Arts and Humanities Commons^™

From Tawa'if To Wife? Making Sense Of Bollywood's Courtesan Genre, Teresa Hubel

Department of English Publications

Introduction:

Although constituting what might be described as only a thimbleful of water in the ocean that is Hindi cinema, the courtesan or tawa'if film is a distinctive Indian genre, one that has no real equivalent in the Western film industry. With Indian and diaspora audiences generally, it has also enjoyed a broad popularity, its music and dance sequences being among the most valued in Hindi film, their specificities often lovingly remembered and reconstructed by fans. Were you, for example, to start singing "Dil Cheez Kya Hai" or "Yeh Kya Hua" especially to a group of north Indians over the …

One Dead White Guy At A Time: Miss Julie: Sheh’Mah, By Tara Beagan, Kim Solga

Department of English Publications

New Canadian Realisms: Eight Plays collects works of contemporary theatre, each of which may be defined as "realist" through both a crucial link to the past and a zest for re-tooling old definitions. Grounded by Gwen Pharis Ringwood's pioneering Still Stands the House, the anthology also features Trey Anthony's 'da Kink in my hair, Tara Beagan's Miss Julie: Sheh'mah, Madeleine Blais-Dahlem's sTain, Hillar Liitoja's The Last Supper, selections from the Impromptu Splendor series by National Theatre of the World, Theatre Replacement's BioBoxes, and Zuppa Theatre's Penny Dreadful, as well as a series of text-specific introductions and a resource page for …

Peter Dickinson World Stages, Local Audiences: Essays On Performance, Place, And Politics, Kim Solga

Department of English Publications

Peter Dickinson’s World Stages, Local Audiences is a book I really, really wanted to like. It takes significant risks in style and structure. It is personal and invested. It is compelled by the same kinds of ques- tions—about political performance, social justice, community affect, and cultural change—that motivate a great deal of my own work. It is relentlessly eclectic in its choice of primary sources, examining everything from the Beijing and Vancouver Olympics to the drama of Tony Kushner to the media spectacles of professional soccer. It is a scholarly nomadology (136-175)—a term I suspect Dickinson won’t mind me applying …