Contemporary Irish theatre,the new Playboy controversy,and the economic crisis

Abstract

This article examines the impact of the economic crisis on contemporary Irish theatre. More specifically, I contend that the legal controversy surrounding Bisi Adigun and Roddy Doyle’s second production of Playboy of the Western World: A New Version in 2008 provides a case study of how professional theatre productions that dramatised stories of immigrant empowerment during the Irish economic boom were profoundly inhibited by the bust that followed. Their collaborative version of the new Playboy was widely regarded as Ireland’s most successful intercultural play and a commercial success when it was first staged at the Abbey Theatre in 2007. The subsequent breakdown in their relationship and ensuing legal dispute is more symptomatic of Celtic Tiger Ireland in economic collapse, I suggest, than the content of the play itself, or most other productions mounted in the period. I argue that this dispute did not simply reflect but also reinforced the social effects of the economic crisis, through its prolonged litigation, enormous expense, and especially the missed opportunity that it represented to position the multicultural and migrant themed Playboy within the Irish theatrical mainstream. More broadly, I suggest that the economic crisis has been marked by the disappearance of immigrants from the professional Irish stage, a void which was only partially filled by community theatre productions. A case in point is Adigun and Arambe’s most recent adaptation of Jimmy Murphy’s The Kings of the Kilburn High Road in The Paddies of Parnell Street (2013), a play which I positively appraise as an example of successful “intercultural re-appropriation”.     

How clothing design and cultural industries refashioned frontier masculinities: a historical geography of Western wear

Gendered subjectivities emerge historically and geographically, not only in situ, within an ‘authentic’ origin period or site, but through later retrospective commodifications and fantastical popular culture depictions. This article traces the masculine identity of the cowboy as commodified and performed through clothing. The cowboy emerged from colonial origins as a model and myth of frontier masculinity: the ‘rugged outdoor type’. But it was then formularized and stylized when subject to popular culture diffusion, and as accompanying clothing design evolved. Through clothing – advertised by metropolitan manufacturers and consumed across America and beyond – an archetypal, sexualized cowboy ‘look’ thus emerged. The author traces a historical geography of cowboy masculinities in clothing design, from early ‘frontier garments for the outdoor man’ to later Western-wear ‘for that long, lean look’. Related constructions of femininity are also considered, after women's Western-wear clothing lines were produced in the 1950s. To illustrate, I draw on archival brochures, catalogs, and advertising materials from the 1920s to 1970s, as well as discuss the material design of the clothes themselves. I focus especially on the Western snap shirt – an apparel item never actually worn on the nineteenth-century colonial frontier, but that became an ‘essential’ element of the cowboy look, and a vehicle for masculine appearance. Western-wear epitomizes how gendered subject positions are visually constituted in relational fashion via bodies, materials, media, and imagined geographies.     

A geography of residents' worry about the disruptive effects of contaminated sites

While the links between contaminated sites and adverse effects on human health and well‐being are being increasingly recognised, some argue that the magnitude of the health problem is inadequately addressed because it is largely invisible. Health geographies literature has sought to highlight this invisibility by focusing on the link between contaminated sites and health. This study adds to health geographies by presenting unique insights into the geography of residents' worry about the disruptive effect of environmental contamination on health and well‐being. It analyses a sample of residents (n = 485) living near 13 contaminated sites across Australia. Ordinal logistic regression analysis of closed‐format survey questions was combined with coding of open‐ended survey questions to reveal the geography of residents' worry about contamination from nearby sites. First, the study explores some of the main relationships between residents, their environs, and contaminants from nearby source sites, which determines their levels of worry: residents' demographics, residents' proximity to sites, contaminant boundaries and borders, and type of contaminant. Second, the study investigates how worry affects residents' health and well‐being, ranging from effects on their personal functioning through to their sense of ontological security, which depends in part upon their perceptions of contaminants' impacts. Despite having identified a range of diverse and negative effects of worry about contamination on residents, we found that worry for contamination can also prompt coping strategies and problem‐solving, reinforcing the need for more research on this subject.     

The Tyranny of the Serial: Popular Geopolitics,the Nation,and Comic Book Discourse

Abstract: This paper seeks to theorize the structuring of geopolitical worldviews and attitudes by the comic book medium and by serial popular culture more broadly. Evidence of the use of comic books to promote specific discourses by geopolitical actors is presented, and the conventions that govern the limits of comic book narration are outlined. Among the conventions of production discussed are the role of “continuity” as a structuring force and the serial nature of most comic books. The impact of these conventions is viewed through an examination of Watchmen and Captain America comic books. Both series revolve around issues of political legitimacy and the structuring of geopolitical space, but do so in different ways. This leads to insight connecting seriality with the concept of the nation itself. Finally, a theorization of the limits to comic book and other serialized discourse is outlined, and its ultimately conservative political outcome is described as endemic to the genre.