"All Have to Live in Me...": A Study of the Use of English Alongside Other African Languages in a Kenyan School

The purpose of this paper, which builds on an earlier paper published in this Journal (Vol. 20, No. 6), is to develop the discussion around how English has been taught, used and perceived in Kenya, using data gathered from a small second-level English-medium school in Kenya. The complex relationships between language and identity are at work in the everyday routines of both staff and pupils within such a context. The paper seeks to set out a clear methodology for gathering data which could help describe these relationships with more clarity while also subjecting the data to analysis informed by the growing body of research and theory that focuses on language policy in post-colonial and neo-colonial settings. Finally, these pieces of data are used as the basis of a further exploration of the implications for classroom practice in teaching English in this environment.

Teaching and Learning Guide for 'Modern Problems of Editing...'

Companion piece to my earlier article in Literature Conmpass: 'Modern Problems of Editing: The Two Texts of Doctor Faustus'. Provides a model for a module based on the topic of that article.

“Authentic Reproductions”: Staging the “Wild West” in Modern Irish Drama

This article examines two metatheatrical plays written by playwrights from the north of Ireland that bookend the twentieth century. The first is Ulster Literary Theatre (ULT) playwright Gerald MacNamara’s parodic, “proto-Pirandellian”4 The Mist That Does Be on the Bog (1909), which satirizes the peasant aesthetic of the “Abbey play” of the Irish Revival.5 The second is Marie Jones’s international hit, Stones in His Pockets (1999), a “play-full,” postmodern deconstruction of the commodification of Irish culture in the era of the Celtic Tiger. Although separated by exactly ninety years, the two plays can be connected through their critiques of the cultural politics of nationalism and globalization during the periods of the Irish Revival and the Celtic Tiger, respectively. Moreover, both plays are distinguished by their dramaturgical form, as the political critique of each is corporeally embodied in metatheatrical performance.

The Advent of Modern Irish Drama and the Abjection of Peasant Popular Culture: Folklore, Fairs and Faction Fighting

This paper is part of a larger project in which the author is interested in recovering popular performative traditions and practices that have been occluded by the modernist project of the Irish Revival. This erasure has been compounded by subsequent historiographical paradigms that have reinforced the revivalist narrative of theatre history and excluded indigenous forms, traditions and practices (mumming, rhymers, strawboys) along with the wider performative culture of patterns, wakes, fairs, faction fights etc. This essay subjects to scrutiny what the author sees as a disjuncture between the riotous reality of peasant popular culture and its representation in Revivalist dramas to argue that Irish Theatre Studies needs to develop alternative historiographies of performance and to methodologically engage with theoretical models extant in Performance Studies.

"The pride of noise": drums and their repercussions in early modern England

This article draws on a wide range of literary and archival sources in order to explore the cultural resonances of drumming in England during the 16th and 17th centuries. It concentrates not on instrument design and playing techniques but on the varied meanings that contemporaries attached to the ubiquitous sound of the drum. The discussion begins and ends with the unmistakable military associations of drumming. In between, consideration is also given to a range of interconnected but sometimes contradictory resonances that appear to have endowed drums with considerable cultural significance. Drums spoke, for example, of authority and they worked hard to impose order in urban streets. They also played their part in the contemporary culture of punishment, and many miscreants were subjected to the humiliation of public percussion. Beyond this, drums were particularly potent in their ability to express masculinity, and female drummers were rare and remarkable. The primal potency of the instrument also rendered it valuable to the insubordinate, and rioters—like soldiers— were regularly called together 'by the drum'. Lastly, the sound of the drum was sometimes intensely festive and could also be used to publicize special events such as dramatic performances and the display of curiosities. The repercussions of drumming were thus varied, and confusion sometimes resulted when the different possibilities became entangled.

Early modern Ireland and the history of the child

Analysis of public policy on the care of children and youth in nineteenth- and twentieth-century Ireland has generated a substantial historiography in recent years. By contrast there has been far less exploration of the state's attitude to young people in early modern Irish society. The historical dimension to the current debate on state care of minors is usually identified as beginning in the nineteenth century but the institutional custody of children originated in the sixteenth century. A central aim of this essay is to document the early modern context of public concern with children and youth in order to provide a more precise historical dimension to the contemporary debate.