a matter of trickery

in Anti-computing