The Grimaldi Shakespeare

This essay examines the relationship between two 'fake' editions of Shakespeare that appeared in the mid-nineteenth century: the so-called 'Perkins Folio', whose annotations were forged by the scholar J.P. Collier, and the 'Grimaldi Shakspeare', a satiric attack upon the spurious authenticity and authority of the Perkins Folio.

The End of the Urban-Rural Divide?

The urban-rural divide in China was an entrenched feature of Chinese society in the Maoist era. This divide generated and continues to generate inequality as between the rural population and the urban population. In post-Deng China, legal and administrative distinctions between urban and rural have become blurred, especially with the development of rural-urban migration. Nevertheless, the urban-rural divide still exists, and the income of farmers is below that of urban residents. In this paper, it is argued that the emergence of the phenomenon of “quasi-commons” in rural China, crossing the “borders” of the urbanrural divide, may increase farmers’ income in the future and bridge this divide. The paper focuses on different forms of “quasi-commons” (the sharing and use of communal land) emerging in rural areas, including the farmland shareholding cooperatives and transforming rural land management rights into shares in joint ventures. There are divergent views held by Chinese academics and policy makers about “quasi-commons” in rural China, as well as the direction of change in the rural land system. However, most of the proposals for reform have been polarized between nationalization and privatization of rural land. Looking beyond this “boundary thinking” and drawing on the discourses of “the commons” (for example, the writings of Hardin, Heller and Ostrom), this paper analyses the theoretical models of both the nationalization and privatization schemes and their shortcomings. The present essay also analyses the prospect for, and the barriers to the emerging commons in rural China.

‘Reconsidering Dermot Bolger’s Grotesquery: Class and Sexuality in The Journey Home’

Dermot Bolger's The Journey Home (1990) narrates an often hyperbolic and overblown diatribe against a litany of social and political ills, which elicited frequently critical responses to the novel from reviewers. Yet Bolger's seminal work remains both popular and controversial because of its capacity to shock and upbraid the false morality of Irish society--a society that the author considered to be riven by class inequalities and official abuses. Bolger employs sexual abuse as a metonym for political corruption in the novel, and this essay explores The Journey Home's surreal story of youth in a working-class Dublin suburb in light of more recent revelations of Ireland's legacy of institutional sexual abuse.

Qualitative research on chronic illness:A commentary on method and conceptual development

This concluding essay discusses some crucial methodological issues raised by other papers in this issue. It also suggests directions for further conceptuel development concerning the qualitative research on chronic illness.

‘Facing the Fact: Word and Image in Muriel Rukeyser’s “Worlds Alongside”’

This essay explores an example of a little-known, yet highly significant part of Rukeyser’s early oeuvre: the magazine photo-narrative. Profoundly engaged with the documentary expression of the 1930s, Rukeyser utilised the genre’s methods, aesthetics and images to create a hybrid text reporting the realities of the Depression in lyrical, imaginative terms. The result is a conflation of what Rukeyser understood to constitute poetry, and therefore life: the document and the unverifiable fact, presented in an innovative format that is shaped by Rukeyser’s ethical poetics of connection to construct lessons in creative exchange and being in the world.

The 1863 Melbourne Shakespeare War: Barry Sullivan, Charles and Ellen Kean, and the Play of Cultural Usurpation on the Australian Stage

This essay investigates an intricate drama of cultural identity in performances of Shakespeare on the nineteenth-century Melbourne stage. It considers the rivalry between Charles and Ellen Kean and their competitor, Barry Sullivan, for the two-month period in 1863 during which their Australian tours overlapped. This Melbourne Shakespeare war was anticipated,augmented, and richly documented in Melbourne’s papers: The Age, The Argus and Melbourne Punch. This essay pursues two seams of inquiry. The first is an investigation of the discourses of cultural and aesthetic value laced through the language of reviews of their Shakespearean roles.The essay identifies how reviewers register affective engagement with the performers in these roles, and suggests how the roles themselves reflected, by accident or design, the terms of the dispute. The second is concerned with the national identity of the actors. Kean, although born in Waterford, Ireland, had held the post of Queen Victoria’s Master of the Revels and identified himself as English. Sullivan, although born in Birmingham, was of Cork parentage and was identified as Irish by both his supporters and his detractors. This essay tracks the development of the actors’ national and artistic identities established prior to Melbourne and ask how they played out on in the context of the particularities of Australian reception. It shows that, in this instance, these actors were implicated in complex debates over national authority and cultural ownership.

“It’s like a problem that doesn’t exist”: The emotional well-being of mothers caring for a child with brain injury.

Background: Although research has shown that significant burden and adverse psychological impact are associated with caring for a child with brain injury, limited knowledge exists concerning the qualitative experience and impact of this burden.
Objective: To provide an account of the experiences of mothers who care for a childhood survivor of brain injury.
Research design: Postal survey.
Methods and procedures: A self-report questionnaire was sent to a consecutive sample of mothers (n=86) of children (aged 8-28) with acquired brain injury, registered with a UK children’s brain injury charity. Five essay style questions enabled mothers to reflect on and describe at length their caring experiences, with particular emphasis placed on the perceived impact on emotional well-being.
Main outcomes and results: Thematic analysis identified five key themes: Perpetually Anxious, The Guilty Carer, The Labour of Caring, A Self-Conscious Apologist and Perpetually Grieving. Collectively, these themes highlight two core processes shaping mothers’ caring experiences and concomitant mental well-being. Firstly, the collective and enduring nature of caregiver burden over time. Second, the crucial role played by socio-cultural values in perpetuating caregiver burden.
Conclusions: Societal norms, particularly those relating to the nature and outcome of brain injury and motherhood, serve to marginalise mothers and increase feelings of isolation. Findings suggest the value of peer support programs as an effective means of providing appropriate social support.

The Making of Modern Turkish Architecture

This is the introductory essay of ARCAM’s (Architectuurcentrum Amsterdam) “Turkey Today: Contemporary Turkish Architecture in Turkey and the Netherlands” Exhibit, which took place in September-November 2004 in Amsterdam, The Netherlands. The author also consulted the curators.

Beyond the boundaries in the island of Ireland

The review essay opens with positive attributes of Ireland but then considers that the island has been subject to centuries of bitter dispute and unrest. The historical background to this is outlined, particularly the interactions between Ireland and its neighbouring island, Great Britain, which dominated Irish affairs. One policy adopted by the British was to encourage migration of Protestants into the largely Catholic island in the vain hope that this would reduce unrest. The
two islands were then united from 1801 as the United Kingdom of Great Britain and Ireland but demands from indigenous Irish Catholics for independence continued, resisted by the Protestant minority who wished to remain inside the UK. After the Great War a solution was imposed that granted most of Ireland independence but left the largely Protestant northeast corner within the UK as Northern Ireland. Reaction to and life with the Irish border are considered and the paper concludes with musings about its future.

"Angels and Demons in Cromwellian and Restoration Ireland: Heresy and the Supernatural"

This essay explores accounts of supernatural activity in Cromwellian and Restoration Ireland. Religious life in Cromwellian Ireland was driven by expectations of the unusual—including audible voices from heaven, material encounters with angels, and spiritual encounters with demons. Some conservative Protestants linked this activity to the development and dissemination of heretical belief, while some who had such encounters were confident that it was compatible with the Cromwellian religious mainstream. Crawford Gribben explores the flexibility in the discourse of the marvelous in Ireland and the ways in which the administration contributed to it, and the alignment of the supernatural with various confessional convictions and postures, as well as theological radicalism. After the Restoration, accounts of supernatural encounters were remembered as ghost stories, not as matters for theological debate, a cultural transition linked to the development of a historiography that has continued to invest the Irish Cromwellian past with Gothic tropes.

Reading Elizabeth Bishop's "Artifact of [Words]"

As Emerson noted in his essay 'The Poet' "we are not pans and barrows, not even porters of the fire and torch-bearers, but children of the fire, made of it, and only the same divinity transmuted, and at two or three removes, when we least know about it." For Emerson, the fire is poetry, an elemental force capable of transmutation, transformation and enduring relevance. Moving from Emerson, Elizabeth Bishop rises as the twentieth-century poet most aligned with the possibility of poetry and the powers of its practice, as 'At The Fishhouses' indicates in her clear referencing of Emerson:

"If you should dip your hand in,
your wrist would ache immediately,
your bones would begin to ache and your hand would burn
as if the water were a transmutation of fire
that feeds on stones and burns with a dark gray flame."

This essay will look in detail at Bishop's understanding of the possibility of poetry and how art functions as a multi-dimensional structure that is unsettled as much as it unsettles. In particular, Bishop's poem 'The Monument' will be unpicked as testament both to the practice of Bishop's art and also the role of the poet critic responding to what they uncover

'Dark Interpretations': Romanticism's Ambiguous Legacy in India

This essay argues that Romanticism’s legacy in modern Indian literature has been constructed under the shadow of its colonial heritage. Although the Romantic period witnessed the enthusiastic “discovery” of classical Indian literature by British Orientalists, Romantic imperialism (which went hand-in-hand with Romantic orientalism) played a darker role in instituting a colonial educational system in India which denigrated Indian languages and literatures. Modern Indian literature represented by popular fictional writers from R.K. Narayan to Arundhati Roy registers this complex colonial inheritance by its qualified and often ironic celebration of British Romantic literature along with its associated ideologies of freedom, truth, and beauty.

“Shall we playe the good girles”: Playing Girls, Performing Girlhood on Early Modern Stages

This essay investigates the extent to which girlhood functions as a queer category in two theatrical representations of schoolgirls in early seventeenth-century England. It focuses on the depictions of schoolgirls in the anonymous The Wit of a Woman (1604), written for the all-male stage of the professional theatre, and in Robert White’s masque, Cupid’s Banishment (1617), performed by the young Ladies of Deptford Hall before Queen Anna of Denmark, to examine the intersections of age, gender, sexuality and education in early modern concepts of girlhood. Situating these plays within wider debates about female education and the history of the contested role of performance in the schooling of early modern girls, it argues that they deploy the category of girlhood to demonstrate the subversive potential of educating girls. Yet, this essay proposes, these plays simultaneously reveal the potential agency of young women who manipulate girlhood to claim their distinct sexual, aged and gendered states as girls. It argues that early modern girlhood is a state that might be performed by young women to disrupt normative expectations of feminine behaviour and desire. Placing dramatic representations of schoolgirls and the experiences of schoolgirls on the early modern stage side by side, this essay demonstrates that the schoolroom and performance are sites in which this transgressive potential is realised.

Eve and evolution: Christian responses to the first woman question, 1860-1900

Historians of encounters between evolutionary science and Christianity have long been aware of the significance placed upon debates about the applicability of evolution to Adam. It has not been widely noticed, however, that in more conservative circles the creation of Eve was frequently thought to be a more difficult problem to solve. This essay examines how, in distinctive ways, the creation of Eve became a point of contention among three communities of conservative Christian thinkers grappling with the implications of evolutionary theory in the period 1860-1900.

The Paradox of Performative Immediacy: Law, Music, Improvisation

In a 1999 essay, J.M. Balkin and Sanford Levinson called for law to be considered as a performing art. Against or perhaps going further than Balkin and Levinson, this commentary claims that while engagement with performance practices in the arts, such as music, is of the utmost value to law and legal theory, we must not take for granted what it means to ‘‘perform’’. Uniting Jacques Derrida’s la Villette performance (with jazz legend, Ornette Coleman) with his writings on performativity in law, this commentary looks to the musical practice of improvisation to trouble the notion of performance as immediate and singular and to question taken for granted distinctions between text and performance, writing and music, composition and improvisation. The consequence of this refined understanding of the performative on legal theory and the actual practice of law is a reconceptualization of law as improvisation, that is, both singular and general, pre-existent and immediate, and a refocusing on the creativity that lies at the heart of law’s conservativism.