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. James, Alby. “Taking a Black Stage View.” The Independent 31 December 1987: n.p. Jays, David. “Yvonne Brewster: Nobody was Offering Black Actors Shakespeare so we Stage King Lear. ” The Guardian 1 February 2016: n.p. Joseph, Paterson. Julius Caesar and Me . London: Bloomsbury, 2018. King-Dorset, Rodreguez. Black British Theatre Pioneers: Yvonne Brewster and the First Generation of Actors, Playwrights and Other Practitioners . Jefferson, North Carolina: McFarland and Company, Inc., 2014. Lindop, Grevel. “ Romeo and Juliet. ” Plays and Players May 1988: 33

within the text or the interpretative community, but in the relationship between reader and scripture’. Shannahan 2014 , p. 158. I am further responding to the challenge offered by Anthony Reddie in relation to Black British engagement with Scripture, to recognise the authority of hermeneutics in which people ‘become part of a process that allows them to enter into the performance of theological activity and bring their lived experiences into the very heart of the biblical text’. Reddie 2008 , p. 163. In response I posit that where God-talk takes place, what happens

Works cited: Bentley, N., 2005. “Black London: The Politics of Representation in Sam Selvon’s The Lonely Londoners”. In: Wasafiri , no. 39, pp. 41-45. Dyer, R., 2002. “Immigration, Postwar London, and the Politics of Everyday Life in Sam Selvon’s Fiction”. In: Cultural Critique , no. 52, pp. 108-144. Hiro, D., 1973. Black British, White British. New York: Monthly Review Press. Kalpakli, Fatma. “Selvon and Multicultural London”. 2008. In: Uluslararasi Soyal Aresturnalar Dirgisi: The Journal of International Social Research , vol. 1, no.3, pp. 244-250. Liu, T

Caribbean beach fantasy”. The Observer 23 July. Osborne, Deirdre. 2010. “Debbie tucker green and Dona Daley: Two Neo-millennial Black British Women Playwrights”. Antares, no. 4, pp. 46-8. Phillips, Joan. 2008. “Female Sex Tourism in Barbados: A Postcolonial Perspective”. Brown Journal of World Affairs XIV(2):201-211. tucker green, debbie. 2005. trade & generations . London: Nick Hern Books Ltd. Urry, John. 2002. The Tourist Gaze . 2 nd edition. London: Sage. Williams, Ros. 2011. “Postcolonial Discourses and ‘Sex Tourism’”. University of Warwick.

. García Lorca, F. Three Plays. London: Penguin. Patel, Pragna. 1998. “Third Wave Feminism and Black Women’s Activism”, in Heidi Safia Mirza (Ed). Black British Feminism. A Reader. London: Routledge. Rich, Adrienne. 1984. Of Woman Born. Motherhood as Experience and Institution. London: Virago.

“Aesthetics of Personalism” in Caryl Phillips’s Writing: Complexity as a New Brand of Humanism.” World Literature Written in English 39.1 (2001): 75-85. Levinas, Emmanuel. The Levinas Reader . Ed. Seán Hand. Oxford: Blackwell, 1989. McLeod, John. “‘Between Two Waves’: Caryl Phillips and Black Britain.” Moving Worlds: A Journal of Transcultural Writings 7 (2007): 9-19. McLeod, John. “Diaspora and Utopia: Reading the Recent Work of Paul Gilroy and Caryl Phillips.” Diasporic Literature and Theory – Where Now? Newcastle upon Tyne: Cambridge Scholars, 2008. 2-16. Phillips

: Merrell, 2003. Muňoz-Valdivieso, Sofia. “Shakespearean Intertexts and European Identities in Contemporary Black British Fiction.” Changing English 19.4 (2012): 459-469. Nicolaescu, Madalina. “Introducing Shakespeare to the Fringes of Europe: The First Romanian Performance of The Merchant of Venice .” Sederi 27 (2017): 129-148. Olzak, Susan. The Dynamics of Ethnic Competition and Conflict . Stanford: Stanford University Press. 1992. Orkin, Martin. “Shifting Shakespeare.” Pmla 118.1 (2003): 134-136. Orlich, Ileana Alexandra. Dramatic and Literary Transcreations


huge statue of Caesar was pulled down the reference to Saddam Hussein’s statue was unmistakable–, and Eastern European –as in Romania’s Ceausescu, or in the ensuing horrors after the breaking up of Yugoslavia. However, even if there were such a thing as Shakespeare’s Africa play, one may wonder in how far a production performed by a group of black British actors, on a British stage, for a –predominantly white– British audience, in the British language, in a small British village, within the framework and dictates of the British theatre system, can ever be an


keeps them firmly outside of the ethnic box. Conversely, Black British people are offered various boxes in the ethnicity section to tick during censuses (despite the stubborn persistence of racialized language and experience in everyday British life). Clearly, ethnicity is bureaucratically viewed as a safe post-racial destination in this case: why this is so, is a pressing question. Consideration of overlaps and links between ‘race’, ethnicity and religion, as they operate as structural categories of experience and discrimination today in the West, also points to the

of the participants. I coded my themes using methodology as described by Mason 2008, ch. 8. Those I interviewed were self-selecting because I arranged to interview each respondent who indicated a willingness to talk further. These seven ministers were all women presbyters: two are not British-born and one other is Black British. This fascinating fact is not one that I have been able to investigate in my current study. There are certainly male presbyters working with EDCs and in fact nearly half of the ministers who replied to the survey were male. It could be that