New Event: research seminar on Speculative Worldbuilding & Hope

Please join us in person for a special lunchtime research seminar at 1pm on 8 June 2022 in QS/111.

 

Futuristic Worldbuilding: Speculation and Hope in Contemporary Turkey

Assoc Prof Dr Emrah Atasoy, Visiting Postdoctoral Researcher at University of Oxford.

This talk will introduce scholarship on speculative fiction in Turkey and give a contextual survey of the tradition of entangled futurities and speculative worldbuilding in contemporary Turkey. Discussion of the selected primary text will reveal the portrayal of hope, environmental breakdown, and speculation in the Anthropocene.

This interdisciplinary event will be of interest across the humanities and social sciences, including sociology, history, geography, and politics/IR.

Hope to see you all there!

Iranian Production of Shakespeare’s Coriolanus comes to York St John

GVG_2749After our very successful involvement with the first York International Shakespeare Festival two years ago, YSJU’s English Literature team will again be putting on two events as part of the second YISF programme this May in conjunction with the University of Tehran and YSJU’s Drama and Theatre team. Both events are free but ticketed. Please check the external link regularly as they will be available shortly as the York Theatre Royal adds events to its system. If you would like to get involved as a volunteer, please email Saffron at s.walkling@yorksj.ac.uk

 

Shakespeare’s play is a significant demonstration of the deployment of the state apparatus, which never discloses the strategies through which power is imposed. When Coriolanus reveals these strategies, the state, together with those who think order is the only guarantee of survival, literally delete him from society. Hence, Coriolanus reflects the current democratic crisis in our region.

-Adaptors Hamed Asgharzadeh and Javad Ebrahiminezhad

Coriolanus performed by Titus Theatre Group, Iran

Coriolanus 3Temple Hall, York St John University 2pm – 3:15pm, Monday 15 May 2017

After the performance of Coriolanus there will be a short Q&A session.

Performing Shakespeare Workshop

QS/015, York St John University 11.00am – 1.00pm, Tuesday 16 May 2017

Titus Theatre Group, in collaboration with Drama and Theatre at York St John University, offer a workshop based around their production of Coriolanus. The workshop will be led by Hamed Asgharzadeh from Tehran, and David Richmond from the University of York St John.

GVG_2980

The York St John student production, Coriolanus “and they hunt for the truth that is ‘behind it all’” (Brecht 1957, text by William Shakespeare, Kurt Cobain, Charles Olson and the company) will be presented on 11 and 12 May 2017 at the Stained Glass Centre at St Martin-cum-Gregory, Micklegate, York.

Eighteenth-Century Advice on How to Vote in a Twenty-First-Century Snap Election

By Dr Adam J Smith, lecturer in English Literature

 

 

The claim that we are living in ‘unprecedented times’ is itself becoming disconcertingly ‘precedented.’ This is perhaps to be expected when we live in a world where Britain’s Foreign Secretary hosted Have I Got News for You and the White House is occupied by the presenter of the American Apprentice.

 

In 2010, a coalition government seemed unprecedented. So too did the gradual corrosion of health-care services, the dismantling of the arts and culture sectors, the commercialisation of higher education, the rise of foodbanks and record levels of homelessness. Then there’s the close results of the Scottish Referendum, the heady triumph of Jeremy Corbyn, the widely-reported implosion of the Labour party and, of course, the vote for Britain to leave the European Union. Unprecedented is the new precedent.

 

And now, three years ahead of schedule, there will be a General Election, due to be held just six weeks after it was announced. Not only will this be a challenge for the politicians involved, faced with the unprecedented challenge of condescending three years’ worth of planning into less than the amount of time it takes to broadcast a season of Broadchurch, but this also presents an unprecedented challenge for voters.

 

Since we all seem to be living in a particularly demented episode of Black Mirror it might be easy to feel like there’s nothing to be done. You may feel like you never get what you vote for. You may feel frustrated and disillusioned. You may feel like it isn’t worth voting because there’s no point. If you feel this, ignore that feeling. You should feel frustrated and you should feel disillusioned, but the only way to assert your will upon government is to vote.

 

But why keep voting, and who should we vote for anyway? These are good questions, and (as ever) the eighteenth century has the answers.

 

Eighteenth-Century Guidance on How to be a Good Citizen

 

Cards on the table, all my research is on the relationship between citizens and the state, and on how that relationship is articulated (and effected) by literature. I work on the long eighteenth century and as part of my PhD I spent a lot of time working on a periodical called The Freeholder, written by a man named Joseph Addison.

 

Addison too lived in ‘unprecedented times.’ The execution of Charles I by parliament, the Glorious Revolution and the Hanoverian Succession all remained in living memory and each raised serious structural, institution and existential questions. The emergence of cheap print meant that there was plenty of advice out there on how to vote, and The Freeholder offered just such advice. Published twice a week across 1715-16, Addison’s paper sought to tell property-owning gentleman (the only demographic allowed to vote at the time) what to think about when completing their ballot. Much of this advice remains extremely pertinent today, so here are three things to bear in mind as you march down to your local memorial hall on polling day.

 

  1. It isn’t about ‘winning’, it is about representation

 

From the very first issue of The Freeholder Addison refers to his vote as being his ‘remote voice’ in parliament. He writes that ‘the House of commons is the representative of men in my condition. I consider myself as one who gives my consent to every law that passes.’

 

Addison’s MP represents him. He needs to choose an MP whose interests and agendas closely match his own so that he can then trust this MP to vote and behave in parliament as he would himself. That MP is his ‘remote voice’, making a case in Westminster on Addison’s behalf whilst Addison is at home writing his periodicals.

 

Crucially, contrary to the way that it is often portrayed in the media, the party who win power during a general election cannot do whatever they want. Everything needs to be debated with everyone else that we voted for, and if they can’t get a majority vote they can’t move forward. We’ve seen a lot of this in the last year. Some people have even suggested that the main reason we’re having a snap election is because the party in power can’t get what they want with the house in its current configuration…

 

If you vote for a party that doesn’t win, that party doesn’t just disappear. If enough people vote for them they will be represented in the House, which means that they form part of the opposition. They offer an alternative opinion to the party in power and they’ll have to vote, on your behalf, on all these big decisions.

 

Vote for who best represents you so that those views can be aired in parliament. You’re choosing your own ‘voice’, so choose carefully.

 

  1. You’re voting for a party, not a prime-minister

 

In Addison’s Freeholder, the ‘happy tribe of men’ who make up a political party (a slightly loser affiliation that we know today… for now at least) are more important than the person leading them at the time. The principles of the ‘party’ will persist far longer than the individuals representing them at any given time, and this is perhaps useful to bear in mind today, given that in neither Labour or the Conservative currently have the same leader that they had going into the last general election in 2015. As Addison says in The Freeholder, all politicians are but ‘blossoms in the wind’ whilst government itself is an oak, rooted in the earth.

Again, vote for the party that best represents you and try not to get embroiled in ‘personality politics’, another twenty-first phenomenon that Addison warned us about three hundred years ago:

 

When a man thinks a party engaged in such measures as tend to the ruin of his country, it is certainly very laudable and virtuous action in him to make war after this manner upon the whole body. But as several casuists are of opinion, that in a battle you should discharge upon the gross of the enemy, without levelling your piece at any particular person so in his kind of combat also, I cannot think it fair to aim at any one man, and make his character the mark of your hostilities.  

The Freeholder, No. 19 (1716)

 

  1. Omission is a greater crime than commission

 

This was the big one for Addison, who explains that ‘the great crime of omission is an indifference in particular members of society.’ He explains throughout The Freeholder than it is in fact worse to not do something right than it is to do something wrong. Addison’s overarching argument is that all citizens entitled to vote have both a duty to remain politically engaged and a personal responsibility to ensure that their MP are representing their interests. Again, this is because according to Addison he has lent his own voice to his chosen MP. He wants his voice using properly. As Addison puts it:

 

A freeholder is one remove from legislator, and for that reason ought to stand up in the Defence of those Laws which are in some degree his own making.

The Freeholder, No. 1 (1715)

 

It is stated throughout the Freeholder that it is this connection between citizen and state that constitutes the greatest ‘privilege’ of living in a democratic society. It is, for Addison, what gives the governed power over those who govern and, as we all know, with great power comes great responsibility.

 

If a citizen chooses not to be involved in the process and turns away from the business of politics then they no longer have any stake in who represents them in government. Their views, thoughts, attitudes and opinions and lost. As Addison highlights, this is not only their loss, but the loss of anyone else who shares their outlook, who similarly would have benefited from their vote.

 

What about this snap election?

 

Quoting Addison is all very well and good but he died in 1719, so what good does it do to read his work now?

 

 

Well, you need only look at the Gothic buildings that house our parliament to see that the one thing we can count on to remain unchanged, even in unprecedented times, is the mechanics of government. Addison’s advice to voters, then, remains relevant.

 

What would Addison want us to remember? Be engaged. Think about who best represents your thoughts, opinions, attitudes and interests and vote for them. Think more about who you want to represent you in parliament than who you foresee as the party in power. Look at the party more closely than you look at the people inside the party and remember, your vote is your voice. If you choose not to vote you have no voice, but if you vote wisely, your voice will be heard in government.

 

Disclosure notice: Joseph Addison was affiliated with the Whig ministry, a party opposed to the Tories.

 


 

This post originally appeared on Adam’s own blog, ‘The View from the Coffee House’, where you can find out more about his research:

https://adamjsmith18thc.wordpress.com/

 

Read Addison online for free at Project Guttenberg:

http://www.gutenberg.org/ebooks/12030

 

Register to vote:

https://www.gov.uk/register-to-vote

‘Fictions can change, it’s only the facts that trap us’

By Chloe Ashbridge

After four years as an English Literature student at YSJ, last week I learned that an application I’d made for an intensely competitive PhD scholarship at the University of Nottingham had been successful. I was informed that I will be paid around £15,000 a year to conduct my research, my tuition fees will be waived, and that I can apply for further funding to help organise conferences or for research abroad. I will also be provided with opportunities to teach undergraduate seminars, and because the scholarship is provided by a Doctoral Training Partnership, I can make use of facilities and training across six universities in the Midlands. As I read the email, I scanned for ‘we regret to inform you’ that was surely contained within the response, and couldn’t quite believe it when (after the second time of reading it) I realised I had been successful.

(obligatory Robin Hood Nottingham reference)
On Target for PhD success

After finding a real passion for Literature during my undergraduate, I applied for an MA in Contemporary Literature at YSJ. Having become part of such a welcoming academic community at the University, and not being sure of which aspect of Literature I wanted to specialise in, the course offered the flexibility of studying a range of genres and theoretical approaches. After what seemed the quickest year of my academic life, I realised that the British Literature module had completely transformed my outlook on the study of fiction and, after choosing to study it further through my Dissertation, my specialisation quickly became clear. We studied a range of British writers from around the country: from the Yorkshire Moors to council estates in North-West London and back up to a care home in Scotland for good measure. The geographical focus of the module was fascinating, and my research in this area formed the basis of what is now my PhD proposal.

Upon finishing the MA with Distinction and a range of appropriate experience under my belt, it seemed too good to be true when a PhD scholarship in British Literature was advertised at a university in the Northeast for the next academic year. I eagerly began work on drafting an application, but when I applied, I wasn’t even called for an interview. At the time I felt as though I had completely overestimated my potential, and had no intention of applying for a PhD again. If I hadn’t, however, I would never have received the offer I’ve just accepted (and a second I’ve since turned down). Since last summer, I’ve been working with academics whose work I studied during my MA (who still feel so famous that I get nervous every time I email them) to develop my proposal, which admittedly, is far more exciting than my original application the previous year.

If I could go back and tell my undergraduate self that this would happen in a few years’ time, I wouldn’t believe it. My aspiration to work in academia has always been shadowed by a doubt of whether I could afford to attend conferences, to take time out of my studies to submit to journals, and support my life away from home, while still maintaining the results I need in an increasingly competitive industry. I now realise that confidence was the only thing that could get in the way of achieving my goal, so if you’re considering a similar career but don’t know where to start (believe me, I had no idea!), book that tutorial with your seminar tutor or dissertation supervisor, ask for their advice, and find out what kind of opportunities are available to you. There’s tonnes out there, but it’s a bit of a minefield if you’re encountering the world of academia for the first time! Everyone at YSJ has been through the process one way or another, and I can say from experience that they are incredibly helpful and happy to provide advice – they are there to support you after all!

I can now say that I am being funded by the AHRC to research a topic I am extremely passionate about. As I prepare for my journey from Masters to PhD student, I am reminded of the unique community I was a part of at YSJ, and of the words of Jeanette Winterson, ‘fictions can change, it’s only the facts that trap us’ that unfailingly remain true.

The arts and the general election

By Zoe Buckton

 

If you turned on your TV on Tuesday morning, the chances are you weren’t expecting to meet the news of an impending general election. But alas, here we are, in the political minefield of 2017.

As students of literature and creative writing, it is our responsibility not only to react to the changing landscape of UK politics, but to inform it. Today we fear the rising tensions between North Korea and the US, we fear Donald Trump’s clear negligence of the working class, minorities and women of America, we fear the consequences of Brexit. But there comes a time when fear is simply not enough, concerns are not heard, and pessimism holds no impact.

News of the opportunity to vote on our leadership should be met with enthusiasm, rather than fatigue. This is a chance to change the way our country is headed, and potentially to sway away from the sort of politics we consistently see making cuts to the arts, cuts to the disabled, ramping up tuition fees and discussing mental health in regard to company productivity and the economy, rather than individual human beings.

When we study a text, we learn about the time that it was written in and what political events influenced the author. One day, students may well be reading our work and thinking about how Brexit, Trump, the Syrian refugee crisis and Chechnya’s LGBT concentration camps have impacted on our writing. Instead of letting the impact of these times on our writing be deciphered, make them clear. Make them stand for change. Use your platform to hold elected officials accountable for their actions, for their silent disregard of atrocities, of minorities, and of the arts which are so vital not only to us, but to those that will be affected by them.

artwork by Bob and Roberta Smith

Use your writing and literary criticism to show that change is needed. And make that change. Register to vote in the next election, and write, whether in allegory, article or essay. The arts are needed now more than ever.

Register to vote here: https://www.gov.uk/register-to-vote