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    The Last Attempt at Paradise: Early Industrial Culture in Kansas
    (Palgrave Macmillan, 2022-03) Connor, Francis X.
    When SPK toured the United States in 1982, they played in Lawrence, Kansas, perhaps as an excuse to visit William S. Burroughs. The show was recorded and released on a local indie label as $The Last Attempt at Paradise.$ SPK emphasized the grotesqueries of the body, with images of deformed and mutilated bodies adorning their album art (including $Last Attempt$). Their inclusion of these bodies was to question conventional standards of beauty, display the physicality of mental disorders, and to shock people. Further, the white noise and screams that permeated their live shows offered similar provocations-tellingly, they referred to their concerts as "assaults." In his essay included in the cassette, local musician Marc Burch understood SPK's performance as "a catalyst in the approaching revolution." SPK's performance and Burch's essay are the catalyst for this chapter, which considers how Kansan musicians used the genre as a form of relating to and resisting a state that had become shorthand for American Values, despite the proliferation of military bases and nuclear arsenals. Drawing from Burroughs' cut-ups and first-wave industrial bands, many Kansan experimental artists used noise-and-tape loops to undermine perceptions of Kansas as the American Heartland. Bands like Schloss Tegal closely followed SPK's model, focusing on provocative topics like serial killers and aliens, others used industrial to engage in issues such as mental health (Short-Term Memory) and life in a nuclear age (The Buckthrusters). Appropriating some of the creative philosophies of SPK, Kansan industrial artists filtered these through regional concerns, creating a new viewpoint in industrial.
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    Francis Kirkman, theatrical historian
    (University of Pennsylvania Press, 2022-09-01) Connor, Francis X.
    The authors staged most frequently during the first decade of the Restoration were John Fletcher, William Shakespeare, and Ben Jonson, codifying the post-Restoration critical history of the English theater around the “triumvirate of wit.” However, patrons also saw plays by nontriumvirate authors, and publishers played an essential role in the formation of the English theatrical canon, notably by issuing catalogs. Francis Kirkman produced two of the most comprehensive and influential play catalogs of the late seventeenth century and can be identified as one of the first British literary figures to take an interest in theater that postdated classical writers but predated the “modern” triumvirate.
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    The sociolinguistics of heritage language education
    (Taylor and Francis, 2022-03-30) Leeman, Jennifer; Showstack, Rachel
    Sociolinguistics are of paramount importance in heritage language (HL) education because the macro-sociolinguistic context shapes HL speakers’ language experiences, knowledge, and use, as well as their socioaffective relationship to the language. This chapter offers a historical overview of sociolinguistic research, as well as a discussion of current concerns, including: the sociolinguistic characteristics of HL speakers; macro-sociolinguistic issues such as societal language ideologies and policies, and HL identities; and sociolinguistic research in educational contexts. In addition, we examine the place of sociolinguistics in HL curricula and we offer specific recommendations for HL educators. We conclude by identifying areas for future research.
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    Local attention: Melbourne on the map in Fergus Hume’s "Mystery of a Hansom Cab"
    (John Wiley and Sons Inc, 2021-11-27) Lanning, Katie
    Contrary to Machalias’s and Kipperman’s depictions of the novel as stuck in a colonial outpost, Hansom Cab presents a Melbourne that is mappable, traversable, and modern. The mysteries that populate Hume’s novel are driven by connection and movement across the city, the “invisible bonds” of the novel’s epigraph. Through the connections afforded by such modern urban planning, Hume’s Melbourne also contains surprises and twists for local readers who think they know their city. The murder route and detective chase render visible these social and cultural overlaps across Melbourne’s developing sectors. The novel challenges locals to consider the changing nature of their colonial identity as the city continues to prosper. In its depiction of Melbourne’s pathways as fundamental clues to the novel’s puzzle, The Mystery of a Hansom Cab tracks the movement of cultural meaning across a quickly developing landscape. In bringing critical attention back to Hume’s “local attention,” we can once again discover the indissoluble links between a city and its readers.
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    The man's a man if he is black: Conrad, modernism, and race (Again)
    (Indiana University Press, 2021-06) Boynton, T. J.
    Joseph Conrad's The Nigger of the "Narcissus" has played a major role in discussions of modernism's relationship to both race and colonialism, but two of its racial/colonial aspects have gone under-remarked. First, the novel's title character, James Wait, embodies the emergent, fin-de-siecle phenomenon of Black Britishness brought about through colonial immigration. The text's aesthetic stems from the disturbances this phenomenon created amid the traditional, White, seafaring practices of the British merchant marine. Second, the novel's representation of this Black-White dynamic is tied to an additional, third racial category: that of Irishness. The novel's lone Irish character, nicknamed "Belfast," proves central to its portrait of James Wait's revolutionary significance, which equates the egalitarian mindset of an emergent, multicultural Britain to the "sentimental" features of the Irish Celt as defined by Matthew Arnold. Attention to these aspects sheds new light on the novel's modernism, its racial/colonial perspectives, and on larger discussions in Conrad and modernist studies.