Like so many other British sitcoms, including The Office, Ab Fab brought out a film this summer, leaving fans of the TV show to wonder: what British fashions or pretensions of the last two decades would the film satirize? What has Britain been of late? Reality TV and X Factor shows? Cookery programmes? Bankers. Economic crashes. Former children’s entertainers exposed for their acts of horror. What would this film seize upon and ridicule?
June 13, 2016 | Bridget Moynihan
[tw: discussions of rape, sexual assault]
Sara Ahmed’s making-visible of the willful subject’s feminist role in her widely-cited 2010 article “Feminist Killjoys (and Other Willful Subjects)” continues to resonate deeply with intersectional feminist communities, and the significance of reclaiming the feminist killjoy cannot be overestimated.  Recently, I have been newly reminded of a very important point that Ahmed makes regarding anger in this same article.
May 2, 2016 | Anahit Behrooz.
The history of literary fandoms is long and varied. Goethe’s The Sorrows of Young Werther is often credited as the novel which produced the first literary fandom in the modern sense. The so-called “Werther Fever” spread over Europe – capturing the imagination of even Napoleon Bonaparte – and inspired hundreds of young men to copy Werther’s fashion, travels, and purportedly even his suicide. A few decades later, Sir Walter Scott’s Waverly novels had a visible impact on Scottish tourism, while Sir Arthur Conan Doyle received hundreds of fan letters and even real crime documents addressed to Sherlock Holmes, asking how he would solve them.
April 18, 2016 | Bridget Moynihan.
What do you think of when you hear the word ‘scrapbook’? Why might an archive save a scrapbook and why would researchers turn to archived scrapbooks as objects of study? What can we possibly learn from scrapbooks? The answers to some of these questions might be a bit surprising.
November 10, 2015 | Anahit Behrooz.
“I like nonsense, it wakes up the brain cells. Fantasy is a necessary ingredient in living.”– Dr Seuss.
Read any review of the Western canon and the absence of one particular genre becomes immediately obvious. Despite being one of the most dynamic and commercially successful genres in literature, fantasy is rarely taken seriously in the academic world. Iconic works such as C. S. Lewis’ Narnia series, J.R.R. Tolkien’s The Lord of the Rings, or J.K. Rowling’s Harry Potter novels are frequently swept aside in favour of ‘serious’ works which are considered more suitable for literary, artistic and socio-political analysis. Why, however, does this tension between fantastic and ‘high-brow’ literature even exist?