OPEN ACCESS! A Cultural History of Disability
Access the volumes at THIS LINK.
Access the volumes at THIS LINK.
This week marked the completion of another visiting residency for GW English, sponsored by the Wang Endowment. Simon Gikandi, Professor of English at Princeton University and editor of PMLA, and author (most recently) of the critically-acclaimed Slavery and the Culture of Taste (Princeton UP, 2011) was with us from October 26-October 31. The residency included…
I first encountered Ogden Nash’s Giant Baby Panda poem settled like a gem in Marianne Moore’s 1944 essay “Feeling in Precision.” In the essay, Moore writes: “Voltaire objected to those who said in enigmas what others had said naturally, and we agree; yet we must have the courage of our peculiarities. What would become of…
We are pleased to announce that Composing Disability, GW’s biennial Disability Studies conference, returns on March 22-23, 2018. The full program will be posted soon, and the keynote for this event is UK-based artist-activist Liz Crow. Crow is the founder of Roaring Girl Productions and works with performance, film, audio, and text. Her work has…
GW English Professor Ayanna Thompson The New York Times recently reported on Play On! a project sponsored by the Oregon Shakespeare Festival asking 36 playwrights from diverse backgrounds to translate the language of William Shakespeare into contemporary modern English. Our own Professor Ayanna Thompson was one of the dramaturges for the project, working with playwright Mfoniso…
Waimea community mural depicting first Poynesian explorers coming to Kaua’i. Photo: Sharon Snyder As Fall Semester 2014 is about to kick off, GW English is happy to revive its “On the Road” series, which keeps you apprised of faculty research and exploration around the world. We kick off the series this year with a posting…
(Paris, AFP) All the world’s a stage but the irony is the rest of the globe often has an easier time understanding William Shakespeare than English speakers. Thanks to frequently updated translations that dispense with the archaic Renaissance language, foreign audiences often find the Bard easier to follow. Take “King Lear”, a new version…