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Beyond Boundaries: C.L.R. James: Theory and Practice by Christopher Gair

By Christopher Gair

This booklet brings jointly best critics to discover the paintings of CLR James, the world-famous Caribbean highbrow. it truly is a thrilling and leading edge exam of the vast influence that CLR James has had on modern inspiration -- as a historian, novelist, cultural and political theorist and activist. The individuals reinvigorate James's inspiring severe output, with specific connection with the impression he has had on cultural stories. valuable for college students of post-colonial reviews, the booklet examines issues the place James crosses with different theorists, reminiscent of Lacan and Gramsci. Racial identification and cultural politics are key topics in his paintings, let alone his exact writings on cricket. individuals together with Donald E Pease, Nicole King, Christopher Gair and Anthony Bogues remove darkness from the most important issues in James's writing, and recommend the concept the breath of James's considering will be pointed out because the starting of 'post-national' reviews.

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Extra resources for Beyond Boundaries: C.L.R. James: Theory and Practice

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9. R. R. James Reader (Oxford, UK and Cambridge, USA: Blackwell, 1992), p. 6. 10. Paul Robeson, Here I Stand (Boston: Beacon Press, 1988), pp. 32–3. R. James, Genre and Cultural Politics 35 11. Bill Schwarz, ‘Black Metropolis, White England’ in Mica Nava and Alan O’Shea (eds) Modern Times: Reflections on a Century of English Modernity (London: Routledge, 1996), p. 184. Schwarz asserts a key contradiction within Robeson: principally that while ‘he condemned the commercialization of black culture’ he was himself a commercial artist, no less than ‘the most prominent black entertainer performing for white audiences’.

The former approach may be found in James’s chapter on nineteenthcentury intellectuals in the United States. Like his contemporaries, James identifies in canonical literary texts antecedents to key questions regarding the relation between individualism and democracy. However, unlike many operating within the institutional framework of American Studies at this moment, James refuses the kind of exceptionalist narrative that would service the Cold War state by offering an end-of-ideology denouement and championing a triumphant nation defined against an encroaching totalitarianism without, as well as a radical subversion and messy pluralism within.

As mentioned above, James and Robeson went in separate directions, never to collaborate again. 57 The first production of the play after it was revised in 1967 took place at the University of Ibadan in 1968, and was directed by Dexter Lyndersay. 58 In James’s home country of Trinidad, a ‘highly successful’ threeweek revival of the play was mounted in 1993 by the Theatre Arts Faculty at the University of The West Indies at St. 61 The Nigerian and Trinidadian productions each carried forward James’s original goal of inspiring political action through an accessible cultural medium.

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