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Contemporary Left Antisemitism
“David Hirsh is one of our bravest and most thoughtful scholar-activ- ists. In this excellent book of contemporary history and political argu- ment, he makes an unanswerable case for anti-anti-Semitism.” —Anthony Julius, Professor of Law and the Arts, UCL, and author of Trials of the Diaspora (OUP, 2010) “For more than a decade, David Hirsh has campaigned courageously against the all-too-prevalent demonisation of Israel as the one national- ism in the world that must not only be criticised but ruled altogether illegitimate. This intellectual disgrace arouses not only his indignation but his commitment to gather evidence and to reason about it with care. What he asks of his readers is an equal commitment to plumb how it has happened that, in a world full of criminality and massacre, it is obsessed with the fundamental wrongheadedness of one and only national movement: Zionism.” —Todd Gitlin, Professor of Journalism and Sociology, Columbia University, USA “David Hirsh writes as a sociologist, but much of the material in his fascinating book will be of great interest to people in other disciplines as well, including political philosophers. Having participated in quite a few of the events and debates which he recounts, Hirsh has done a commendable service by deftly highlighting an ugly vein of bigotry that disfigures some substantial portions of the political left in the UK and beyond.” —Matthew H. Kramer FBA, Professor of Legal & Political Philosophy, Cambridge University, UK “A fierce and brilliant rebuttal of one of the Left’s most pertinacious obsessions. What makes David Hirsh the perfect analyst of this disorder is his first-hand knowledge of the ideologies and dogmata that sustain it.” —Howard Jacobson, Novelist and Visiting Professor at New College of Humanities, London, UK “David Hirsh’s new book Contemporary Left Anti-Semitism is an impor- tant contribution to the literature on the longest hatred. -
Caryl Churchill's the Skriker and the Struggle Against Patriarchy Ruthellen Cunnally Iowa State University
Iowa State University Capstones, Theses and Retrospective Theses and Dissertations Dissertations 2005 This ointment disappointment: Caryl Churchill's The skriker and the struggle against patriarchy Ruthellen Cunnally Iowa State University Follow this and additional works at: https://lib.dr.iastate.edu/rtd Part of the English Language and Literature Commons Recommended Citation Cunnally, Ruthellen, "This ointment disappointment: Caryl Churchill's The skriker and the struggle against patriarchy" (2005). Retrospective Theses and Dissertations. 14453. https://lib.dr.iastate.edu/rtd/14453 This Thesis is brought to you for free and open access by the Iowa State University Capstones, Theses and Dissertations at Iowa State University Digital Repository. It has been accepted for inclusion in Retrospective Theses and Dissertations by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. "This ointment disappointment": Caryl Churchill's TheSkriker and the struggle against patriarchy by Ruthellen Cunnally A thesis submitted to the graduate faculty in partial fulfillment of the requirements for the degree of MASTER OF ARTS Major: English (Literature) Program ofStudy Committee: Susan Carlson, Major Professor Kathy Hickok Madeleine Henry Iowa State University Ames, Iowa 2005 u Graduate College Iowa State University This is to certify that the master's thesis of Ruthellen Cunnally has met the thesis requirements ofIowa State University Signatures have been redacted for privacy Ill Table ofContents Chapter 1: Introduction 1 Chapter 2: The Evolutionary Development of Churchill's Plays 3 Chapter 3: Who or Whatis The Skriker? 21 Chapter4: The Skrikerand the Failure of the Ethic of Caring 35 AppendixA: Comparison of Patriarchal and Matriarchal Systems 64 Appendix B: Matriarchal Point ofView 67 Works Cited 72 Chapter 1: Introduction "Achieving things isn't necessarily good, it matters what you achieve" (Churchill interview, Betsko and Koenig, 78). -
'We All Came Here from Somewhere'
‘We all came here from somewhere’ Diversity, identities and citizenship We all came here from somewhere: Diversity, identities and citizenship is part of a series of support materials produced by the Post-16 Citizenship Development Programme. The programme is managed by the Learning and Skills Network (LSN) and is funded by the Quality Improvement Agency (QIA). Published by the Learning and Skills Network www.LSNeducation.org.uk The Learning and Skills Network is registered with the Charity Commissioners. Comments on the pack and other enquiries should be sent to: Post-16 Citizenship Team Learning and Skills Network Regent Arcade House 19–25 Argyll Street London W1F 7LS Tel: 020 7297 9186 Fax: 020 7297 9242 Email: [email protected] ISBN 1-84572-477-1 CIMS 062482MP © Crown Copyright 2006 Printed in the UK Extracts from these materials may be reproduced for non-commercial educational or training purposes on condition that the source is acknowledged. Otherwise, no part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, chemical, optical, photocopying, recording or otherwise, without prior written permission of the copyright owner. Information such as organisation names, addresses and telephone numbers, as well as email and website addresses, has been carefully checked before printing. Because this information is subject to change, the Learning and Skills Network cannot guarantee its accuracy after publication. The views expressed in this pack are not necessarily held by the LSN or the QIA. Cover photograph: www.slashstroke.com Typesetting and artwork by Em-Square Limited: www.emsquare.co.uk ‘We all came here from somewhere’ Diversity, identities and citizenship Acknowledgements We are grateful to Benjamin Zephaniah for contributing the foreword to this pack and for permission to reproduce extracts from his work in Activities 4 and 7 (see References and Resources page 49). -
Antisemitism in the Palestine Solidarity Campaign
Beyond the Great Divide Investigates… Antisemitism in the Palestine Solidarity Campaign THE PALESTINE SOLIDARITY CAMPAIGN DELEGATING HATE pg. 2 COLLIER: PSC DOSSIER FEBRUARY 2017 www.david-collier.com INDEX Summary 4 The PSC 5 Research 6 Antisemitism 7 BRANCHES Bristol 9-12 Cardiff 13-16 Chester 17 Durham 18-19 Jersey 20-21 London - Merton 23-30 London – Richmond & Kingston 31-36 London – West London 37-38 Luton 39-42 Medway 43 Norwich 44-46 St Ives Cornwall 47 Peterborough 48-50 Reading 51-53 Southport & Formby 54-56 West Midlands 57-61 Wolves 62 CASE STUDY Case Study – London 6th Feb 2017 63-73 Statistical breakdown 74 Conclusion 75 Support the research 76 Appendix 1 PSC Partners 77 Appendix 2 Sample links 78-79 pg. 3 COLLIER: PSC DOSSIER FEBRUARY 2017 www.david-collier.com Summary Although it claims to be concerned with human rights, the Palestine Solidarity Campaign is not a movement of peace, but rather a group that seeks to push Palestinian political ambitions. As part of ongoing research into antisemitism within the UK, I have been following the Palestinian Solidarity Campaign closely for over two years. I have gone to many events, different branches and attended their AGM. Antisemitism has been present consistently. Not an antisemitism that is explained away as a slightly exaggerated description of Israel’s activity, but hard-core ‘Jewish global domination’ type. At these events, I have engaged in conversations with PSC members about their belief about global Jewish control. Analysing online activity of PSC activists at each individual branch, and then culminating in an intensive analysis of ideological drivers of activists at a mass protest, this research suggests that over 40% of all public PSC protest activity is driven by antisemitic motivation. -
A Socialist Feminist Reading of Thatcherite Women in British Feminist Plays∗
SEFAD, 2019; (42): 21-34 e-ISSN: 2458-908X DOI Number: https://doi.org/10.21497/sefad.674996 A Socialist Feminist Reading of Thatcherite Women in British Feminist Plays∗ Prof. Berna Ayça Ülker Erkan İzmir Democracy University, Faculty of Science and Letters Department of English Language and Literature [email protected] Abstract This study focuses on the representation of women in British feminist drama that challenges gender roles and gets stuck in having obsessive power as an outcome of the policy of the first British woman Prime Minister Margaret Thatcher. The study discusses excessively ambitious women who question patriarchal order and subvert gender roles to get power and finally left alone on the top like Thatcher. Marlene in Caryl Churchill’s play Top Girls, Marion in Churchill’s play Owners, Mary Traverse in Timberlake Wertenbaker’s play The Grace of Mary Traverse are discussed throughly. Marlene, Marion, and Mary are the representatives of the destructive effects of the ambition for power that characterize Thatcher’s Britain. Socialist/materialist feminism is applied to the plays both to criticize selfish Thatcherite powerful women figures and to express the lack of collaboration among women to improve their position. Keywords: Margaret Thatcher, Socialist/Materialist Feminism, British feminist Drama, Caryl Churchill, Timberlake Wertenbaker. İngiliz Feminist Oyunlarındaki Thatcher’cı Kadınların Sosyal Feminist Açısından Okunması Öz Bu çalışma, cinsiyet rollerine meydan okuyan İngiliz Feminist tiyatrosundaki kadınların temsili ve bu kadınlar İngiliz ilk kadın Başbakanı olan Margaret Thatcher politikasının sonucu olarak takıntılı bir şekilde güce sahip olurken nasıl sıkıştıkları üzerine odaklanır. Çalışma, ataerkil düzeni sorgulayan, güce ulaşmak için cinsiyet rollerini ters yüz eden ve sonunda Thatcher gibi tepede yalnız bırakılan aşırı hırslı kadınları tartışır. -
Writing Figures of Political Resistance for the British Stage Vol1.Pdf
Writing Figures of Political Resistance for the British Stage Volume One (of Two) Matthew John Midgley PhD University of York Theatre, Film and Television September 2015 Writing Figures of Resistance for the British Stage Abstract This thesis explores the process of writing figures of political resistance for the British stage prior to and during the neoliberal era (1980 to the present). The work of established political playwrights is examined in relation to the socio-political context in which it was produced, providing insights into the challenges playwrights have faced in creating characters who effectively resist the status quo. These challenges are contextualised by Britain’s imperial history and the UK’s ongoing participation in newer forms of imperialism, the pressures of neoliberalism on the arts, and widespread political disengagement. These insights inform reflexive analysis of my own playwriting. Chapter One provides an account of the changing strategies and dramaturgy of oppositional playwriting from 1956 to the present, considering the strengths of different approaches to creating figures of political resistance and my response to them. Three models of resistance are considered in Chapter Two: that of the individual, the collective, and documentary resistance. Each model provides a framework through which to analyse figures of resistance in plays and evaluate the strategies of established playwrights in negotiating creative challenges. These models are developed through subsequent chapters focussed upon the subjects tackled in my plays. Chapter Three looks at climate change and plays responding to it in reflecting upon my creative process in The Ends. Chapter Four explores resistance to the Iraq War, my own military experience and the challenge of writing autobiographically. -
Love and Information
Thursday 29 April, 7.30pm Friday 30 April, 2pm & 7.30pm Saturday 1 May, 7.30pm Love and Information By Caryl Churchill Directed by Pooja Ghai Guildhall School of Music & Drama Founded in 1880 by the City of London Corporation Chairman of the Board of Governors Vivienne Littlechild Principal Lynne Williams Vice-Principal & Director of Drama Orla O’Loughlin Vice-Principal & Director of Production Arts Andy Lavender Please visit our website at gsmd.ac.uk Photographs of the final year acting company are by: Dave Buttle (Charlie Beck, Lily Hardy, Isla Lee, Noah Marullo, Umi Myers, Felix Newman, Jidé Okunola, Guildhall School is part of Culture Mile: Sonny Pilgrem, Alyth Ross, Dan Wolff), Robert Harper culturemile.london (Kitty Hawthorne), Harry Livingstone (Nia Towle), Wolf Marloh (Zachary Nachbar-Seckel), Clare Park (Grace Cooper Milton), Phil Sharp (Genevieve Lewis, Sam Thorpe-Spinks), Michael Shelford (Levi Brown, Guildhall School is provided by the City of London Sheyi Cole, Aoife Gaston, Brandon Grace, Conor McLeod, Corporation as part of its Hassan Najib, Millie Smith, Tara Tijani, Dolly Webb), contribution to the cultural life David Stone (Justice Ritchie), Faye Thomas of London and the nation (Caitlin Ffion Griffiths), YellowBelly (Hope Kenna) Love and Information By Caryl Churchill Pooja Ghai director Rosa Maggiora designer Diane Alison-Mitchell movement director Andy Taylor composer Sam Levy lighting designer Maisie Roberts sound designer Thursday 29, Friday 30 April and Saturday 1 May 2021 Live performances broadcast from Silk Street Theatre Recording of this performance by any means whatsoever is strictly prohibited. Please note this production contains strong language and adult themes. -
Ideological Transformation in Caryl Churchill's Play, Mad Forest
Geliş Tarihi/Submission Date: 30.11.2020 Araştırma Makalesi Kabul Tarihi/Acceptance Date: 15.02.2021 Research Article DOI Number: 10.12981/mahder.833285 Motif Akademi Halkbilimi Dergisi, 2021, Cilt: 14, Sayı: 33, 362-373. IDEOLOGICAL TRANSFORMATION IN CARYL CHURCHILL’S PLAY, MAD FOREST: A PLAY FROM ROMANIA ◆ CARYL CHURCHILL’IN DELİ ORMAN: ROMANYA’DAN BİR OYUN BAŞLIKLI ESERİNDE İDEOLOJİK DÖNÜŞÜM Emrah ATASOY* ABSTRACT: Contextual social, political, and cultural developments have a substantial impact on political drama. These events have a potential to function as inspirational sources for playwrights in terms of subject matter. Dramatist Caryl Churchill draws on social and political developments, merging reality with fictional scenarios. Churchill makes use of the 1989 Romanian Revolution in her play, Mad Forest (1990), a concrete example of how Churchill incorporates the historical reality into her literary legacy. In her discussion, she also draws on Bertolt Brecht’s epic theatre and numerous Brechtian techniques such as the concept of alienation effect by means of music, songs, and dance, and surreal elements like vampire and angel, episodic structure, multiple casting, and open-endedness. Through specific references to the play and relevant secondary sources, this study will, therefore, discuss the 1989 Romanian Revolution as portrayed in the play by highlighting the epic theatre elements used in Mad Forest, and demonstrate how it does not become clear to certain characters in the play whether the revolution has really taken place or not. Through this discussion, this article will also indicate people’s liability to manifest different attitudes and approaches under the influence of suppression, as a new discourse is reconstructed after the deconstruction of the initially adopted discourse. -
Gender Politics and Deconstruction of Patriarchy in Caryl Churchill's
Gender Politics and Deconstruction of Patriarchy in Caryl Churchill’s Selected Plays Zahra Khozaei Universiti Sains Malaysia [email protected] Abstract: Issues of the equality of and difference between genders have been discussed through times by different feminists. In this regard, socialist feminism focused on class in relation to capitalism which Marxist feminism inspired them and on patriarchy and gender issues and how it is socially constructed which Radical feminism affected them. In this sense, socialist feminists tried to concentrate on gender politics by exploring the intersection between race, class, and gender. The present study intends to concentrate on the intersection between sex, race, class, gender, and capitalism in order to shape a patriarchal-capitalist ideology in which old and poor people, females, and blacks, suffer equally as a result of their loss of freedom in patriarchal-capitalist society in Churchill‟s Vinegar Tom (1976), Cloud Nine (1979), and Top Girls (1982) in order to investigate whether applying the above gender and class politics can help deconstructing the issues of patriarchy and women‟s oppression or not. In this sense, the researcher concentrates on Judith Butler‟s idea of gender and the connection between gender and performativity as well as cross-gender casting. She also deals with Butler‟s argument about the "troubling" acquisition of gender and her query of the existence of a stable feminist subject. Along with Butler the ideas of some socialist feminist scholars on theatre such as Elaine Aston, Helene Keyssar, and ElinDiamond will also be taken into consideration. Key Words: Gender politics, socialist feminism, patriarchy, capitalism, gender performativity, cross gender casting, socialist feminist theatre. -
Títol De La Tesi: Gender, Politics, Subjectivity: Reading Caryl Churchill
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Diposit Digital de la Universitat de Barcelona DEPARTAMENT DE FILOLOGIA ANGLESA I ALEMANYA UNIVERSITAT DE BARCELONA Programa de doctorat: Literatura i identitat Bienni 1992-94 per optar al títol de doctor en Filologia Anglesa Títol de la tesi: Gender, Politics, Subjectivity: Reading Caryl Churchill Nom del doctorand: Enric MONFORTE RABASCALL Nom de la directora de la tesi: Pilar ZOZAYA ARIZTIA Data de lectura: 25 de febrer de 2000 Als meus pares, Isabel Rabascall Puig i Enric Monforte Tena, amb afecte. A la memòria de Bryan Allan. CONTENTS AGRAÏMENTS ................................................. v INTRODUCTION ................................................. vii CHAPTER I. FEMINISM AND THEATRE ............................ 1 CHAPTER II. THATCHER'S ENGLAND .............................. 29 CHAPTER III. CARYL CHURCHILL: A WOMAN PLAYWRIGHT ............. 43 CHAPTER IV. ORGASMS AND ORGANISMS: CLOUD NINE AS THE DISRUPTION OF THE SYMBOLIC ORDER ......... 67 CHAPTER V. IRON MAIDENS, DOWNTRODDEN SERFS: TOP GIRLS OR HOW WOMEN BECAME COCA-COLA EXECUTIVES ............................ 137 CHAPTER VI. CRUNCHING ONE'S OWN PRICK: BLUE HEART AND THE POSTSTRUCTURALIST FEMINIST CANNIBALISM OF THE PATRIARCHAL MALE SUBJECT ..... 233 CONCLUSIONS ................................................. 291 APPENDIX ................................................. 307 BIBLIOGRAPHY ................................................. 323 iii AGRAÏMENTS A la Doctora Pilar Zozaya he d'agrair-li la seva vàlua, tant a nivell personal com professional. He tingut el plaer de comprovar-ho en ambdues vessants. A nivell personal, fruint de la seva simpatia i amabilitat. A nivell professional, com a alumne a les seves classes de teatre anglès, on vaig intentar aprendre part del seu rigor i del seu avançat sistema pedagògic. Com a col.lega a la Universitat de Barcelona he tingut l’oportunitat de continuar aprenent al seu costat. -
Love and Information by Caryl Churchill
Love and Information By Caryl Churchill BACKGROUND PACK CONTENTS 1. About The Production 2. About The Writer 3. Introduction to Love and Information 4. About The Design 5. Caryl Churchill at the Royal Court 6. Interview with the Assistant Director 7. Rehearsal Diary 8. Practical Scene Study 9. About Royal Court Education Love and Information Background Pack Royal Court Theatre These resources are intended to give teachers and students a detailed insight into the creative process behind developing and staging Love and Information. Through interviews, production notes and rehearsal techniques, they demonstrate how the writer, director and cast worked in collaboration to create the show. We aim to provide useful information and opportunities to help students discover the unique world of the play for themselves. 1. ABOUT THE PRODUCTION The Royal Court Theatre presents Love and Information By Caryl Churchill Love and Information was first performed at The Royal Court Jerwood Theatre Downstairs, Sloane Square, London on Thursday 6th September 2012. Cast Nikki Amuka-Bird Linda Bassett Scarlett Brookes Amanda Drew Susan Engel Laura Elphinstone John Heffernan Joshua James Paul Jesson Billy Matthews Justin Salinger Amit Shah Rhashan Stone Nell Williams Josh Williams Sarah Woodward Director James Macdonald Set Designer Miriam Buether Costume Designer Laura Hopkins Lighting Designer Peter Mumford Sound Designer Christopher Shutt Casting Director Amy Ball Assistant Director Caitlin MacLeod Production Manager Paul Handley Stage Manager Laura Draper Deputy Stage Manager Fran O’Donnell Asst Stage Manager George Cook Stage Mgmnt Work Placement Maia Alvarez Stratford Costume Supervisor Jackie Orton Musical Director Simon Deacon Choreographer Stuart Hopps Dialect Coach Majella Hurley Set Built by Miraculous Engineering Ltd Scenic Painter Kerry Jarrett Page 2 Love and Information Background Pack Royal Court Theatre 2. -
Feminist Perspective of Cross-Gender Power Relation in Caryl Churchill's
Feminist Perspective of Cross-Gender Power Relation in Caryl Churchill’s Top Girls Jenny M. Djundjung English Department, Faculty of Letters, Petra Christian University Surabaya-Indonesia Email: [email protected] Yap Bie Yong Alumni, English Department, Petra Christian University Abstract: Top Girls, one of Caryl Churchill’s most popular plays, describes the lives of six female characters coming from different centuries. Each of them has their own story to tell, as they have all been victimized by the patriarchal system in the century when they live and have resisted the system with different strategies. They either employ roles that are traditionally reserved for men or they adopt the archetypically feminine qualities. Despite their resistance and success, they find themselves unhappy and unsatisfied over their achievements. Thus this raises the question of the effectiveness of the feminist movement. Key words: patriarchal system, male domination, feminism, subor- dination, resistance, masculine and feminine traits, power relation, institutions, discrimination Caryl Churchill is known as one of the most creative British female playwrights. She has written many plays for radio, television, and theatre since 1960s. Her early works mostly talk about ‘thematic and formal concerns’, written in linear time and space such as The Ants-1962, Lovesick-1966, and Identical Twins-1968. However, as a playwright who ‘constantly rewrites’ herself in terms of theme and structure, her works moved into a new phase when she began to write for the Joint Stock Company-a male theatre company and Monstrous Regiment-one of the feminist theatre companies in Britain. Churchill started to write in an 160 English Department, Faculty of Letters, Petra Christian University http://puslit.petra.ac.id/journals/letters/ Djundjung, Feminist Perspective of Cross-GenderPower 161 experimental way by “playing with the conventions of form, time, narrative, structure, language and dialogue” (Ashton, 1997, p.