Diversityinlit Conference 2019
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Press Release – 30 November 2020
PRESS RELEASE – 30 NOVEMBER 2020 IMAGES CAN BE DOWNLOADED HERE BIOGRAPHIES CAN BE DOWNLOADED HERE Twitter / Facebook / Instagram / Website UNDER EMBARGO UNTIL 00.01 ON MONDAY 30 NOVEMBER ROYAL SOCIETY OF LITERATURE CELEBRATES 200TH BIRTHDAY WITH 60 APPOINTMENTS AND FIVE-YEAR FESTIVAL ● NEW INITIATIVES CHAIRED BY BERNARDINE EVARISTO AND DANIEL HAHN TO CHAMPION UNDER-REPRESENTED VOICES AND CELEBRATE THE POWER OF LITERATURE TO TRANSCEND BORDERS ● ANITA DESAI; KAZUO ISHIGURO; HILARY MANTEL; EDNA O’BRIEN; PHILIP PULLMAN AND COLIN THUBRON ARE FIRST COMPANIONS OF LITERATURE TO BE ANNOUNCED SINCE 2012 ● ANDREA LEVY AND JEAN RHYS HONOURED AS THEIR PENS JOIN THE RSL’S PERMANENT COLLECTION ● 5 NEW CELEBRATORY VIDEOS RELEASED TODAY WITH ADJOA ANDOH, NATALIE SIMPSON, SIMON CALLOW, JULIET STEVENSON, RICHARD ARMITAGE AND SULE RIMI READING FROM THE PEN COLLECTION ● DALJIT NAGRA APPOINTED NEW CHAIR ● 9 NEW VICE-PRESIDENTS INCLUDING SIMON ARMITAGE, MARY BEARD, BERNARDINE EVARISTO, JACKIE KAY, BLAKE MORRISON, GRACE NICHOLS, ELIF SHAFAK, KAMILA SHAMSIE AND COLM TÓIBÍN ● 29 NEW FELLOWS INCLUDING RAYMOND ANTROBUS, DAMIAN BARR, MICHAEL PALIN, KATE MOSSE, JACK THORNE, KERRY HUDSON, ROGER ROBINSON, PETER FRANKOPAN, MAX PORTER, DIANA EVANS AND WINSOME PINNOCK ● 15 HONORARY FELLOWS INCLUDING URSULA OWEN, MELANIE ABRAHAMS, BARONESS LOLA YOUNG AND TOM SUTCLIFFE ● BOYD TONKIN AWARDED NEWLY DESIGNED BENSON MEDAL The Royal Society of Literature (RSL), the charity that represents the voice of literature in the UK, has today in celebration of its 200th birthday announced RSL 200, a five-year festival launched with a series of major new initiatives and 60 new appointments championing the great diversity of writing and writers in the UK. -
Contemporary British Literary Culture, Higher Education, and the Diversity Scandal
Contemporary British Literary Culture, Higher Education, and the Diversity Scandal by John Coleman A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English Language and Literature Carleton University Ottawa, Ontario © 2019, John Coleman Abstract Sociologists have demonstrated that neoliberal British education policies reproduce cultural and racial homogeneity in creative industries workforces. These policies have made fine art and design programs key pathways to work in the creative economy. Yet escalating tuition and the reliance on unpaid internships to gain course credit have meant that students are increasingly drawn from the more affluent socio-economic communities – often predominantly white. The impact on contemporary British literature, particularly writing by minoritized authors, has been remarkable. Despite efforts to increase diversity in the literary book trades, the vast majority of publishing professionals are white, independently wealthy graduates of elite universities. Scholars have said little about how the literary field responds to, manifests, and perpetuates this escalating – and racialized – inequality, whose ramifications are evident in everything from Brexit to the emboldening of the anti-immigrant alt-right movement. My research takes up this task. I discuss how neoliberal education policy has privileged a relatively homogenous creative class, whose hegemony resonates across literary production and literature itself. I analyze responses to this class’ control over the literary sphere in chapters studying the reading charity BookTrust, the decibel program’s prizing of Hari Kunzru’s 2005 novel Transmission, and Spread the Word’s Complete Works Scheme for poets of colour. ii Acknowledgements The devotion of many family members, friends and loved ones has combined to form an invaluable support system throughout my time in university and while writing this dissertation. -
What Ever Happened to In-Yer-Face Theatre?
What Ever Happened to in-yer-face theatre? Aleks SIERZ (Theatre Critic and Visiting Research Fellow, Rose Bruford College) “I have one ambition – to write a book that will hold good for ten years afterwards.” Cyril Connolly, Enemies of Promise • Tuesday, 23 February 1999; Brixton, south London; morning. A Victorian terraced house in a road with no trees. Inside, a cloud of acrid dust rises from the ground floor. Two workmen are demolishing the wall that separates the dining room from the living room. They sweat; they curse; they sing; they laugh. The floor is covered in plaster, wooden slats, torn paper and lots of dust. Dust hangs in the air. Upstairs, Aleks is hiding from the disruption. He is sitting at his desk. His partner Lia is on a train, travelling across the city to deliver a lecture at the University of East London. Suddenly, the phone rings. It’s her. And she tells him that Sarah Kane is dead. She’s just seen the playwright’s photograph in the newspaper and read the story, straining to see over someone’s shoulder. Aleks immediately runs out, buys a newspaper, then phones playwright Mark Ravenhill, a friend of Kane’s. He gets in touch with Mel Kenyon, her agent. Yes, it’s true: Kane, who suffered from depression for much of her life, has committed suicide. She is just twenty-eight years old. Her celebrity status, her central role in the history of contemporary British theatre, is attested by the obituaries published by all the major newspapers. Aleks returns to his desk. -
Célia Maria Silva Oliveira 995 – 20
Universidade do Minho Instituto de Letras e Ciências Humanas 0) 1 Célia Maria Silva Oliveira 995 – 20 From the Margins into the Mainstream: y Williams and Black British Theatre (1 Roy Williams and Black British Theatre (1995 – 2010) tream: Ro he Mains he Margins into t rom t F Célia Maria Silva Oliveira 2 1 UMinho|20 outubro de 2012 Universidade do Minho Instituto de Letras e Ciências Humanas Célia Maria Silva Oliveira From the Margins into the Mainstream: Roy Williams and Black British Theatre (1995 – 2010) Dissertação de Mestrado Mestrado em Estudos Ingleses Trabalho realizado sob a orientação da Professora Doutora Francesca Clare Rayner outubro de 2012 Acknowledgments I would like to thank Professor Francesca Rayner for introducing me to the world of New Writing in Britain and leading me in a quest of discovery. Thank you for the support and for believing in me and in the work that I could do. Thank you for the always open office door and the kind words. Filipe Couto, thank you for seeing qualities in me that I was not aware they existed. Thank you for the image that I have in your eyes. Sérgio Oliveira, more than my brother, my best friend, thank you for the support and the technical help. Sometimes, writing a thesis might have moments of desperation and Daniela and Neuza were always at the distance of a phone call. Thank you for the readings and for listening to my monologues. I would also want to thank all the people that direct and indirectly helped me and were part of this journey. -
A Study of the Royal Court Young Peoples’ Theatre and Its Development Into the Young Writers’ Programme
Building the Engine Room: A Study of the Royal Court Young Peoples’ Theatre and its Development into the Young Writers’ Programme N O Holden Doctor of Philosophy 2018 Building the Engine Room: A Study of the Royal Court’s Young Peoples’ Theatre and its Development into the Young Writers’ Programme Nicholas Oliver Holden, MA, AKC A thesis submitted in partial fulfilment of the requirements of the University of Lincoln for the degree of Doctor of Philosophy School of Fine and Performing Arts College of Arts March 2018 2 DECLARATION I declare that this thesis is my own work and has not been submitted in substantially the same form for a higher degree elsewhere. 3 Acknowledgements First and foremost, I would like to thank my supervisors: Dr Jacqueline Bolton and Dr James Hudson, who have been there with advice even before this PhD began. I am forever grateful for your support, feedback, knowledge and guidance not just as my PhD supervisors, but as colleagues and, now, friends. Heartfelt thanks to my Director of Studies, Professor Mark O’Thomas, who has been a constant source of support and encouragement from my years as an undergraduate student to now as an early career academic. To Professor Dominic Symonds, who took on the role of my Director of Studies in the final year; thank you for being so generous with your thoughts and extensive knowledge, and for helping to bring new perspectives to my work. My gratitude also to the University of Lincoln and the School of Fine and Performing Arts for their generous studentship, without which this PhD would not have been possible. -
Poetry Festival
heaf Poetry Festival Contemporary poetry for Sheffield Films Performances Readings Walks Workshops 17–26 May 2019 www.sheafpoetryfestival.com Welcome Welcome to Sheaf Poetry Festival, a new poetry festival for Sheffi eld and nearby. We’ve been working hard to programme a vibrant combination of poetry, spoken word and cross-disciplinary events for all poetry lovers to enjoy, and a friendly festival atmosphere in which that can happen, and we want to make you all feel as welcome as possible. We’ve previously been Sheffi eld Poetry Festival and South Yorkshire Poetry Festival, and we’re really proud of what we’ve already achieved. As Sheaf Poetry Festival, our mission is to keep on bringing world-class poetry to Sheffi eld and to share inspiring, exciting voices with our audiences. This is the fi rst year we’ve had a poet-in-residence and a young poet-in-residence as part of the festival, and it has been great to give this opportunity to two poets. Mark Pajak and Georgie Woodhead will be on hand at our launch event. Mark has brought a poetry ghost walk and a collaboration with the National Videogame Museum to our programme so do look out for those! The festival is spread over nine days, commencing on Friday 17 May with our festival launch event. The weekend will consist of a packed programme of readings, performances and workshops, and the following week includes an assortment of evening events, including Tuesday’s Festival of Debate special with Roger McGough at the Abbeydale Picture House. We’ll be closing the festival on Saturday 25 May with one of Longbarrow Press’s famous Sheffi eld poetry walks and a poetry fi lm night with Elephant’s Footprint. -
2014 43 Complete Empires of Gender
Issue 2013 43 Empires of Gender Edited by Prof. Dr. Beate Neumeier ISSN 1613-1878 About Editor Prof. Dr. Beate Neumeier Gender forum is an online, peer reviewed academic University of Cologne journal dedicated to the discussion of gender issues. As English Department an electronic journal, gender forum offers a free-of- Albertus-Magnus-Platz charge platform for the discussion of gender-related D-50923 Köln/Cologne topics in the fields of literary and cultural production, Germany media and the arts as well as politics, the natural sciences, medicine, the law, religion and philosophy. Tel +49-(0)221-470 2284 Inaugurated by Prof. Dr. Beate Neumeier in 2002, the Fax +49-(0)221-470 6725 quarterly issues of the journal have focused on a email: [email protected] multitude of questions from different theoretical perspectives of feminist criticism, queer theory, and masculinity studies. gender forum also includes reviews Editorial Office and occasionally interviews, fictional pieces and poetry Laura-Marie Schnitzler, MA with a gender studies angle. Sarah Youssef, MA Christian Zeitz (General Assistant, Reviews) Opinions expressed in articles published in gender forum are those of individual authors and not necessarily Tel.: +49-(0)221-470 3030/3035 endorsed by the editors of gender forum. email: [email protected] Submissions Editorial Board Target articles should conform to current MLA Style (8th Prof. Dr. Mita Banerjee, edition) and should be between 5,000 and 8,000 words in Johannes Gutenberg University Mainz (Germany) length. Please make sure to number your paragraphs Prof. Dr. Nilufer E. Bharucha, and include a bio-blurb and an abstract of roughly 300 University of Mumbai (India) words. -
Inspire an Anthology Clcl Inspire a Centre for Language Culture and Learning (Clcl) an Anthology Anthology
INSPIRE AN ANTHOLOGY AN CLCL INSPIRE A CENTRE FOR LANGUAGE CULTURE AND LEARNING (CLCL) AN ANTHOLOGY ANTHOLOGY EXCITING WAYS OF TEACHING CREATIVE WRITING AN ANTHOLOGY AN Inspire: Exciting Ways of Teaching Creative Writing is an innovative anthology written by a wide spectrum of creative teachers who have a wealth of diverse experience. The focus here is on communicating how to teach creative writing in imaginative, practical and socially just ways. There is a CREATIVE particular emphasis upon helping people of all ages and WRITING backgrounds write stories, poems, plays and creative non- EDUCATORS fiction, including memoir and autobiography. Here you’ll learn many ways of teaching creative writing, including: • How to decolonise creative-writing workshops EXCITING WAYS OF TEACHING CREATIVE WRITING CREATIVE TEACHING OF WAYS EXCITING • How to use social media to engage teen writers • How to use therapeutic writing to cope with lockdown and bereavement • How to help students get creative in their essay writing INSPIRE • How to seek inspiration in nature and landscapes Inspire is essential reading for teachers, writers, academics EXCITING and anyone who values creativity. WAYS OF TEACHING CREATIVE WRITING CLCL A CENTRE FOR LANGUAGE CULTURE Editors: AND LEARNING (CLCL) Emma Brankin, ANTHOLOGY Francis Gilbert and Carinya Sharples In association with the MA in Creative Writing and Education, Goldsmiths INSPIRE EXCITING WAYS OF TEACHING CREATIVE WRITING EDITED BY EMMA BRANKIN, FRANCIS GILBERT AND CARINYA SHARPLES Inspire All rights reserved. This book contains material protected under International and Federal Copyright Laws and Treaties. Any unauthorized reprint or use of the original material written by the named authors is prohibited: these sections of the book may not be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system without express written permission from the author / publisher. -
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. -
“Cosmology, Masculinity and Mental Health Take Centre Stage at Africa Writes 2019”
FOR IMMEDIATE RELEASE 23 May 2019 “Cosmology, Masculinity and Mental Health take centre stage at Africa Writes 2019” Africa Writes, the UK’s biggest celebration of contemporary African writing brought to you by the Royal African Society, returns to The British Library from Friday 5 July to Sunday 7 July 2019 featuring three headline events and a packed festival weekend. Bringing together over 60 of the most influential African writers and thought leaders, this 8th festival edition covers over 20 countries and explores a cross-section of themes and critical ideas about African literature today. Following on from the likes of Chimamanda Ngozi Adichie and Ngugi wa Thiong’o, previous festival headliners, Man Booker shortlisted author Chigozie Obioma will headline this year’s Africa Writes. Closing the festival on Sunday, 7 July, Obioma will talk about his writing, Igbo cosmology and the blurred lines between myth and reality in his latest novel An Orchestra of Minorities. The event will open with an evocative staged reading of Obioma’s critically acclaimed debut novel, The Fishermen, followed by an in-conversation led by award-winning author and curator Irenosen Okojie. Chigozie Obioma says: “I'm really excited to be a part of this celebration of the written word and to be in company of a cohort of writers from Africa. I'm certain those three days will be like being at a concert in Lagos while in London.” Africa Writes 2019 will open on Friday, 5 July, with Our Bodies Speak Poetry, an evening of intergenerational poetry, story-telling and performance exploring the body as a site of power, possibilities and resistance. -
Programme 2021 Thank You to Our Partners and Supporters
8–17 October 2021 cheltenhamfestivals.com/ literature #cheltlitfest PROGRAMME 2021 THANK YOU TO OUR PARTNERS AND SUPPORTERS Title Partner Festival Partners The Times and The Sunday Times Australia High Commission Supported by: the Australian Government and the British Council as part of the UK/Australia Season 2021-22 Principal Partners BPE Solicitors Arts Council England Cheltenham BID Baillie Gifford Creative New Zealand Bupa Creative Scotland Bupa Foundation Culture Ireland Costa Coffee Dutch Foundation For Literature Cunard Embassy of the Kingdom of the Netherlands Sky Arts Goethe Institut Thirty Percy Hotel Du Vin Waterstones Marquee TV Woodland Trust Modern Culture The Oldham Foundation Penney Financial Partners Major Partners Peters Rathbones Folio Prize The Daffodil T. S. Eliot Foundation Dean Close School T. S. Eliot Prize Mira Showers University Of Gloucestershire Pegasus Unwin Charitable Trust St. James’s Place Foundation Willans LLP Trusts and Societies The Booker Prize Foundation CLiPPA – The CLPE Poetry Award CLPE (Centre for Literacy in Primary Education) Icelandic Literature Center Institut Francais Japan Foundation Keats-Shelley Memorial Association The Peter Stormonth Darling Charitable Trust Media Partners Cotswold Life SoGlos In-Kind Partners The Cheltenham Trust Queen’s Hotel 2 The warmest of welcomes to The Times and The Sunday Times Cheltenham Literature Festival 2021! We are thrilled and delighted to be back in our vibrant tented Festival Village in the heart of this beautiful spa town. Back at full strength, our packed programme for all ages is a 10-day celebration of the written word in all its glorious variety – from the best new novels to incisive journalism, brilliant memoir, hilarious comedy, provocative spoken word and much more. -
History in the Hands of the Contemporary Playwright 2000-2015: a Feminist Critique of Normative Historiography in British Theatre
History in the hands of the Contemporary Playwright 2000-2015: a feminist critique of normative historiography in British theatre. Submitted by Rebecca Amy Fraser to the University of Exeter as a thesis for the degree of Doctor of Philosophy in Drama in June 2017 This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. Signature: ………………………………………………………….. Abstract Abstract Between 2000 and 2015 twelve of the UK’s leading producing theatres premiered twenty three plays by British playwrights where the action was set between 1882-1928. This historical period is significant; in 1882 the Married Women’s Property Act was passed and in 1928 equal enfranchisement for men and women was granted in the United Kingdom, hence, the historical period traces a shift in women’s rights from property ownership to the vote. This thesis investigates narratives within these plays and explores the development of a normative historiography that is drawn on, but predominantly left unquestioned, by playwrights as Britain’s past is reimagined. It is this normative historiography, operating in a theatrical context, which the thesis problematises and interrogates through the lens of contemporary British playwriting. This lens facilitates an exploration of the manner in which the representation of the past mirrors and/or challenges current feminist discourse and considers the cultural implications of the structures and techniques employed to retell women their history through this medium.