Most of the remaining 76% of the elected assembly can be placed somewhere on the left of the political spectrum. However, the main centre-left coalition, which had successfully governed Chile for 24 of the last 31 years, was equally decimated, achieving only 16% of votes. By contrast, a new leftwing coalition composed of the Communist party and the Frente Amplio (the former student leaders who led the protest movements in 2006 and 2011) obtained 18%, while independent candidates and indigenous leaders (for whom a proportion of seats was reserved) won the remaining 42%.
Put differently, only 40% of the votes went to establishment candidates, while 60% went to independents or newcomers linked to a fragmented spectrum of leftwing parties and social movements.
‘
Living as an Author in the Romantic Period seeks to explode the notion that the late eighteenth and early nineteenth centuries oversaw a transformation of the literary economy into one in which professional authors could make a living exclusively off their writing. The author’s detailed work with neglected archives, especially publishers’ ledgers and the Royal Literary Fund papers, fuels several original claims about authorship in the romantic period. This is a book that will matter and possibly even be field-changing.’ Michael Gamer, British Academy Global Professor (QMUL) and author of
Romanticism, Self-Canonization, and the Business of Poetry(2017)
‘Matthew Sangster’s new book provides a compelling revision of the standard account of the advent of professional authorship in the early nineteenth century. Using remarkable archive material from publishers combined with other institutional records folded into engrossing case histories of individual wri
Black actors appear in leading roles in Rhimes’s
Bridgerton, including Regé-Jean Page as the Duke of Hastings, and Golda Rosheuvel as the Queen of England.
The show has ignited discussion about British Royals’ possible African ancestry, and at the same time, the plotlines ignore or obscure the evils of colonialism, poverty and racism. All of these were rife in this historical time period, and continue to blight our own era, as I chronicle in my book,
The result is that
The series doesn’t tell us a great deal about what life was really like in England in 1813, the year the series is set, but is rather a fairy-tale that on some levels challenges perceptions of race, gender and sexuality.
Robert Morrison, British Academy Global Professor, Queen s University, Ontario January 12, 2021 - 8:05 AM
This article was originally published on The Conversation, an independent and nonprofit source of news, analysis and commentary from academic experts. Disclosure information is available on the original site.
Author: Robert Morrison, British Academy Global Professor, Queen s University, Ontario
Bridgerton, Netflixâs new eight-part period drama miniseries, launched on Christmas day, has already achieved the No. 1 spot overall in more than 75 countries.
The show is inspired by the romance novel series by American author Julia Quinn set in early 19th-century England. In the hands of executive producer Shonda Rhimes, the showrunner behind the blockbuster TV series Greyâs Anatomy, and collaborator and creator Chris van Dusen, Bridgerton pushes the envelope in depictions of race, gender and questions of power and sexual consent.