Sarah Ilott – författare

This study analyses four new genres of literature and film that have evolved to accommodate and negotiate the changing face of postcolonial Britain since 1990: British Muslim Bildungsromane, gothic tales of postcolonial England, the subcultural urban novel and multicultural British comedy.

This study analyses four new genres of literature and film that have evolved to accommodate and negotiate the changing face of postcolonial Britain since 1990: British Muslim Bildungsromane, gothic tales of postcolonial England, the subcultural urban novel and multicultural British comedy.

This collection brings together new critical approaches to diaspora studies, branching out to areas such as literary studies, visual culture, and museum studies, and explores them in relation to a variety of fictional works, cultural traditions, theoretical paradigms, and geo-political contexts. The innovation of this volume lies in the interplay of both texts and theoretical insights from these different areas of cultural analysis, drawn together to probe diverse manifestations of diaspora while pointing out new directions of critique. Moving between representations of real and imaginary, violent and utopian, past, present and future diasporas, contributors demonstrate the ways in which authors, performers and artists are establishing new modes of representing and imagining diaspora in an increasingly globalised age. Contributions are organised into sections on performance, speculative fiction, city spaces, affective or violent diasporas, and silence and voice. Bringing together these wide-ranging histories, contexts and media allows for dialogue across vastly divergent experiences and representations of diaspora, and opens up a theoretical debate on the changing nature of this field of study.

This collection brings together new critical approaches to diaspora studies, branching out to areas such as literary studies, visual culture, and museum studies, and explores them in relation to a variety of fictional works, cultural traditions, theoretical paradigms, and geo-political contexts. The innovation of this volume lies in the interplay of both texts and theoretical insights from these different areas of cultural analysis, drawn together to probe diverse manifestations of diaspora while pointing out new directions of critique. Moving between representations of real and imaginary, violent and utopian, past, present and future diasporas, contributors demonstrate the ways in which authors, performers and artists are establishing new modes of representing and imagining diaspora in an increasingly globalised age. Contributions are organised into sections on performance, speculative fiction, city spaces, affective or violent diasporas, and silence and voice. Bringing together these wide-ranging histories, contexts and media allows for dialogue across vastly divergent experiences and representations of diaspora, and opens up a theoretical debate on the changing nature of this field of study.

This collection brings together new critical approaches to diaspora studies, branching out to areas such as literary studies, visual culture, and museum studies, and explores them in relation to a variety of fictional works, cultural traditions, theoretical paradigms, and geo-political contexts. The innovation of this volume lies in the interplay of both texts and theoretical insights from these different areas of cultural analysis, drawn together to probe diverse manifestations of diaspora while pointing out new directions of critique. Moving between representations of real and imaginary, violent and utopian, past, present and future diasporas, contributors demonstrate the ways in which authors, performers and artists are establishing new modes of representing and imagining diaspora in an increasingly globalised age. Contributions are organised into sections on performance, speculative fiction, city spaces, affective or violent diasporas, and silence and voice. Bringing together these wide-ranging histories, contexts and media allows for dialogue across vastly divergent experiences and representations of diaspora, and opens up a theoretical debate on the changing nature of this field of study.

This collection develops a body of research around critically acclaimed author Helen Oyeyemi, putting her in dialogue with other contemporary writers and tracing her relationship with other works and literary traditions. Spanning the settings and cultural traditions of Britain, Nigeria and the Caribbean, her work highlights the interconnected histories and cultures wrought by multiple waves of enslavement, colonization, and migration. This collection describes how Oyeyemi's work engages in an innovative way with Gothic literature, reworking the tropes of a Western Gothic tradition in order to examine the fraught process of establishing identity in a postcolonial context. It demonstrates ways in which Oyeyemi is also a trouble-making feminist voice, employing feminist strategies to rewrite genres, parody literary forms, and critique the characterization of woman in literature. Finally it suggests that Oyeyemi's oeuvre marks a new direction in postcolonial studies as she writes within and about the former colonial centre of Britain, whilst foregrounding enduring colonial legacies that are referenced through the physical and psychological trauma associated with migration, displacement, racism, and contested national identities.

This collection develops a body of research around critically acclaimed author Helen Oyeyemi, putting her in dialogue with other contemporary writers and tracing her relationship with other works and literary traditions. Spanning the settings and cultural traditions of Britain, Nigeria and the Caribbean, her work highlights the interconnected histories and cultures wrought by multiple waves of enslavement, colonization, and migration. This collection describes how Oyeyemi's work engages in an innovative way with Gothic literature, reworking the tropes of a Western Gothic tradition in order to examine the fraught process of establishing identity in a postcolonial context. It demonstrates ways in which Oyeyemi is also a trouble-making feminist voice, employing feminist strategies to rewrite genres, parody literary forms, and critique the characterization of woman in literature. Finally it suggests that Oyeyemi's oeuvre marks a new direction in postcolonial studies as she writes within and about the former colonial centre of Britain, whilst foregrounding enduring colonial legacies that are referenced through the physical and psychological trauma associated with migration, displacement, racism, and contested national identities.

This edited collection explores the representations of identity in comedy and interrogates the ways in which “humorous” constructions of gender, sexuality, ethnicity, religion, class and disability raise serious issues about privilege, agency and oppression in popular culture. Should there be limits to free speech when humour is aimed at marginalised social groups? What are the limits of free speech when comedy pokes fun at those who hold social power? Can taboo joking be used towards politically progressive ends? Can stereotypes be mocked through their re-invocation? Comedy and the Politics of Representation: Mocking the Weak breaks new theoretical ground by demonstrating how the way people are represented mediates the triadic relationship set up in comedy between teller, audience and butt of the joke. By bringing together a selection of essays from international scholars, this study unpacks and examines the dynamic role that humour plays in making and remaking identity and power relations in culture and society.

This book traces the shifting politics of race in contemporary Britain through analysis of screen comedy that has worked to parrot, cloak or confront racist discourse. Moving from 1950s minstrelsy through to contemporary streaming-era content, Ilott demonstrates how race is made and unmade through screen comedy’s engagements with the tacit (and often racist) premises of British multicultural discourse. Chapters on the romcom, sitcom and police comedy read selected films and TV shows as counter-narratives on British multiculturalism, intervening in popular discourse that constructs interracial romance as spelling hope for the future, the Black neighbour as inherently threatening, or racially minoritised communities as disproportionately criminal. Drawing on decolonial, critical race and cultural studies perspectives, the study reimagines humour theory as a vehicle for interpreting the affective, political and epistemological significance of comedy to shape processes of racialisation and national identity construction.

This book traces the shifting politics of race in contemporary Britain through analysis of screen comedy that has worked to parrot, cloak or confront racist discourse. Moving from 1950s minstrelsy through to contemporary streaming-era content, Ilott demonstrates how race is made and unmade through screen comedy’s engagements with the tacit (and often racist) premises of British multicultural discourse. Chapters on the romcom, sitcom and police comedy read selected films and TV shows as counter-narratives on British multiculturalism, intervening in popular discourse that constructs interracial romance as spelling hope for the future, the Black neighbour as inherently threatening, or racially minoritised communities as disproportionately criminal. Drawing on decolonial, critical race and cultural studies perspectives, the study reimagines humour theory as a vehicle for interpreting the affective, political and epistemological significance of comedy to shape processes of racialisation and national identity construction.

This edited collection explores the representations of identity in comedy and interrogates the ways in which “humorous” constructions of gender, sexuality, ethnicity, religion, class and disability raise serious issues about privilege, agency and oppression in popular culture. Should there be limits to free speech when humour is aimed at marginalised social groups? What are the limits of free speech when comedy pokes fun at those who hold social power? Can taboo joking be used towards politically progressive ends? Can stereotypes be mocked through their re-invocation? Comedy and the Politics of Representation: Mocking the Weak breaks new theoretical ground by demonstrating how the way people are represented mediates the triadic relationship set up in comedy between teller, audience and butt of the joke. By bringing together a selection of essays from international scholars, this study unpacks and examines the dynamic role that humour plays in making and remaking identity and power relations in culture and society.