Urban space in Britain can be said to offer resistance to the motives and aims of immigrants, while at the same time immigrants develop strategies of resistance towards the spatial constraints the city imposes on them. Approaches to the meaning of space have offered concepts with which the tensions between material spaces on the one hand and the meanings attached to them on the other can be captured. They have also pointed to the importance of the practices of inhabiting these spaces. After a brief discussion of the ways in which migrants relate to urban spaces and a discussion of some theoretical concepts, this chapter will look at three British films that stage and negotiate this two-sided relationship of resistance. In a reading of Stephen Frears’ Dirty Pretty Things from 2002, Kenneth Glenaan’s 2004 film Yasmin, and Anthony Minghella’s Breaking and Entering from 2006, I will explore the various strategies of spatial coping and the tendencies of resistance and appropriation developed by the migrant characters in the context of the overall spatial semantics established by the films.
The British have been involved in numerous wars since the Middle Ages. Many, if not all, of these wars have been re-constructed in historical accounts, in the media and in the arts, and have thus kept the nation's cultural memory of its wars alive. Wars have influenced the cultural construction and reconstruction not only of national identities in Britain; personal, communal, gender and ethnic identities have also been established, shaped, reinterpreted and questioned in times of war and through its representations. Coming from Literary, Film and Cultural Studies, History and Art History, the contributions in this multidisciplinary volume explore how different cultural communities in the British Isles have envisaged war and its significance for various aspects of identity-formation, from the Middle Ages through to the 20th century.
London post-2010 in British Literature and Culture explores cultural and literary representations of London since around 2010 and focuses on a period in which a string of celebratory national and global media events, but also riots and anti-capitalist protests have cemented London’s status as a paradigmatic world city.
This collection of articles brings together a wide variety of topics, such as the 2011 London riots, the London Olympics of 2012, royal festivities, the Tube anniversary, memorials, and London in recent novels and blockbuster films. The contributions look at the way in which cultural and literary texts articulate competing versions of the contemporary city, oscillating between either supporting or subverting the hegemonic narrative of London as a place of cosmopolitan harmony and inclusion.
Tottel's Miscellany (1557) to the last twentieth-century
Oxford Book of English Verse (1999), anthologies have been a prime institution for the preservation and mediation of poetry. The importance of anthologies for creating and re-creating the canon of English poetry, for introducing ‘new' programmes of poetry, as a record of changing poetic fashions, audience tastes and reading practices, or as a profitable literary commodity has often been asserted. Despite its impact, however, the poetry anthology in itself has attracted surprisingly little critical interest in Britain or elsewhere in the English-speaking world. This volume is the first publication to explore the largely unmapped field of poetry anthologies in Britain. Essays written from a wide range of perspectives in literary and cultural studies, and the point of view of poets, editors, publishers and cultural institutions, aim to do justice to the typological, functional and historical variety with which this form of publication has manifested itself - from early modern print culture to the postmodern age of the world wide web.