Hope is a superpower. Running is Alice's happy place – you might even say it's in her DNA. She's the best runner at her school but is struggling to prove her worth. Jade is slowly coming to realise that prejudices can be found everywhere, even in the most surprising places. Realising that her education is ill-equipped to encompass her own history and heritage, and taunted by bullies at school, she knows it's time to tell her own story. Meanwhile, litter is piling up in the local forest, and all over the world an environmental crisis is looming. Chloe is determined to make a change, starting with the town. Three girls prepare to stand up for what they believe in despite the injustices stacked against them in this new play exploring what it takes to make a difference, the power of friendship, and the importance of believing in your own voice. Co-commissioned by Fuel, Imaginate and Northern Stage. Developed and supported by the Scottish Government's Festivals Expo Fund and Imaginate's Accelerator programme. Protest is published in Methuen Drama's Plays for Young People series which offers suitable plays for young performers and audiences at schools, youth groups, and youth theatres.
From Hannah Lavery, Edinburgh's Makar. 'Speaks to and for the conflicted conscience of Scotland ... with a power and authenticity like perhaps no other' – The Scotsman In a moment that is demanding you to constantly choose your side, how do you find your humanity, your own voice, when you are being pushed to find safety in numbers? Blood Salt Spring is a meditation on where we are – exploring ideas of nation, race and belonging. Much of the collection was written in lockdown and speaks to that moment, the isolation and the traumas of 2020 but it also looks to find some meaning and makes an attempt to heal the pain and vulnerabilities that were picked and cut open again in the recent cultural shifts and political wars. Organised into three sections this book takes the reader on a journey from the old inherited wounds, the trauma of tearing open again these chasms within recent discourses and events, to a hopeful spring, where pain and trauma can be laid down and a new future can be imagined. In this collection, the poet has sought to heal these salted wounds, and move out of winter and into spring – into hope. The National Theatre of Scotland has launched a new digital visual album, Blood, Salt, Spring - a digital accompaniment to Hannah Lavery's collection. You can view the visual album here .
No problem here pal. None at all.ʼ In the early hours of the morning, thirty-one-year-old Sheku Bayoh set out to walk home from his friend's place after watching a boxing match. Just hours later, he had lost his life in police custody. Lament for Sheku Bayoh is a poetic expression of grief for the human behind the headlines and a non-apologetic reflection on racism in Scotland today. 'Timely and necessary' The Stage, 5 Stars
From Hannah Lavery, Edinburgh's Makar. 'Speaks to and for the conflicted conscience of Scotland ... with a power and authenticity like perhaps no other' – The Scotsman In a moment that is demanding you to constantly choose your side, how do you find your humanity, your own voice, when you are being pushed to find safety in numbers? Blood Salt Spring is a meditation on where we are – exploring ideas of nation, race and belonging. Much of the collection was written in lockdown and speaks to that moment, the isolation and the traumas of 2020 but it also looks to find some meaning and makes an attempt to heal the pain and vulnerabilities that were picked and cut open again in the recent cultural shifts and political wars. Organised into three sections this book takes the reader on a journey from the old inherited wounds, the trauma of tearing open again these chasms within recent discourses and events, to a hopeful spring, where pain and trauma can be laid down and a new future can be imagined. In this collection, the poet has sought to heal these salted wounds, and move out of winter and into spring – into hope. The National Theatre of Scotland has launched a new digital visual album, Blood, Salt, Spring - a digital accompaniment to Hannah Lavery's collection. You can view the visual album here .
Hope is a superpower. Running is Alice's happy place – you might even say it's in her DNA. She's the best runner at her school but is struggling to prove her worth. Jade is slowly coming to realise that prejudices can be found everywhere, even in the most surprising places. Realising that her education is ill-equipped to encompass her own history and heritage, and taunted by bullies at school, she knows it's time to tell her own story. Meanwhile, litter is piling up in the local forest, and all over the world an environmental crisis is looming. Chloe is determined to make a change, starting with the town. Three girls prepare to stand up for what they believe in despite the injustices stacked against them in this new play exploring what it takes to make a difference, the power of friendship, and the importance of believing in your own voice. Co-commissioned by Fuel, Imaginate and Northern Stage. Developed and supported by the Scottish Government's Festivals Expo Fund and Imaginate's Accelerator programme. Protest is published in Methuen Drama's Plays for Young People series which offers suitable plays for young performers and audiences at schools, youth groups, and youth theatres.
How do you tell the story of a feminist education, when the work of feminism can never be perfected or completed? In A Sentimental Education, Hannah McGregor, the podcaster behind Witch, Please and Secret Feminist Agenda, explores what podcasting has taught her about doing feminist scholarship not as a methodology but as a way of life. Moving between memoir and theory, these essays consider the collective practices of feminist meaning-making in activities as varied as reading, critique, podcasting, and even mourning. In part this book is a memoir of one person’s education as a reader and a thinker, and in part it is an analysis of some of the genres and aesthetic modes that have been sites of feminist meaning-making: the sentimental, the personal, the banal, and the relatable. Above all, it is a meditation on what it means to care deeply and to know that caring is both necessary and utterly insufficient. In the tradition of feminist autotheory, this collection works outward from the specificity of McGregor’s embodied experience – as a white settler, a fat femme, and a motherless daughter. In so doing, it invites readers to reconsider the culture, media, political structures, and lived experiences that inform how we move through the world separately and together.
The chief nurse of the Union Hospital in Washington, D.C., describes life and stress in the hospital and comments on notable persons of power. Her heretofore unpublished diary and letters comprise a fresh, hightly significan document concerning the medical history of the Civil War and the contributions of women nurses in the Northern military hospitals. This book is edited, with Introduction and Commentary, by John R. Brumgardt. Published by The University of Tennessee. 150 pages
Psychotherapy across distance and time, from Freud’s treatments by mail to crisis hotlines, radio call-ins, chatbots, and Zoom sessions. Therapy has long understood itself as taking place in a room, with two (or more) people engaged in person-to-person conversation. And yet, starting with Freud’s treatments by mail, psychotherapy has operated through multiple communication technologies and media. These have included advice columns, radio broadcasts, crisis hotlines, video, personal computers, and mobile phones; the therapists (broadly defined) can be professional or untrained, strangers or chatbots. In The Distance Cure, Hannah Zeavin proposes a reconfiguration of the traditional therapeutic dyad of therapist and patient as a triad: therapist, patient, and communication technology. Zeavin tracks the history of teletherapy (understood as a therapeutic interaction over distance) and its metamorphosis from a model of cure to one of contingent help. She describes its initial use in ongoing care, its role in crisis intervention and symptom management, and our pandemic-mandated reliance on regular Zoom sessions. Her account of the “distanced intimacy” of the therapeutic relationship offers a powerful rejoinder to the notion that contact across distance (or screens) is always less useful, or useless, to the person seeking therapeutic treatment or connection. At the same time, these modes of care can quickly become a backdoor for surveillance and disrupt ethical standards important to the therapeutic relationship. The history of the conventional therapeutic scenario cannot be told in isolation from its shadow form, teletherapy. Therapy, Zeavin tells us, was never just a “talking cure”; it has always been a communication cure.
Who knows yet But from this Lady may proceed a gem To lighten all this isle' You know the story: a King who turns his country upside down to try and secure a male heir. But it's never been told this way before. A Queen fights for justice. A Lady provokes reformation. But in the absence of a son, can a Princess change the future? See the story of Henry VIII from a female perspective: this exploration of love, lineage and power by Shakespeare's Globe Writer in Residence (2022) Hannah Khalil unfolds in a new way.
Hunt examines the apparent paradox that Jesus' earthly existence and post resurrection appearances are experienced through consummately physical actions and attributes yet some ascetics within the Christian tradition appear to seek to deny the value of the human body, to find it deadening of spiritual life. Hunt considers why the Christian tradition as a whole has rarely managed more than an uneasy truce between the physical and the spiritual aspects of the human person. Why is it that the 'Church' has energetically argued, through centuries of ecumenical councils, for the dual nature of Christ but seems still unwilling to accept the full integration of physical and spiritual within humanity, despite Gregory of Nazianzus's comment that 'what has not been assumed has not been redeemed'?
I want to know what the other trees know Go where the other trees go Where do they go? Writer Hannah Khalil collaborates with Shakespeare's Globe in London in this magical re-imagining and re-wilding of Hans Christian Andersen's classic fairy tale The Fir Tree. Written for just four actors this inventive and dynamic adaptation harnesses all of the joy of the Christmas season and reminds us that we can all make a difference in taking care of our planet. Music, song and storytelling combine in this accessible and enchanting adaptation that is suitable for families and young people to perform and read together in a story of hope. This edition was published to coincide with the premiere at the Globe Theatre, London, in December 2021.
Hannah Callender Sansom (1737-1801) witnessed the effects of the tumultuous eighteenth century: political struggles, war and peace, and economic development. She experienced the pull of traditional emphases on duty, subjection, and hierarchy and the emergence of radical new ideas promoting free choice, liberty, and independence. Regarding these changes from her position as a well-educated member of the colonial Quaker elite and as a resident of Philadelphia, the principal city in North America, this assertive, outspoken woman described her life and her society in a diary kept intermittently from the time she was twenty-one years old in 1758 through the birth of her first grandchild in 1788. As a young woman, she enjoyed sociable rounds of visits and conviviality. She also had considerable freedom to travel and to develop her interests in the arts, literature, and religion. In 1762, under pressure from her father, she married fellow Quaker Samuel Sansom. While this arranged marriage made financial and social sense, her father's plans failed to consider the emerging goals of sensibility, including free choice and emotional fulfillment in marriage. Hannah Callender Sansom's struggle to become reconciled to an unhappy marriage is related in frank terms both through daily entries and in certain silences in the record. Ultimately she did create a life of meaning centered on children, religion, and domesticity. When her beloved daughter Sarah was of marriageable age, Hannah Callender Sansom made certain that, despite risking her standing among Quakers, Sarah was able to marry for love. Long held in private hands, the complete text of Hannah Callender Sanson's extraordinary diary is published here for the first time. In-depth interpretive essays, as well as explanatory footnotes, provide context for students and other readers. The diary is one of the earliest, fullest documents written by an American woman, and it provides fresh insights into women's experience in early America, the urban milieu of the emerging middle classes, and the culture that shaped both.
Inside the Invisible investigates the life and works of Turner Prize-winning Black British artist and curator Lubaina Himid (CBE) to provide the first study of her lifelong determination to do justice to the hidden histories and untold stories of Black women, children, and men bought and sold into transatlantic slavery.
I haven't hurt anyone, killed, raped, murdered - I just ran away - came here to be safe. But I'm locked up. I just - I can't believe this is England. They have run away from unimaginable horrors looking only for safety. But, imprisoned together at Yarl's Wood Dentention Centre, these women are stuck in a limbo that offers them exactly the opposite. Based on verbatim interviews from current and former detainees, The Scar Test takes you inside one of England's migrant detention centres, exposing the conditions the inmates must endure whilst awaiting a decision on their fate. Told with compassion, Hannah Khalil's play throws a spotlight on the harrowing ordeals of the female migrants seeking refuge in Britain and the obstacles they face in the process. Published to coincide with its 2017 London and regional tour, The Scar Test originally debuted in 2015 with Untold Arts company.
From ancient to modern times, sexualised war violence against women was tolerated if not encouraged as a means of reward, propaganda, humiliation, and terror. This was and is in defiance of international laws that have criminalised acts of sexualised war violence since the 18th century. Ad hoc international tribunals have addressed especially war rape since the 15th century. The International Criminal Court (ICC), however, is the first independent, permanent, international criminal court that recognises not only war rape but also sexual slavery and other sexualised crimes as crimes against humanity, war crimes, and acts of genocide in its statute and supporting documents. This book explores how the ICC definitions of rape and forced marriage came about, and addresses the ongoing challenge of how to define war rape and forced marriage in times of armed conflict in a way that adequately reflects women’s experiences, as well as the nature of the crimes. In addition to deepening the understanding of the ICC negotiations of war rape and forced marriage, and of the crimes themselves, this volume highlights relevant factors that need to be considered when criminalising acts of sexualised war violence under international law. Sexualised Crimes, Armed Conflict and the Law draws on feminist and constructivist theories and offers a comprehensive theoretical and empirical examination of the definition of rape and forced marriage. It presents the latest state of knowledge on the topic and will be of interest to researchers, academics, policymakers, officials and intergovernmental organisations, and students in the fields of post-conflict law and justice, international law, human rights law, international relations, gender studies, politics, and criminology.
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