Sam Vello

Sam was a foreigner employed at the steel mill in my home town but no one seemed to know his nationality. He was one of the wops which meant that he was from one of those mysterious countries in southeastern Europe. This was obvious from his physical characteristics and his accent. Sam was short and stocky with the heavy shoulders of one who earns his living by manual labor

Fantasies of The Night

Night reached greedy fingers across a leaden sky. In the west, a sullen November sunset faded into a melancholy gray. Naked trees swayed and bent and moaned under the whiplash of a winter wind. Leaves whirled and fell in a lifeless dance. Dull, brown, untidy lawns darkened in the fading light

The Socialist Education of Rita Seidel: The Dialectics of Humanism and Authoritarianism in Christa Wolf\u27s \u3cem\u3eDer geteilte Himmel\u3c/em\u3e

When Christa Wolf\u27s first novel Der geteilte Himmel was published in 1963, it precipitated within the GDR a flurry of varied and differing critical comment quite unusual for that country. The main controversy centered on the ideological message of the work which, according to some, was too vague and did not sufficiently extol the advantages of socialism in the GDR nor properly emphasize the leadership role of the Communist Party. Others retorted that it was just this subjective lyrical quality which distinguished the book from the uninspired Aufbauliteratur of the ’50s in which there had been a plethora of socialist heroes only too willing to recite Marxist-Leninist slogans. Critics in the West have concurred that the novel\u27s concept of socialism is indeed a bit vague, while some, especially Western Marxists, have tried to save the work by emphasizing the role played by the world of labor in the socialist education of the heroine Rita Seidel. This paper attempts to give at least a partial answer to the question of the novel\u27s ideology by concentrating on this socialist education, specifically on the educators or mentors who are responsible for it

Voices for Freedom, 1941

A typed transcription of an introduction to a radio play produced by the Fight For Freedom Committee entitled, Voices For Freedom , by Wendell L. Willkie, dating from circa 1941. Within, Willkie attempts a call to action for the American public.https://digitalcommons.ursinus.edu/fmhw_secondworldwar_documents/1102/thumbnail.jp

Historic Global Commodity Networks: the Research Potential of Rubbish Dumps for the Study of Rural Household Market Access during the late Nineteenth and Early Twentieth Centuries

This article discusses the research potential of rubbish dumps for the study of rural household market access during the late nineteenth and early twentieth centuries. By investigating the global commodity networks associated with four rubbish dumps excavated by the authors in the East Anglian region, at Hempstead (Norfolk), Kirton and Falkenham (Suffolk) and Holme Hale (Norfolk), the article will show how these archives can be used to locate individual rural households within the international capitalist system. This article also discusses the potential challenges faced when analysing the historic rubbish dump archives

Ecologies of dramaturgy in dance creation: a conversation

AW é Jamaicana, Preta, dançarina mulher cisgênero e dramaturga. Dois interesses paralelos emergiram gradualmente ao longo de sua carreira – a contribuição do performer ao processo criativo, e a dinâmica da operação necessariamente colaborativa que é a coreografia contemporânea. Esta entrevista com a artista-pesquisadora reporta sua experiência artística e o processo criativo da obra Confession Publique, ao qual ela ocupa a posição triádica de dramaturga, dançarina e pesquisadora auto-etnógrafa, compondo uma conversa dialógica entre artistas interdisciplinares e pesquisadores do projeto Dramaturgical Ecologies (sediado na Anonimo). Para além de uma entrevista, este projeto polivocal–centrado nos temas de agenciamento, dramaturgia, corporalização e movimento–migrou do físico para o virtual, respondendo a reconfiguração biopolítica causada pela pandemia do COVID-19. Esta transição ativou  tensões e ressonâncias no diálogo que se tornaram limitações facilitadoras, onde os corpos envolvidos na pesquisa se tornaram parte da co-composição dramatúrgica do processo de escrita deste texto. O resultado está distribuído nas páginas que seguem, tomando forma de uma escrita performativa dialógica-reflexiva, criada a partir de um processo de pensamento coletivo. Angelique Willkie é Jamaicana, Preta, dançarina mulher cisgênero e dramaturga. Dois interesses paralelos emergiram gradualmente ao longo de sua carreira – a contribuição do performer ao processo criativo, e a dinâmica da operação necessariamente colaborativa que é a coreografia contemporânea. Esta entrevista com a artista-pesquisadora reporta sua experiência artística e o processo criativo da obra Confession Publique, ao qual ela ocupa a posição triádica de dramaturga, dançarina e pesquisadora auto-etnógrafa, compondo uma conversa dialógica entre artistas interdisciplinares e pesquisadores do projeto Dramaturgical Ecologies (sediado na Concordia University, CA). Para além de uma entrevista, este projeto polivocal–centrado nos temas de agenciamento, dramaturgia, corporalização e movimento–migrou do físico para o virtual, respondendo a reconfiguração biopolítica causada pela pandemia do COVID-19. Esta transição ativou tensões e ressonâncias no diálogo que se tornaram limitações facilitadoras, onde os corpos envolvidos na pesquisa se tornaram parte da co-composição dramatúrgica do processo de escrita deste texto. O resultado está distribuído nas páginas que seguem, tomando forma de uma escrita performativa dialógica-reflexiva, criada a partir de um processo de pensamento coletivo.