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Hobbes. -- Locke. -- Burke. -- Bentham. -- J.S. Mill. -- Maine. ; Photocopy. ; Mode of access: Internet.

1. On pluck: English and money -- 2. English nativism and linguistic xenophobia -- 3. Fundamentalist English; or the stiff upper lip -- 4. On truth and lying in a political sense -- 5. Words, deeds, and democracy -- 6. Profanity and free speech -- 7. Remnants of dissent -- Index.

The study examines the movement of Wole Soyinka from mythopoeic dramatic strategies to a realistic populist aesthetic in selected political plays. It also examines the cause(s) of the movement, analyses the formal pattern engendered by it, and discusses the portrayal of the military in governance in the political plays, with a view to establishing the impact of the metamorphosis on the revolutionary tenor of the plays. Three of Soyinka's political plays are selected for analysis. The first, A Dance of the Forests, represents Soyinka's experimentation with the mythic imagination among the pre-Civil War works from the 1960s to the early 1970s; the second, Madmen and Specialists, a Civil-War play, constitutes the watershed and middle ground in the dramaturgic metamorphosis of the playwright; and the third, Opera Wọ́nyọ̀sí, a post-Civil-War political satire, begins the history-informed plays of the mid-1970s and onwards. Using a close-reading technique, the essay argues that the personal involvement of Soyinka in the Nigerian Civil War of 1967–70, coupled with the effects of the war, his consequent incarceration, and the demands made on him by Marxist critics to employ a populist aesthetic, led the playwright to the realization that the political comprador did not heed the warnings in the mythinfused political plays of the early phase of his career, most probably because of the relative inaccessibility of their hieratic idiom. There arose a strong need to communicate in simple, accessible language addressing contemporary history. This dramaturgic movement has a positive impact on the revolutionary tenor of the plays.

Drama is viewed as one of society's principal mechanisms for resolving soc & psychol'al conflicts of various types. Morality plays in England, which enjoyed great popularity from about 1400 to 1600, are examined as vehicles for the solution of both soc & intrapsychic conflicts among the uneducated or partially-educated bulk of the pop. While the plays were officially meant to inculcate reverence for Christianity, they showed some strange ambiguities & underlying currents quite opposed to the official intentions of church supervisors. These ambiguities may be interpreted (1) from a literary-dramatic point of view; (2) theologically; (3) sociol'ly, in terms of class conflict; (4) anthrop'ly, in the light of ancient ritual drama; or (5) psychol'ly. The latter approach is focused on here as the most rewarding. It is hyp'ed that medieval drama resolved conflicts via 2 basic psychol'al mechanisms: catharsis & cognitive processes. The sources utilized include the texts of plays, staging instructions, the writings of reformist clergy who disliked theater, & account books of the guilds, listing expenditures & properties for performance. The following cognitive processes are traced in the plays: (a) simplification through myth & allegory; (b) mastery of the future; (c) 'test' identification; (d) guilt induction. Of particular interest are the plays 'Everyman' & 'The Castle of Perserverance.' It is concluded that the morality play provided some catharsis of antiChristian & anti-Church sentiments, but above all helped to preserve a feeling of the basic unity of society by portraying the figure of Mankind facing the perils of death & hell which were the common property of all SC's. It also provided an outlet for the resentments of various diff classes, represented on the stage in historical & allegorical forms by traveling players who lived at the margins of society & could thus mirror the feelings of all classes or of none at all. Reasons for the decline of the morality play are briefly suggested. M. Maxfield.

"From post-truth politics to 'no-platforming' on university campuses, the English language has been both a potent weapon and a crucial battlefield for our divided politics. In this important and wide-ranging intervention, Thomas Docherty explores the politics of the English language, its implication in the dynamics of political power and the spaces it offers for dissent and resistance. From the authorised English of the King James Bible to the colonial project of University English Studies, this book develops a powerful history for contemporary debates about propaganda, free speech and truth-telling in our politics. Taking examples from the US, UK and beyond - from debates about the Second Amendment and free-speech on campus, to the Iraq War and the Grenfell Tower fire - this book is a powerful and polemical return to Orwell's observation that a degraded political language is intimately connected to an equally degraded political culture."--Bloomsbury Publishing

She plays angel music (where people might die) Post-Internet Music as a comment on the absorption of knowledge This exposition articulates the research within the artistic work She Plays Angel Music (where people might die), a 60-minute concert-installation for 5-25 female harpists. The research was triggered by highly questionable and incomplete information on the history of harp composition found on Wikipedia. While it is generally accepted that Wikipedia is not a reliable source in academia, it still a powerful source of knowledge amongst the general public. Thus, the incomplete display on the site promotes a) the historic and continuing discrimination of women from music composition in the classical music world and b) the continuing rejection of contemporary music in favour of music by dead composers in the classical music world. This exposition takes the reader through the compositional steps that were performed in order to create a post-internet work that attempts to highlight political situations by gathering publicly available information into a controversial context.

Jai Shankar Prasad is the most celebrated personality of modern Hindi literature who belonged to the Chhayawad/svacchandatavada called as Romantic era, which gave rise to a new facelift in Hindi literature and Hindi theatre. He was an excellent Indian poet, novelist and dramatist. He was very much influenced by the Vedas, Indian Philosophy and culture, which was very well portrayed in his works. He had mixed up art and philosophy in his writings. As we say Literature reflects the images of the society and portrays human life through its characters, Prasad's plays have witnessed the role of women evolving through ages. Jai Shankar Prasad has chosen the title of his writings with different names which ranges from the romantic to the nationalistic. Through his writings, he became famous which lead him to win so many awards in the period of Indian independence movement. He has shown the life history of many great personalities of ancient India through his Dramas. His dramas proved to be the most pioneering ones in Hindi literature. All his plays displayed a vivid range of social, political and personal issues which were prevalent in the society during his times. Portrayal of women in literature was unusual during his times, but Jaishankar Prasad was well known for portraying women in the centre stage which not only glorified them but dignified them too. The women in his plays are individuals who in her own way, are independent, self-sufficient and unconventional.

An English translation of a 1911 article in German on English political economy written by Rudolf Hilferding.