This article attempts a full appreciation of interdependence in Sartre's thinking about practical freedom. The result is an account that opens Sartre's thinking on practical freedom to more than just the empowerment of individuals and groups. Ultimately, this means privileging, perhaps paradoxically, a vision of practical freedom that is greater by being more limited. The trajectory for this attempt is Sartre's 1971 diagnosis of America as “full of myths,” which provokes a critical examination of a vision of freedom in independence. The attempt is then fleshed out through encounters with notions that linger at the fringes of Sartre's thought, namely, happiness, progress, equality and the possibility of everything.
The Melancholy of the Girl Walker in Irish Women’s Fiction
of what constitutes Irishness have relied significantly on myths of Irish womanhood, developed in the predominantly conservative Roman Catholic culture of the post-Independence state. This article will examine the violence, both implicit and explicit
Partisan Politics in Richard Ford's Independence Day
Richard Ford's Independence Day (1995) was the first novel to win both the Pulitzer Prize and the PEN/Faulkner Award. The novel continues the story of Frank Bascombe, begun in Ford's 1986 novel, The Sportswriter. By the time of Independence Day, Bascombe has given up sports-writing for real estate (and a sideline business of running a hot-dog stand, where he employs a Republican by the name of Karl Bemish). While significant portions of the novel involve Bascombe practising his trade, the novel's primary storyline involves his tour of various sports halls of fame with his son, Paul, over the course of the 4th of July weekend in 1988. The aim of the pilgrimage is to connect with Paul – a teenager who has run foul of the law and his stepfather, Charley O'Dell, who has married Bascombe's ex-wife, Ann – but it allows Bascombe to digress on the merits of real estate, 'The Declaration of Independence', marriage/divorce/parenting, and, most important for this paper, the differences between liberalism and conservatism.
Nabil Lahlou's Ophelia Is Not Dead
A corpus of plays related to Shakespeare has developed within the newly established genre of drama in Morocco since its independence in 1956. Most of these dramas are part of the process of constructing Moroccan cultural/theatrical identity. The various Shakespearean manifestations are, indeed, attempts to make a theatrical space by altering or reproducing the Shakespearean myth. However, in order to conceive of Moroccan dramatic texts related to Shakespeare as cultural utterances, we must read them with and within the parameters of a series of overlapping discursive contexts. These contexts, as I hope to demonstrate, create the conditions within which these hybridized texts take on their complex cultural signifi cation.
The ability to control where and how any given space will be occupied is a coveted but elusive privilege for the heroines of Jane Austen's novels. Though blessed with an admirable blend of independence of mind, spirit and moral fortitude, they are women for whom the privilege of space is often either an intangible desire or an oppressive reality. In Persuasion, Austen deliberately creates a problem with space. She purposefully contradicts what is expected in public and private behaviour by presenting a heroine who is at first constricted by her place; who begins to expand the number of spaces she is able to occupy; and then, finally, begins to defy her place. This article explores how this use of physical and psychological space in Persuasion evolves and how Austen involves her heroine in the discourse of social change through both narrative description and a new accessibility of psychological landscape.
Commemorating Plymouth Rock in Stratford
The presence of Americans and American interests in Stratford-upon-Avon, England, stretches beyond the Shakespeare Memorial Fountain in Market Square. In the course of mapping this presence, this article reveals how the bond between America and Stratford, mostly forged by Victorian and Edwardian visitors and benefactors, rests on contradictory, ambivalent symbols. As so often happens in rites of remembrance, in which the commemorators often commemorate themselves, American presence in Stratford celebrates Shakespeare and asserts national identity at the same time. American commemoration of Shakespeare in Stratford works in two opposite directions, strengthening bonds with Shakespeare's England while simultaneously asserting self-determination and memorialising independence from the nation that gave birth to Shakespeare. While exploring these issues, this article unpacks the links between one of Stratford's iconic tourist destinations (Holy Trinity Church) and one of America's foundational myths, Plymouth Rock, which are jointly construed as sites of remembrance and symbols of origin in a late-Victorian stained glass window erected with money from American donors in Shakespeare's church. By arguing that the link between Shakespeare's Stratford and the Pilgrim's Rock is possible through the erasure of historical evidence, this article shows how communities remember and how communities choose to forget.
Keïta Fodéba and the Imagining of National Culture in Guinea
Andrew W. M. Smith
Here, the experience of World War II and the tragedy of the Thiaroye massacre, as described in the poem, fade against the timeless rhythm of village life and the seasons, echoing the coming of another dawn. Yet, after independence, the addition of a new
Contrasting Representations of Irish and Zionist Nationalism in British Political Discourse (1917–1922)
Britain’s tutelage, took up arms against their former ally to achieve their “independence” and create their own state by force. As a focal point for competing nationalisms, the example of Palestine revealed the glaring inadequacy of British imperial rule
A Critique of Political Decolonisation in Ghana
reflections on the political dimensions of decolonisation assume the concept's self-evidential accomplishment. In this self-evidentiality, political independence (the transfer of colonial administrative control) is routinely signified as an anchoring point
Hamish Fulton’s Cairngorm Walk-Texts
draw inspiration more from mountaineers and climbers than from other artists. This is not to say that Fulton’s work is apolitical. As Victoria Pomery and Jonathan Watkins write, ‘[calls] for political independence, for Tibet, and previously on behalf of