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Alienation, Ambivalence and Identity

Jhumpa Lahiri’s In Other Words

Mohammad Shafiqul Islam

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

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‘No More Let Life Divide…’

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

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Scott Maisano

(‘What makes a child? Tis nothing but the name’). 3. BEROWNE / RAHERE The ‘class clown’ of LLL has gained admission at the hospital by pretending to be a lunatic named Rahere, an allusion to the twelfth-century jester to King Henry I who (following a

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‘Those Twins of Learning’

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

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From In-Itself to Practico-Inert

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

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An Anti-Imperial Mythology

The Radical Vision of Howards End

Charles Campbell

, 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

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Shadowing Shakespeare

Akira Kurosawa's Kagemusha (1980) and William Shakespeare's English History Plays (c. 1591–98)

Alex Watson

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

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Nigel Rapport

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.

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Lara Kriegel

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.

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Deconstructing the Saussurean System of Signification

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