Antony Tatlow was Professor and Head of Comparative Literature at the University of Hong Kong for many years before assuming his current position as Professor of Comparative Literature and Coordinator of the Graduate Centre for Arts Research at the University of Dublin. His previous books include The Mask of Evil: Brecht’s Response to the Poetry, Theatre, and Thought of China and Japan.
While the term ‘intercultural theatre’ as a concept points back to postcolonialism and its contradictions, The Politics of Interweaving Performance Cultures explores global developments in the performing arts that cannot adequately be explained and understood using postcolonial theory. The authors challenge the dichotomy ‘the West and the rest’ – where Western cultures are ‘universal’ and non-Western cultures are ‘particular’ – as well as ideas of national culture and cultural ownership.
This volume uses international case studies to explore the politics of globalization, looking at new paternalistic forms of exchange and the new inequalities emerging from it. These case studies are guided by the principle that processes of interweaving performance cultures are, in fact, political processes. The authors explore the inextricability of the aesthetic and the political, whereby aesthetics cannot be perceived as opposite to the political; rather, the aesthetic is the political.
Helen Gilbert’s essay ‘Let the Games Begin: Pageants, Protests, Indigeneity (1968–2010)’won the 2015 Marlis Thiersch Prize for best essay from the Australasian Drama, Theatre and Performance Studies Association.
The studies included in the volume focus on various aspects of borderland art and literature, on analyses of selected works, and on the peculiarities of cultural and literary representations. Thus, the borderland landscape, both literal and metaphorical, comes to be seen as a factor contributing to the emergence of new, distinct and identifiable themes and motifs, as well as theoretical frameworks.
The second part can be regarded as a North American miscellany, mostly devoted to the African culture, although also dealing with European heritage. In order to recognise Asian and South American influences as well, authors such as Fred Wah, Ariel Dorfman and Julia Alvarez have been included. Black literature is represented by two 19th century writers, Mary Ann Shadd and Martin R. Delany, who remind us of the fight against slavery and segregation and the path to equality. Various 20th century writers (Toni Morrison, Ernest Gaines, Harryatte Mullen, August Wilson) address the African-Americans’ quest for identity, presented by some as a journey southwards, away from the place of birth or an unsatisfactory life and in search of self-knowledge in the land of their forefathers. These journeys provide materials for different genres and tones, enabling readers to examine the aspirations and fears of a community whose contribution to the history and literature of America has stimulated continuous study.
The two parts of the book are connected by the underlying discussion of essential conflicts that have occupied “travellers” traversing imperial spaces or experiencing foreign lands as well as “travellers” who, instead of exotic adventures or romantic sojourns, want to settle in a “new” country, be accepted by a nation their ancestors did not know, or exercise rights they were denied on their native soil.
(The Complete Works of William Shakespeare by William Shakespeare, 9789380914831)
William Shakespeare, the most celebrated poet in the English language, left behind nearly a million words of text, but his biography has long been a thicket of wild supposition arranged around scant facts. With a steady hand and his trademark wit, Bill Bryson sorts through this colorful muddle to reveal the man himself. His Shakespeare is like no one else's—the beneficiary of Bryson's genial nature, his engaging skepticism, and a gift for storytelling unrivaled in our time.