“Soliloquy and confession become intertwined in post-Reformation England.”
Category: History
[Essay] Elizabethan Travel Writing and The Merchant of Venice — Josh Mcloughlin
“In the same way Edward Said describes orientalism as regulating otherness by ‘making statements about it, authorizing views about it, describing it,’ Shakespeare and Coryat fix Jewish visual and linguistic difference, the one theatrically, the other through ‘observation’”.
[Interview] Nation, Ethnicity and Race in Russian Television: Professor Vera Tolz — Joseph Barker
“As Putin’s Russia continues to present a growing threat to the geo-political stability of Eastern Europe, academic research investigating the portrayal of nation, ethnicity and race in modern Russian media has become an incredibly significant and influential field.”
[Essay] Why radio is not an exhausted form — Mariana Des Forges
“Auditory storytelling deprives the brain of the passive satisfaction of ‘being shown.’”
[Essay] Enfranchisement and Equality: Feminism, Politics and Religion in the Middle East — Tim Harvey
“The main cultural obstacle for feminist movements in the Middle East is the reproduction, on a national level, of the traditional patriarchal family model, which sees men as active and women as passive members of the nation.”
[Essay] British India: Empire, Ideology & Race — Joseph Barker
“Simply by offering political and social benefits to particular classifications of race, the British were able to create competition between Indian groups where none existed prior to colonial rule.”
[Essay] Nationalism and the National Poet: Shakespeare, Lacan, and the Aphanisis of England — Josh Mcloughlin
“The history plays demonstrate Lacanian aphanisis on a national scale, disclosing the fundamental instability of all nationalisms and exposing the aporia at the heart of Englishness.”
[Essay] Subverting Authority in Marlowe Shakespeare — Josh Mcloughlin
“Faustus undermines the authority of Calvinistic predestination whilst also disturbing the Faustus legend itself, thereby sidestepping the play’s literary predestination.”
