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Lena Steveker

statecraft Charles I endorsed in the 1630s. Central to my argument is the play's strategy of locating its ideal ruler figure, the happy Eulalia, in a pastoral space. This strategy is reminiscent of the representation of Charles I in his masques as well as in

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Julie Lumsden, Tony Dawson, Rennie Parker, Roy Marshall, and John Hartley Williams

The People of the Book JULIE LUMSDEN

Lithuanian Cat's Cradle TONY DAWSON

A Masque For Dancing The Removal of Stone House, Dartford RENNIE PARKER

Gathering On Loan ROY MARSHALL

Italian Incident PETER DE VILLE

A Festival JOHN HARTLEY WILLIAMS

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Kathryn T. Gines

Jean-Paul Sartre’s “Orphée Noir” was first published in 1948 as the preface to Leopold Senghor’s Anthologie de la nouvelle poésie nègre at malgache de langue française, a classic anthology of Negritude poetry.1 Frantz Fanon replied to Sartre with “L’expérience vécue du Noir” published in Esprit in May of 1951.2 This essay later became the fifth chapter of Fanon’s Peau noire, masques blancs, published in 1952.3 In Black Skin, White Masks, Fanon is not only confronting Sartre’s analysis of Negritude in “Black Orpheus,” he is also meeting head-on Sartre’s analysis of race as it pertains to the Negro in “Black Orpheus” and as it pertains to the Jew in Anti-Semite and Jew. Towards that end, Fanon claims that Sartre’s arguments about the Jewish experience are incompatible with the “lived-experience” of the Negro.

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The Shades of a Shadow

Crime as the Dark Projection of Authority in Early Modern England

Maurizio Ascari

to hint at the cultural rendering of witchcraft as the negative of authority, the following will focus on Macbeth (1606) and The Masque of Queens (1609), both dating from the time of King James I, whose fear of witches is notorious. There is a

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What Am I StIll Doing Here?

Travel, Travel Writing, and Old Age

Robin Jarvis

. S. Naipaul’s The Masque of Africa (2010) is the narrative of seven months’ traveling in Ghana, Nigeria, Ivory Coast, and Gabon; Naipaul was seventy-seven upon completing his journey. I shall consider first the question of motivation and then look

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Attitude or Age

Girlhood in Renaissance England

Reina Green

at Ladies Hall, Rachel Fane’s dramatic entertainments and masque, and Jane Cavendish and Elizabeth Brackley’s The Concealed Fancies (c. 1645). Higginbotham rightly concludes that “[g]irls are only absent from English Renaissance drama if we limit

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Nik Farrell Fox and Bryan Mukandi

Fanon’s steps. While this book has been cast as a philosophical ‘introduction’, Gordon illuminates Fanon’s major texts – Peau noire, masques blancs ( Black Skin, White Masks ), Le syndrome nord africain ( The North African Syndrome ), L’an V de la

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Andrew Sanders

call ‘happy’. A stress on material well-being and the proper social order also pervades the speeches of the divine creatures evoked by Prospero in his ‘masque’ in Act IV of The Tempest . ‘Juno’ sings, for example, of ‘Honour, riches, marriage

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David Nicol

recall the masque? I saw that you were placèd well. And there It was His Majesty did honour you. 45 TOMOCOMO We met no King that day. WATFORD You did, you did! King James himself did nod to you, and smiled. TOMOCOMO Was that man the King? Full of faults

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From Ebony to Ivory

‘Cosmetic’ Investments in the Body

Chiara Pussetti

), ‘ Pharmaceutical Citizenship: Antidepressant Marketing and the Promise of Demarginalization in India ’, Anthropology and Medicine 12 , no. 3 : 239 – 254 . 10.1080/13648470500291360 Fanon , F. ( 1952 ), Peau Noire, Masques Blancs ( Paris : Seuil