Royal Holloway College Research Articles

Peer Review Statement

All papers published in this volume have been reviewed through processes administered by the Editors. Reviews were conducted by expert referees to the professional and scientific standards expected of a proceedings journal published by IOP Publishing. • Type of peer review: Double Anonymous • Conference submission management system: Morressier • Number of submissions received: 22 • Number of submissions sent for review: 22 • Number of submissions accepted: 20 • Acceptance Rate (Submissions Accepted / Submissions Received × 100): 90.9 • Average number of reviews per paper: 2 • Total number of reviewers involved: 30 Contact person for queries: Name: pavel Karataev Email: pavel.karataev@rhul.ac.uk Affiliation: University of London - Royal Holloway University of London

Interview with Dr. Chris Hackley on Critical Theory, Social Constructionism and Marketing

Chris Hackley, PhD MSc BA BSc PGDip PGCE MBPsS is a Professor of Marketing, School of Business and Management at Royal Holloway University of London. Dr. Hackley’s research, teaching and supervisory interests include advertising and promotion, critical marketing and qualitative research methods. We reached out to Dr. Chris Hackley and conducted a comprehensive interview on Critical Theory, Social Constructionism and Marketing. At the end of the interview, you will find a bibliography of some of the sources that Hackley refers to and/or that will help to deepen the discussion.

The Georgians: The Deeds and Misdeeds of Eighteenth-Century Britain

The Georgians: The Deeds and Misdeeds of Eighteenth-Century Britain

‘There was all this terminology proliferating and the students needed to know precise terms, not vague or impressionistic ones’: An interview with Katie Wales

Katie Wales was Professor of English Language at Royal Holloway College, University of London, before moving to the University of Leeds to become Professor of Modern English Language. She later moved to the University of Sheffield and is currently Honorary Professor in the School of English at the University of Nottingham. She is a co-founder of the Poetics and Linguistics Association (PALA) and was instrumental in setting up the journal Language and Literature, serving as its second editor between 1996 and 2004. In this interview she explains how she found out about stylistics as an undergraduate student; how she established an academic career; and how she was able to integrate stylistics into her teaching in the face of resistance from the literary establishment. She discusses her long-standing interest in dialectology and the importance of incorporating a historical perspective into stylistic work. She also discusses the importance of PALA as a support network for stylisticians, particularly in the light of the current assault on the humanities in the UK and elsewhere.

A Grammar of Care

This article explores how we negotiate the moral character of our relationships with others when engaged in secondary-care practices for those who have been directly involved in war-related violence. It does so by exploring the intersections between applied theatre and arts-based conflict transformation initiatives that take into account the aesthetic and affective dimensions of care within the implementation of Transitional Justice mechanisms. It thus approaches the question of what it means for the self to engage with an ‘other’ who has committed illegal acts within the context of the Colombian armed conflict, and frames this as a Grammar of Care that reflects the collective transformations are necessary for post-conflict transitions. The authors draw on a 3-year applied-theatre collaboration between the University of Warwick, Royal Holloway University of London, and the Colombian Agency for Reincorporation and Normalization (ARN, 2018-2021). The latter is the government organisation that designs and implements public policy on reintegration for adult ex-combatants of guerrilla and paramilitary organisations in Colombia. The collaboration involved a transition from face-to-face fieldwork (2019) to the isolation of the pandemic (2020-21), and examined how the body and embodied engagements with others were shaped by these different work settings in the Colombian context.

Multimodality and the Messy Object: Exploring how rhetoric and materiality engage

We respond to the call for more research into the entanglement between multiple (including non-visual and non-verbal) modes of communication within organizations by exploring the relationships between rhetoric and materiality. We draw on archival sources concerning the Founder’s Building at Royal Holloway College (1874–1897). We discuss the building as a multimodal material object, inherently multiple, fluid and messy: the Founder’s Building is open to multiple encounters with sociality through multiple modes of communication. We find that such ‘messiness’ explains how the spatial, aural, sensual and visual modes embedded in a material object engage with each other, as well as with other visual, verbal and numerical modes, in the crafting of rhetoric: different modes sustain and oppose each other and evolve through absences and presences. We find that the messiness of material objects explains the engagement between rhetoric and materiality: materiality can limit or augment rhetoric, and materiality and rhetoric can co-evolve when the ‘rhetors’ (such as the founder and the governors of the College) and their audiences (such as students, visitors and tax authorities) attempt to transform the object (the Founder’s Building) into always something else, even an absent object.

Genetics of stroke in Qatar: Current situation and future opportunities

Recent studies have shown that genetic factors may play an important role in the pathogenesis of stroke, as known modifiable and non-modifiable risk factors may account for only 50% of the risk of stroke. Evidence for a genetic basis can be elucidated from twin studies, family history studies, and animal models. Qatar is currently leading the stroke initiative in the Gulf region with a view toward joining the genomic revolution. In collaboration with a team of scientists from Royal Holloway College, University of London, and Imperial College London, we took the initial step in this field by establishing the first biorepository of deoxyribonucleic acid in stroke in the Middle East. In this review, we describe our current situation in the field of stroke genetics with an exploration of future opportunities.

Decolonizing marketing

ABSTRACT In January 2021, the ETHOS Research Center at Bayes Business School, along with the CRIS Research Center at Royal Holloway University of London, hosted an event entitled Decolonizing the Business School. Over 500 attendees participated, from all business disciplines, testifying to the strong levels of interest in this topic. Marketing was particularly active, with over 100 participants. In this article, I (Giana Eckhardt, one of the organizers of the event) speak with the marketing break out room facilitators – Russ Belk, Tonya Bradford, Susan Dobscha, Güliz Ger and Rohit Varman – in a wide-ranging conversation about what decolonization means to the field of marketing, and what marketing academics can do if they would like to explore these ideas further. First, we offer a brief introduction to decolonization. Also, a list of resources for the interested reader is presented as well as ideas for further exploration in this nascent domain at the end.

Commissioning of a High Pressure Time Projection Chamber with Optical Readout

The measurements of proton–nucleus scattering and high resolution neutrino–nucleus interaction imaging are key in reducing neutrino oscillation systematic uncertainties in future experiments. A High Pressure Time Projection Chamber (HPTPC) prototype has been constructed and operated at the Royal Holloway University of London and CERN as a first step in the development of a HPTPC that is capable of performing these measurements as part of a future long-baseline neutrino oscillation experiment, such as the Deep Underground Neutrino Experiment. In this paper, we describe the design and operation of the prototype HPTPC with an argon based gas mixture. We report on the successful hybrid charge and optical readout using four CCD cameras of signals from 241Am sources.

Der faustische Pakt. Goethe und die Goethe-Gesellschaft im Dritten Reich by W. Daniel Wilson

Reviewed by: Der faustische Pakt. Goethe und die Goethe-Gesellschaft im Dritten Reich by W. Daniel Wilson Katherine Arens W. Daniel Wilson. Der faustische Pakt. Goethe und die Goethe-Gesellschaft im Dritten Reich. Munich: dtv, 2018. 368 pp. Daniel Wilson, now a professor emeritus in the Department of Languages, Literatures and Cultures at the Royal Holloway College at the University of London, has again opened up the Goethe industry to new insights, after his earlier works that have taken the author out of the cotton wool in which the notion of "Weimar classicism" had wrapped him. Der faustische Pakt turns our attention to the Goethe-Gesellschaft (Goethe Society), founded in 1885, to show how its claimed affinities to the humanism disguised a long-standing commitment to conservative nationalist views and an alignment with the Nazi regime—to creating a Goethe who would ultimately become commensurate with Nazi ideology and cultural imperatives. Wilson adduces facts drawn from many archives to produce a well-researched and superbly written story of cultural opportunism that illuminates the many shades of grey in the cultural politics of the Nazi era, and how their legacies remain at play today. Most critically, he has filled in precise details about the post-May-1933 organization of the society, which have been vague since 1945 when its organizational files disappeared. Wilson found instead the correspondence of the leadership to tell an increasingly disturbing story of scholarly humanism. The alignment of the Goethe Society with the Nazi cultural projects started slow. From its early years on, the Goethe Society had been an important cultural reference point for the Bildungsbürgertum, the educated population of Germany. Gustav Roethe, the society's president until 1926, worked toward establishing Goethe as an internationalist and moved to consolidate individual local author societies under the national organization. Receiving no state support, the society boasted a considerable membership as well as patronage by the ruling aristocracy. As the Weimar Republic's financial crises led to declining memberships, reimaging Goethe as an antisemite made him a potential asset for Nazi cultural politics. The Nazi government had begun to intervene in organizations after 1933 in its move toward a kind of cultural Gleichschaltung; the Goethe Society was vulnerable initially to charges of liberalism because 8 percent of its members were Jewish and 20 percent international, with the result that after 1933 the society did not admit any new Jewish members (keeping many that they had for financial reasons until a 1938 general exclusion). "Jewish" themes like Goethe's interest in Spinoza were kept out of the society's journal; Roethe's cosmopolitan and tolerant Goethe was refigured as an antisemite, with skirmishes at both local and national levels of the organization. By the 1936 Olympics, new funding became possible as part of Germany's image building—and the society found its lifeline in ways effaced or denied after the war. In the volume's first chapter, "Goethes Janusgesicht," Wilson draws out how these two possible readings of the author were crafted out of a body of work large enough to find support for both readings. The subsequent six chapters are [End Page 390] organized chronologically to chart this course in detail; they are solidly documented, based on the private correspondence of important members of the society's leadership and internal records of the society's business and meetings. What emerges is the society's sense of dedication to its cultural mission under a pronounced sense of threat, leading to decision-making that prioritized the society's survival at all costs. The prime mover in this preemptive decision-making was Hans Wahl, the vice president of the society and director of the National Goethe Museum, who became a party member in 1938 and an early member of the "Kampfbundes für deutsche Kultur," which put the organization under the patronage (but not direct control) of Joseph Goebbels and his Reichsschrifttumskammer and helped it to evade the total government takeovers that were becoming increasingly common and that often required wholesale surrender of archives and museum holdings. Instead, the Goethe Society preserved itself as it fell into a kind of codetermination and collaboration with government institutions. These decisions, however, created a...

A randomised feasibility trial of an intervention to support sharing of HIV status for 18\u201325-year olds living with perinatally acquired HIV compared with standard care: HIV Empowering Adults\u2019 Decisions to Share\u2014UK/Uganda Project (HEADS-UP)

BackgroundYoung adults with perinatally acquired HIV (PAH) face several challenges, including adhering to antiretroviral therapy (ART), managing the risk of onward HIV transmission and maintaining positive well-being. Sharing one’s HIV status with others (onward HIV disclosure) may assist with these challenges by facilitating emotional and practical support. Rates of HIV status sharing are, however, low in this population. There are no existing interventions focused on sharing one’s HIV status for young adults living with PAH. The HEADS-UP study is designed to develop and test the feasibility of an intervention to help the sharing of HIV status for young adults with PAH.MethodsThe study is a 30-month multi-site randomised feasibility study across both a high-income/low-HIV prevalence country (UK) and a low-income/high-HIV prevalence country (Uganda). Phase 1 (12 months) will involve developing the intervention using qualitative interviews with 20 young people living with PAH (ten in the UK—18 to 29 years; ten in Uganda—18 to 25 years), 20 of their social network (friends, family, sexual partners as defined by the young person; ten in the UK, ten in Uganda) and ten professionals with experience working with young adults with PAH (five in the UK, five in Uganda). Phase 2 (18 months) involves conducting a randomised feasibility parallel group trial of the intervention alongside current standard of care condition in each country (main study) with 18- to 25-year olds with PAH. A sample size of 94 participants per condition (intervention or standard of care; 188 participants in total: 47 in each condition in each country) with data at both the baseline and 6-month follow-up time points, across UK and Ugandan sites will be recruited. Participants in the intervention condition will also complete measures immediately post-intervention. Face-to-face interviews will be conducted with ten participants in both countries immediately post-intervention and at 6-month follow-up (sub-study).DiscussionThis study will be the first trial that we are aware of to address important gaps in understanding acceptable and feasible ways of delivering HIV status sharing support for young people living with PAH.Trial registrationISRCTN Registry, ISRCTN31852047, Registered on 21 January, 2019. Study sponsor: Royal Holloway University of London. Sponsor contact: alicen.nickson@rhul.ac.uk. Date and version: April 2020. Protocol version 3.5.

Accounting for heritage assets: Thomas Holloway's picture collection, 1881–2019

In recent years, there has been a debate about whether the owners of “heritage assets” should include them on their balance sheets. We present a longitudinal study of the collection of 77 pictures donated by Thomas Holloway to Royal Holloway College between 1881 and 1883. We draw on archival material to analyse accounting practices for Holloway's picture collection, finding that the collection remained effectively invisible as an accounting object until 1999, when accounting requirements for heritage assets were first applied. We use Jean Baudrillard's “orders of simulacra” to study the relationship between accounting signs and their referents, and we draw on Bruno Latour's notion of “matters of concern” to investigate how changes in the accounting sign render the referent a complicating, agitating and provoking “matter” in different ways. The Royal Holloway financial statements currently present the picture collection by an accounting sign that we suggest is a “counterfeit” (signifying the money that could, counterfactually, be made from selling the paintings) but not a “simulation” (creating a hyperreality detached from the referent). This relationship between the sign and the referent makes up the ontological status of “assets” in accounting reports, rendering assets capable of triggering actual (rather than hyperreal) material effects.

Britten Folksongs and Their Traditional Counterparts

Phoebe Kirrage Classical Singing Research Supervisor: Anna Scott Britten's Folksong Arrangements and Their Traditional Counterparts Question: How do the Britten Folksong arrangements relate to their traditional counterparts, with an emphasis on text? This research explores the relationship between traditional British folk songs and their Benjamin Britten counterparts. The function of this research is to create a new relationship between the original songs and their values and the impressions brought about by Britten through his edits. Primarily through harmonic arrangements, changes in melody and textual edits made by Britten. Both folk and classical music have been crucial components in my life and have shaped me as a performer. There have been a great number of folk songs and tunes arranged for classical music yet there is very little dialogue between the two styles. I have used a combination of my own fieldwork, interviews, rehearsals, recordings and historical research to create an in depth research into the differences made to the traditional songs by Britten in his arrangements. The final results have come to fruition in the creation of an in depth analysis of the differences between the arrangements and the songs, and a full recording of the sixth book of folk songs with guitar. The outcome is a combination of the two musical styles to create a new sound. A concert will follow in which the new arrangements will be performed in a space and atmosphere inspired by both classical and folk performance spaces. A noticeable difference in my classical performing has also come about through the research into storytelling and freeness in folk performance in combination with classical performance. Phoebe Kirrage is a British soprano, having previously studied Musicology at Royal Holloway University of London, she is now pursuing her masters degree in classical singing under the teaching of Noa Frenkel. Having sung from a very early age, Phoebe has had the privilege of performing in some of the UKs most prestigious performance venues, including The Royal Albert Hall and The Barbican. In the Netherlands Phoebe has had the opportunity to perform in spaces such has the Grote Zaal in TivoliVredenburg. Upcoming performances include Britten's Turn of the Screw and Psalm 42 by Mendelssohn.

The Emerging Industrial Relations of China, edited by WilliamBrown and ChangKai. Cambridge University Press, Cambridge, 2017, 266 pp., ISBN: 978‐1107114418, Price £22.99, paperback.

British Journal of Industrial RelationsVolume 57, Issue 2 p. 416-418 Book Review The Emerging Industrial Relations of China, edited by William Brown and Chang Kai. Cambridge University Press, Cambridge, 2017, 266 pp., ISBN: 978-1107114418, Price £22.99, paperback. Chris Smith, Chris Smith orcid.org/0000-0002-1348-189X School of Management, Royal Holloway University of LondonSearch for more papers by this author Chris Smith, Chris Smith orcid.org/0000-0002-1348-189X School of Management, Royal Holloway University of LondonSearch for more papers by this author First published: 09 May 2019 https://doi.org/10.1111/bjir.12462Read the full textAboutPDF ToolsExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinkedInRedditWechat Volume57, Issue2June 2019Pages 416-418 RelatedInformation

Editorial: conference culture and the benefits of connection

Editorial: conference culture and the benefits of connection

Performative Analysis: Reimagining Music Theory for Performance.By Jeffrey Swinkin

Performers and researchers have, over the last two decades, rethought the relationship between musical performance and analysis, discarding long held stereotypes of an incompatibility between the two areas and uncovering a burgeoning and fruitful field of contact. A decisive step has been to admit that forms of “prescriptive analysis,” common in the history of music theory because of the influence of scientific paradigms, are usually indicative of particular performance styles and thus cannot claim universal relevance. While the Society for Music Theory’s Performance and Analysis Interest Group (PAIG) has been active since 2004, research in the area has also received major impetus from musicologists assembled in the large UK-based projects CHARM (Centre for the History and Analysis of Recorded Music, Royal Holloway University of London, 2004–091) and CMPCP (Centre for Musical Performance as Creative Practice, University of Cambridge, 2009–142). These researchers gradually shifted attention away from prescriptive analytical-theoretical “systems” to the actual practices of performers; combining analytical, sociological, and empirical methods, their studies revealed a confusingly broad spectrum of performance concepts and styles, past and present, which are not easily assembled into a linear or coherent historical narrative of musical performance.3 Other perspectives to have emerged recently include the scrutiny and contextualization of historical concepts of “performance,” “interpretation,” and “execution” (Humboldt-Universität zu Berlin, 2011–174); projects aiming at the understanding of performance practice before the advent of recording focusing on editions and score annotations by performers and conductors of (mainly) nineteenth-century repertoire (University of Arts Berne, 2011–175); and another that combines research into historical sources, reception-sensitive analysis, recording history and performers’ expertise (University of Music and Performing Arts Graz, 2017–206). Theorist-performers such as Robert S. Hatten and Edward Klorman have further enriched the field by their performer-sensitive accounts of musical gesture, agency, and intra-ensemble communication.7

A biography and obituary of William G. Chaloner FRS (1928–2016)

William G. (‘Bill’) Chaloner FRS (1928–2016) was one of the world’s leading palaeobotanists and palynologists. He developed a love of natural science at school which led to a penchant for palaeobotany at university. Bill graduated in 1950 from the University of Reading, and remained there for his PhD, supervised by Tom Harris, on the spores of Carboniferous lycopods. After completing his PhD in 1953, Bill undertook a postdoctoral fellowship in the USA. He returned to the UK and, in 1956, began a long and distinguished academic career at four colleges of the University of London. His first position was at University College London, where he continued to work on Paleozoic palaeobotany and palynology. His 1958 paper on the effects of fluctuating sea levels on Carboniferous pollen-spore assemblages proved highly influential. Bill moved to a Chair at Birkbeck College in 1972, began to use the scanning electron microscope and was elected a Fellow of The Royal Society in 1976. He is the only pre-Quaternary palynologist to have been given the latter honour. In 1979, Bill was appointed to the Chair of Botany at Bedford College where he began to apply plant fossil evidence to general scientific problems. He began to work on arthropod–plant interactions, fossil charcoal and growth rings in wood. Bill was awarded the Medal for Scientific Excellence by the American Association of Stratigraphic Palynologists in 1984. Bedford College and Royal Holloway College merged in 1985, and Bill moved to the amalgamated institution. Bill continued to investigate very diverse topics, and added the analysis of leaf stomata, global environmental change and molecular palaeontology to his portfolio. Following retirement in 1994, Bill continued his research and teaching at Royal Holloway, University of London. His final paper was published in 2016, bringing to an end a research career of 66 years.

Poetiken des Traumas. Mit Analysen zu Ingeborg Bachmanns Malina, Monika Marons Stille Zeile Sechs und Terézia Moras Alle Tage by Annette Vieth

Reviews 263 history of German-language journalism in this period, of which Kisch is a significant representative. Such is the contextual detail provided, the chapters will likewise offer much to both military and cultural historians with an interest in Pola, a fascinating, liminal location with a long and rich history (it is mentioned in Dante’s Inferno, as Kisch himself notes). Historical photographs and maps are included in the sections dealing with the Austrian air force, submarine fleet and the Marinekasino in Pola. Robeck is able to probe the veracity of Kisch’s claimed experiences, crossreferencing the details he provides with the known historical data. And the readings of the texts themselves employ the methods of the literary historian effectively. Robeck unpicks Kisch’s narrative strategies, and his use of metaphor and cultural references, to provide convincing interpretations. She points, for example, to the use of the submarine exercise as a study in military psychology (a ‘Tauchgang [...] in die Seele des modernen Kriegers’ (p. 100)). She reads the superficially trivial, Feuilleton-like article about the ‘night life’ of Pola in symbolic terms, suggesting that the portrayal of the ‘in militärischer Konvention und beschämender Gleichgültigkeit erstarrte Offizierskorps in Pola’ (p. 128) feeds into a cynical reckoning with the doomed monarchy as a whole. This compact volume thus offers much, yet is also, arguably, incomplete, for it does not cover the other articles filed by Kisch from Pola in the same detail (there were six in total, all published in Bohemia). It is not without its formal peculiarities, which include the aforementioned lengthy ‘Exkursus’ in a smaller font, which surely could have been included in the main text, and a number of excessively lengthy, digressive footnotes. Despite these reservations this will certainly become essential reading for scholars of Kisch and there is plenty to recommend it. Jon Hughes Royal Holloway University of London Poetiken des Traumas. Mit Analysen zu Ingeborg Bachmanns Malina, Monika Marons Stille Zeile Sechs und Terézia Moras Alle Tage. By Annette Vieth. Interkulturelle Moderne, 8. Würzburg: Königshausen & Neumann, 2018. 563 pp. €49.80. ISBN 978–3-8260–6588–0. In recent years, trauma has become a key concept in cultural and literature studies. Combining individual with sociocultural history, trauma challenges literatureasnarrativemedium,questioningwhetherdeepemotionaldisturbance can be represented at all. Despite its popularity, the main influence on the philological discourse on trauma is still classical psychoanalysis, for example Sigmund Freud and Jacques Lacan. Annette Vieth’s study seeks to develop a literary point of view which is also aware of current developments in clinical psychology and argues that poetics of trauma are an underlying structural principle of a great variety of novels and hence paradigmatic for modern literature. Pursuing an interdisciplinary approach, Vieth discusses trauma in Ingeborg Bachmann’s Malina (1971), Monika Maron’s Stille Zeile Sechs (1991) Reviews 264 and Terézia Mora’s Alle Tage (2004). Her aim is to gain a broader understanding of trauma as literary topos, especially regarding narrative strategies used to speak about the ostensibly unspeakable, while providing new insights into the sociocultural function of literature. Poetiken des Traumas gives an extensive overview of the discourse on trauma as well as recent developments in psychology and psychoanalysis, covering aspects such as trauma and memory, trauma as result of sexual (child) abuse, individual versus collective trauma and gender implications of traumatic experience (pp. 54–96). In a second step, Vieth introduces literary reflections on trauma and language by Jean Améry, Imre Kertész and Ruth Klüger (pp. 96–126). Finding poststructuralist uses of the concept too vague and metaphorical, she orientates her understanding of trauma towards clinical definitions. Her methodological approach is hermeneutic and ‘empathiegeleitet[]’ (p. 112). The three main chapters each discuss one of the novels mentioned above. Since Vieth emphasizes the importance of the authors’ biographies for understanding their literary takes on trauma, these chapters offer extensive information on their lives as well as the literary and sociocultural contexts for their works. Her choice of texts by Bachmann, Maron and Mora enables Vieth to cover three main sources of both collective and individual trauma in the twentieth century (at least from a European point of view): the...

Biodrama. Proyecto Archivos. Seis documentales escénicos by Vivi Tellas

Reviewed by: Biodrama. Proyecto Archivos. Seis documentales escénicos by Vivi Tellas Cecilia Sosa Tellas, Vivi. Biodrama. Proyecto Archivos. Seis documentales escénicos. Compilación y coordinación: Pamela Brownell y Paola Hernández. Córdoba: Papeles Teatrales. Serie Dramaturgia, 2017. 287 pp. When in 2003 the Argentine theatre director Vivi Tellas invited me to write about a seemingly minor documentary piece she had crafted in her studio in Buenos Aires, I could not have imagined that the intimate and precarious piece featuring the director’s own mother and aunt would become such a crucial landmark on the local performing arts scene. More than sixteen years later, Mi mamá y mi tía stands as the inaugural piece of Proyecto Archivos, a performative series that specialists Pamela Brownell and Paola Hernández define as one of the most influential since the turn of the century (11). In Biodrama. Proyecto Archivos. Seis documentales escénicos, Brownell and Hernández gather together the first six performances composing the project: Mi mamá y mi tía (2003), Tres filósofos con bigotes (2004), Cozarinksy y su médico (2005), Escuela de conducción (2006), Mujeres guía (2008), and Disc Jockey (2008). The initiative was not, however, as simple as it might sound. As Tellas was never particularly interested in the written dimension of her work, in most cases these minimalist productions were not full-fledged dramatic pieces, but rough texts to be used as a guide in the performance space. Brownell and Hernández hence worked together with Tellas to reach the final version of the collection. As the authors themselves note in their Introduction, this editorial endeavour became an archival work in its own right (33). The result is quite fascinating: an organic and playful archival volume with multiple entries in which the aftermath of the six documentaries-en-scène also resonates in selected essays, written by renowned scholars including Brenda Werth, Beatriz Trastoy, Jean Graham-Jones, Julie Ann Ward, María Fernanda Pinta, Federico Baeza, Graciela Montaldo, and Javier Guerrero. The collection also features an interview, conducted in 2007 by the writer Alan Pauls, which is published for the first time in its entirety in Spanish. There, Tellas reveals her endless will to find theatricality outside theatre, her conviction that each person constitutes their own archive (273), and also her account on the “Umbral mínimo de la ficción,” what she calls that threshold zone in which “la realidad misma parece ponerse a hacer teatro” (274). What makes this carefully edited volume particularly timely is its revival of Tellas’ passion for archives, when she had in fact dropped the term, embracing instead the notion of Biodrama to define her broad, long-term project. [End Page 152] Thus, the volume succeeds in recovering Tellas as a curatorial pioneer in the local field. The volume, however, does not recognize the emergence of Biodrama in its specific context as a response to the critical aftermath of the 2001 crisis, in which Tellas anticipated the “uses [of] theatre to explore the possibilities of rebuilding a sense of community” (See article by Philippa Page in LATR, vol. 50, no. 2, 2017). In any case, the inspiration of this volume will appeal not only to theatre experts, but also to those who share a transnational passion for personal (and political) lives on and beyond the stage, when vulnerability and failure become the main protagonists. Cecilia Sosa Royal Holloway University of London Copyright © 2019 The Center of Latin American Studies

Heini Halberstam, 1926-2014

Heini Halberstam, 1926-2014