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Green Fields and Blue Roads

The Melancholy of the Girl Walker in Irish Women’s Fiction

Maureen O’Connor

the human. This is also not a space of innocence and renewal, but a reservoir of a bloody past. The road remembers and speaks, marked by a long history of masculinist violence, murmuring a warning of more to come. O’Brien shares with Ni Dhuibhne, and

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The Shadows of Knowability

Reading between Opaque Narrative and Transparent Text

Younes Saramifar

totalitarian space’. 27 Birchall accordingly suggests that ‘secrecy functions as a constitutive element of transparency, while transparency defines itself as a reaction against secrecy’. 28 Transparency is defined, for her, by its functionality as well as its

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Egypt between Two Shakespeare Quadricentennials 1964–2016

Reflective Remarks in Three Snapshots

Hazem Azmy

Shukrallah explains, however, this relative breathing space accorded to women was far from a true empowerment, in that it related to a division between the religious and the secular in the public sphere that had long existed before the 1952 revolution, only

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Matthew Zarnowiecki

modelled on the title page of the 1609 Q, with virtually the same printer’s device at the top border. Their title occupies the space in which ‘SHAKE-SPEARES | SONNETS | Neuer before Imprinted’ appears on the 1609 Q’s title page (in the middle), and the

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John Storey

book. The meaning of a text and the intentions of its author are not the same thing. The power of Utopia , and the reason it has attracted such a variety of interpretations, derives from the fact that it opens up a space for debate – a space that

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Katrin Röder and Christoph Singer

, 317, 319. 28 Karl Hardy, ‘Unsettling Hope: Contemporary Indigenous Politics, Settler Colonialism, and Utopianism’, Spaces of Utopia: An Electronic Journal , 2nd series, no. 1 (2012), 123–136, here 125, < https

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An Arabian Night with Swedish Direction

Shakespeare’s A Midsummer Night’s Dream in Egypt and Sweden, 2003

Robert Lyons

their trade along the streets. The Mechanicals were given more space in this production than their 1989 counterparts, thereby underlining and examining the lives and significance of Egypt’s urban working class. In my interviews with the company, several

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Jamie McMenamin, Lauri Hyers, Jeroen Nawijn, and Aviva Sinervo

strategy and action they clearly crave (14–15), if not from having these difficult conversations on the ground within those spaces where mainstream companies, tourists, and even local communities think that development can usefully (if problematically

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Touring the Regions

(Dis) Uniting the Kingdom on Holiday

Hazel Andrews

ethnographic fieldwork in the form of participant observation in the resorts of Palmanova and Magaluf. The first trip was in 1997, the most recent 2015. The work examines the constructions of identity through three key areas of social life: space, the body, and

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Angel in the House, Devil in the City

Explorations of Gender in Dracula and Penny Dreadful

Lauren Rocha

contained within a single body. Penny Dreadful can, then, be interpreted as a dystopian version of Dracula that represents Rob Latham and Jeff Hicks’ argument that ‘cities feature themselves as the main symbols of negative possibility, as spaces of