focuses on identity thus: The move away from the singularities of “class” or “gender” as primary conceptual and organizational categories, has resulted in an awareness of the subject positions - of race, gender, generation, institutional location
Jhumpa Lahiri’s In Other Words
Mohammad Shafiqul Islam
Victorian Metropolitan Confluence in Penny Dreadful
Sinan Akilli and Seda Öz
’, Gosling also reminds us that in the Victorian age ‘those higher classes would not dream of venturing there without protection’. 25 However, the characters in Penny Dreadful can travel between social and physical barriers as easily as they can travel
Cognitive and Affective Learning in an Inclusive Shakespearean Curriculum
Sheila T. Cavanagh and Steve Rowland
significant differences that sometimes emerge between standard undergraduate classes and their incarcerated counterparts. The authors share the active goal of reducing the gap they experience between these two modes of classroom experiences, but continue to
Freedom, Subjectivity and Progress
Kimberly S. Engels
’ which mediates the possibilities for our projects. This ontological realm includes human-made objects, language, passively received ideas, social objects or institutions, and class being. Showing the transition from in-itself in BN to practico-inert in
The Radical Vision of Howards End
, seeing his characters as all middle class and his political analysis as liberal, not radical. Lionel Trilling concludes from this statement that the class struggle in the novel is ‘within a single class, the middle class. … [T]he very poor are
Akira Kurosawa's Kagemusha (1980) and William Shakespeare's English History Plays (c. 1591–98)
In his 1980 film Kagemusha or Shadow Warrior , Japanese director Akira Kurosawa presents the sixteenth-century Takeda clan engaging a lower-class thief to act as a ‘shadow warrior’ to impersonate their recently deceased leader, Takeda Shingen
On 20 June 2006, Andrew Irving and I took a class of students to the Montreal Holocaust Museum. The students were attending Irving’s course, “Deathly Encounters: The Anthropology of Death, Consciousness, and the Body,” at Concordia University. He had arranged for a guided tour of the museum exhibit and for the class to hear the testimony of one of Montreal’s large number of Holocaust survivors.
Considerations of E. P. Thompson's The Making of the English Working Class have situated its 1963 publication within political, social, and intellectual contexts. A study of its cultural, emotional, and affective contexts remains lacking. This article locates The Making in the context of an important genre developed, on stage and on screen, at the moment of its publication: the “kitchen sink” dramas written by the so-called Angry Young Men, including Look Back in Anger (1956/1959), A Kind of Loving (1960/1962), and A Taste of Honey (1958/1961). It understands these texts as a collective commentary on loss—the loss experienced by Thompson's working class subject and by his learned readership, too—and assesses the affective dimensions of class beyond Thompson's rendition of class formation. In so doing, it follows on the work of feminist critics and cultural historians who have sought, at once, to augment and challenge the view of class formation that E. P. Thompson was able to provide. Through this engagement, it seeks to extend Thompson's interest in the contours of class formation into a domestic sphere concerned, among other things, with emotional relations, consumer practice, and reproductive politics.
Miyagi Satoshi and His Mimetic Dramaturgy in Miyagi-Noh Othello
Tomoka Tsukamoto and Ted Motohashi
played by the women. Medea was one of the most accomplished productions using the ‘two in one’ method, as Miyagi's directorial system is deeply involved with his ideological investigation of the modern power structure based on gender, racial and class
Working-Class Boyhood and the Policing of Play in Belle Époque Paris
By the end of the nineteenth century, working-class children increasingly fell under adult supervision. Working-class boys, however, retained much autonomy over their leisure time. By examining memoirs and police archives, this article shows that boys’ play often flirted with the criminal or the dangerous. When boys entered the workplace, this reputation for lawless play followed them. Drawing on accident reports, this article demonstrates that employers and republican labor inspectors blamed boys for dangerous workplace accidents by highlighting boys’ playful nature. The article concludes by showing how reformers constructed spaces for boys’ leisure in an attempt to tame and direct their play. I argue that this reckless play became one of the defining characteristics of working-class boyhood both within peer society and to external observers. Regulating boys’ play thus became a way to ensure that they matured seamlessly into worker-citizens.