Скачать книгу - Self-Titled

Полный вариант заголовка: «A reply to two pamphlets, entitled „Illustrations of the Portuguese question, by a Portuguese lawyer,“ and „The last days of the Portuguese Constitution, by Lord Porchester“ / by an Engl. civilian».

In Entitled to Nothing, Lisa Sun-Hee Park investigates how the politics of immigration, health care, and welfare are intertwined. Documenting the formal return of the immigrant as a “public charge,” or a burden upon the State, the author shows how the concept has been revived as states adopt punitive policies targeting immigrants of color and require them to “pay back” benefits for which they are legally eligible during a time of intense debate regarding welfare reform. Park argues that the notions of “public charge” and “public burden” were reinvigorated in the 1990s to target immigrant women of reproductive age for deportation and as part of a larger project of “disciplining” immigrants. Drawing on nearly 200 interviews with immigrant organizations, government agencies and safety net providers, as well as careful tracking of policies and media coverage, Park provides vivid, first-person accounts of how struggles over the “public charge” doctrine unfolded on the ground, as well as its consequences for the immigrant community. Ultimately, she shows that the concept of “public charge” continues to lurk in the background, structuring our conception of who can legitimately access public programs and of the moral economy of work and citizenship in the U.S., and makes important policy suggestions for reforming our immigration system.

“Young Jean Lee’s Untitled Feminist Show is one of the more moving and imagina­tive works I have ever seen on the American stage…what makes it so transcendent is its delicious ability to alternate the pain of being different with a sense of humor about lives not lived among the status quo.” —Hilton Als, New Yorker “The twisty, turbulent, argumentative work of Young Jean Lee…will make you flinch, but it’s hard to look away…Lee has always been interested in exposing how we perform our identities. But in Straight White Men , she drills into something more core. Shuck off, subvert, cleave to your gender or race all you like, but a universal horror of weakness remains—a collective orientation toward status, power, control.” —Parul Sehgal, New York Times “Who said the spirit is willing, but the flesh is weak? Both are pretty damn fierce in director Young Jean Lee’s all-nude dance suite cheekily (but purposefully) called Untitled Feminist Show . In a scant (and scantily clad) hour, Lee and her gutsy danc­ers try on a dizzying variety of modes and masks to shake up gender norms.” —David Cote, Time Out New York “ Straight White Men might be the most subversive thing that Young Jean Lee, one of American theater’s most keenly seditious practitioners, has ever done.” —Alexis Soloski, Guardian “Young Jean Lee is, hands down, the most adventurous downtown playwright of her generation.” —Charles Isherwood, New York Times Young Jean Lee , with Straight White Men , became the first Asian-American woman to have her play produced on Broadway. She has directed her work in more than thirty cities around the world, and is the recipient of a Guggenheim Fellowship, two OBIE Awards, a Prize in Literature from the American Academy of Arts and Letters, and a PEN Literary Award.

Mokgethi is not your average teenage girl. Mokgethi dreams of going to Oxford. To study Actuarial Science. But her grandmother and aunt have other ideas, and with no one to fight her corner, except for her younger brother Khutso, Mokgethi is forced to realise that her dreams may well turn out to be just that. Dreams.
Kgebetli Moele returns with perhaps his most controversial novel to date – a novel written from the perspective of a seventeen year old girl. «Untitled» explores the challenges that face young women trying to escape the poverty into which they have been born – Mokgethi’s life is all about overcoming poor education, escaping sexual predators (young and old) and dealing with the lack of positive role models in her township. In this explosive novel, Moele deals head-on with sexual abuse, rape and poverty in a way that very few South African authors can.