Co-producing policy relevant research

Co-produced research between policy and academia is of increasing importance, both to ensure meaningful impact and to bridge the perceived gap between academic and policy contexts. Embedding researchers within organisations has been one way to address these challenges as well as develop shared agendas and overcome barriers to using research in policy and practice. This chapter provides an example of developing co-produced research through the use of embedded researchers within a large, multi-disciplinary programme. It offers insight into the motivations and expectations of policy and academic partners' involvement and describes some of the practicalities of establishing and managing these roles. A selection of top tips are included for those who are interested in taking this approach to co-produced research

Researching Memory in Early Modern Studies

This essay pursues the study of early modern memory across a chronologically, conceptually and thematically broad canvas in order to address key questions about the historicity of memory and the methodologies of memory studies. First, what is the value for our understanding of early modern memory practices of transporting the methodologies of contemporary memory studies backwards, using them to study the memorial culture of a time before living memory? Second, what happens to the cross-disciplinary project of memory studies when it is taken to a distant period, one that had its own highly self-conscious and much debated cultures of remembering? Drawing on evidence and debates from a range of disciplinary locations, but primarily focusing on literary and historical studies, the essay interrogates crucial differences and commonalities between memory studies and early modern studies

Women of Discord: Female Power in Aztec Thought

This article addresses the perennial debate over the origins and nature of female power by examining the significance of ‘Women of Discord’ in Aztec (more properly, Mexica) culture. Influential, but often troublesome, these formidable figures embody the complex significance of female power, rooted in women's privileged access to the awesome earth forces through childbirth. This chaotic energy lent cosmological and dynastic significance to the mytho-historical Women of Discord, but also led to a persistent female association with disorder which had tangible (and often overlooked) consequences for the lives of ‘real’ women in Aztec culture. This article explores the ways in which beliefs about the female capacity for disruption both reflected and shaped reality, ensnaring all women in a cycle of myth and history which made femininity a source of both authority and apprehension. Importantly, in Tenochtitlan ideas about ‘disorderly women’ did not lead inevitably to their practical subordination or suppression; women held practical markers of influence and esteem in Aztec culture. Thus, the Women of Discord challenge our assumptions about gender by offering a distinctive perspective on the ways in which femininity and fertility may be seen as disruptive, without necessarily debasing women or depriving them of individual agency

Forging connections: anthologies, arts collectives, and the politics of inclusion

The changing social and political landscape of twentieth-century Britain catalysed a remarkable rise in collaborative activity by artists and activists of black and Asian heritage. Creative communities began to gather in both local and regional contexts, with the aim of sharing resources and securing an audience. This chapter records some of these many activities, tracing the groups’ genesis, manifest objectives, and key contributions. It argues that anthologising should be understood as a specifically motivated activity. Literary anthologies of poetry and fiction served to showcase the diversity of contemporary writing, while also suggesting its coherence. Drawing on the concept of “strategic essentialism” elucidated by Gayatri Chakravorty Spivak, I show that the anthology acts to ensure the visibility of a group, bannered as a unified and singly-titled selection of texts, while also insisting on the differences within: the heterogeneous multiplicity of black and Asian British experiences and creative practices

'Vernacular Voices: Black British Poetry'

ABSTRACT Black British poetry is the province of experimenting with voice and recording rhythms beyond the iambic pentameter. Not only in performance poetry and through the spoken word, but also on the page, black British poetry constitutes and preserves a sound archive of distinct linguistic varieties. In Slave Song (1984) and Coolie Odyssey (1988), David Dabydeen employs a form of Guyanese Creole in order to linguistically render and thus commemorate the experience of slaves and indentured labourers, respectively, with the earlier collection providing annotated translations into Standard English. James Berry, Louise Bennett, and Valerie Bloom adapt Jamaican Patois to celebrate Jamaican folk culture and at times to represent and record experiences and linguistic interactions in the postcolonial metropolis. Grace Nichols and John Agard use modified forms of Guyanese Creole, with Nichols frequently constructing gendered voices whilst Agard often celebrates linguistic playfulness. The borders between linguistic varieties are by no means absolute or static, as the emergence and marked growth of ‘London Jamaican’ (Mark Sebba) indicates. Asian British writer Daljit Nagra takes liberties with English for different reasons. Rather than having recourse to established Creole languages, and blending them with Standard English, his heteroglot poems frequently emulate ‘Punglish’, the English of migrants whose first language is Punjabi. Whilst it is the language prestige of London Jamaican that has been significantly enhanced since the 1990s, a fact not only confirmed by linguistic research but also by its transethnic uses both in the streets and on the page, Nagra’s substantial success and the mainstream attention he receives also indicate the clout of vernacular voices in poetry. They have the potential to connect with oral traditions and cultural memories, to record linguistic varieties, and to endow ‘street cred’ to authors and texts. In this chapter, these double-voiced poetic languages are also read as signs of resistance against residual monologic ideologies of Englishness. © Book proposal (02/2016): The Cambridge History of Black and Asian British Writing p. 27 of 4