Emily Soon is a PhD candidate researching how early modern writers across a range of literary genres perceived the East Indies (principally, China, India and Southeast Asia) in early modern England. This blog was originally posted on Currently @ King’s.
International trade hurts local communities. It causes economic hardship at home and destroys the environment, while the culture of consumerism it fuels is destroying our values and way of life.
Similar sentiments to these recur across the media today: this so-called backlash against globalisation is said to have contributed to Brexit and the rise of Trump, and to have transformed the shape of political movements across the world. This pent-up frustration seems to be quintessentially twenty-first century, the disillusioned rant of a world no longer charmed by the siren song of free trade and borderless commerce.
And yet, the sentiments I began with are taken not from a present-day party political tract, but from a play written almost 400 years ago. While William Mountford’s amateur dramatic effort, The Launching of the Mary: Or the Seaman’s Honest Wife (ca. 1632-3), may not be able to rival the plays of William Shakespeare or Ben Jonson – for a start, we do not know if the single handwritten text held in the British Library archives was ever performed – it does encapsulate, poignantly, the profound anxieties that have long attended the idea of international trade. Continue reading Lessons in global commerce (from an early East India Company employee)→
The words “Trump” and “transparency” don’t often appear together. Administrative transparency isn’t something Trump promised during his campaign, and it hasn’t been on the agenda in the last year. Yet the term has begun to turn up recently in communications from the Trump camp.
by Trisha Remetir (UNC) and James Rakoczi (KCL). though this could not have been written without the contributions of Christine Okoth (KCL), Jennifer Ho (UNC) and Rafael Lubner (KCL), Dr Jane Elliot (KCL), Dr Seb Franklin (KCL).
In August 2017, six students from the University of North Carolina at Chapel Hill travelled to London to take part in the inaugural UNC-KCL graduate student conference: ‘Configurations of Empire’. The two-day conference allowed each participant to present a work-in-progress paper that explored critical-theoretical engagements with conditions of life, labour and belonging under contemporary formations of Empire. Empire, with a capital E, is a term coined by Michael Hardt and Antonio Negri to conceptualise the globalised—and totalised—political-economic relations that characterise the present.
Topics from the North American side of the Atlantic included twentieth-century African American literature, feminist music studies, queer studies, online streaming services’ television shows and contemporary representations of labo(u)r and migration. On the London side, topics included an experimental electronic musician’s transcendentalist critique of the post-human, the psycho-geographies of mental health service user movements in London and the insidious dynamics of the logic of recycling. The conference culminated in a keynote by Seb Franklin on the coding and forms of disposal.
The conference, then, was an event, a research output, a moment, and the satisfying culmination of a year of hard work. This blog post could be about that conference, but instead we want it to tell a different story, one about the networks of working & reading & collaboration & arguments which led to the “event” and continue to develop after…
by Acatia Finbow, Collaborative Doctoral Award Student, University of Exeter and Tate
‘Performance/Museums/Practice’ is a monthly research seminar which considers the overlapping and intersecting practices around performance and museums, in all their complexity and richness. It is an interdisciplinary group, open to academics, practitioners, and those with a general interest in the topics, and seeks to stimulate discussion and debate around these areas of research.
The first session, held at King’s on December 4th 2017, considered ‘Collaborations and the Expansion of Performance’. The seminar usually involves two key texts and one case study which form the basis for the conversation during the seminar. In this first session, we looked at Simon Martin’s ‘Painting the Stage and Screen: Burra and Performance’, Robert S. Mattison’s essay on ‘Sleep for Yvonne Rainer’, and looked at the work by Robert Rauschenberg, ‘Sleep for Yvonne Rainer’, currently in the collection of the Museum of Modern Art, New York.