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Open Access (free)
Sara Haslam

of the text; it is more to do with a fascinated recognition of female power over those origins. Here we can begin to spy the regenerative roots of the memory, especially as they are revisited in other, fictional, soon to be encountered, scenes. Ford’s memory of the above occurrence is detailed in the extreme; it is hard to believe that he has ever ‘forgotten’ this aspect of his past – his ostensible explanation for the writing of the memoir. He shifts from the past tense into the present almost imperceptibly as the comparatively weak constraints of the intervening

in Fragmenting modernism
Open Access (free)
‘Gothicism’, ‘historicism’, and the overlap of fictional modes from Thomas Leland to Walter Scott
Christina Morin

and the rational continues with William's description of D’Aumont, one of Mal-leon's spies. Taken in by D’Aumont's lies, William ‘resign[s] [him]self entirely to the influence of this new friend, whose power was like that of those infernal imps who, they say, command the winds to roar or be still, and the waves to swell or to subside, as their wicked purposes require’ ( Longsword , vol. 1, p. 43). Explaining himself further, William suggests that he had been bewitched: Hast thou never heard that

in The gothic novel in Ireland, c. 1760–1829
Eric Pudney

legal aspects of witchcraft, such as the rules governing evidence against witches and the degree of proof required in order to find an accused witch guilty. But the urgent threat of maleficium and the concern with legal procedure disappear almost entirely from the writings of witchcraft theorists following the Restoration – an indication that the practical aspects of the question were fading into insignificance.3 As the witchcraft debate moved away from questions about the extent of witches’ power and how they should be dealt with under 1 Clark, Thinking with Demons

in Scepticism and belief in English witchcraft drama, 1538–1681
Open Access (free)
Trauma, dream and narrative
Victoria Best

the power of narrative to represent. In retrospect, the protagonist’s first-person narrative in Lambrichs’s texts often turns out to have performed a slow and exacting elaboration of the intense but confusing message which the dream conveys. My aim, then, in this analysis, is to consider the interplay between dream and narrative in the long process of rehabilitation and expiation performed by the narrators of Lambrichs’s novels in their endeavour to survive trauma. The most striking exploration of dreams to be found in Lambrichs’s texts comes in Journal d

in Women’s writing in contemporary France
Open Access (free)
Gill Rye and Michael Worton

’s theorising having itself an authoritative force cannot be denied in the context of the new women writers who were coming to the fore in the s even as they remained marginal to the mainstream literary canon. While some still lament the demise of the writer’s oracular status, many seized on this apparent diminution in their social power in order to experiment not only with form but also with subject matter and to push back the frontiers of what was perceived as political. By exposing – and themselves accepting – the fact that every text necessarily articulates an

in Women’s writing in contemporary France
Open Access (free)
Rachel E. Hile

general in this time period is confused and incomplete, in part no doubt because of the sense that it was safer not to speak too clearly about the ways that poets could and did criticize those in power. We can see this emphasis on discretion in Thomas Nashe’s abuse of Gabriel Harvey for criticizing Spenser’s malcontented- MUP_Hile_SpenserSatire_Printer.indd 174 14/10/2016 15:36 Conclusion 175 ness in Mother Hubberds Tale: “If any man were vndeseruedly toucht in it, thou hast reuiued his disgrace that was so toucht in it, by renaming it, when it was worn out of al

in Spenserian satire
Open Access (free)
The imaginary archaeology of redevelopment
David Calder

material reality nor ignores the power dynamics that determine which memories circulate with greater or lesser ease. Here I echo Randall McGuire’s critique of post-processualist archaeology: Divorced from any theoretical metanarrative that would provide insight into the relevance of competing knowledge claims, post-processualist archaeology is devoid of the power to contest interpretations that uphold existing conditions. […] Multivocality has the danger of denying or masking the power of the powerful. We must be able to judge some voices as pernicious.7 Without falling

in Street theatre and the production of postindustrial space
Open Access (free)
Hamlet, adaptation and the work of following
John J. Joughin

autonomy it is in one’s power to grant, which means, seen in its own terms’.2 Clearly, Cavell is not seeking a return to an autotelic or self-contained notion of ‘the-text-in-itself ’, much less some spurious sense of original authenticity or immutable literary value. Rather, 132 Readings his interest is linked directly to the originary governance of the work of art and the hermeneutic yield of what he terms ‘our unpredicted reconsiderations of works from any period’. This surplus potential, manifested by the plays’ ‘appropriability’, is perhaps especially evident in

in The new aestheticism
Open Access (free)
Charlotte Perkins Gilman, Sarah Grand and the sexual education of girls
Janet Beer and Ann Heilmann

agency, yet doomed to long for self-erasure and death as the only available gateways to freedom.1 Half a century and a successful women’s movement later, woman’s accession to masculine power was no longer the stuff of fantasies or delayed until the afterlife. For Charlotte Perkins Gilman, on the other side of the Atlantic, writing the fantasy with homiletic edges, ‘If I Were a Man’, in 1914, her ‘If ’ rather than ‘I wish’ illustrates a real development made simply through the expression of the educative mission she would undertake as well as the power she would feel. To

in Special relationships
Theatre of Debate
Simon Parry

responded to scientific and technological developments particularly within the life sciences. I argue that this body of work constitutes a creative engagement with what Sarah Franklin (2000) and Nikolas Rose (2007) call ‘the politics of life itself ’. Theatre of Debate involves processes through which forms of life and the technologies that might be adapting or giving rise to new life forms are understood as sources of power and subject to political contest. I go on to discuss Theatre of Debate as an ethopolitical dramaturgy bringing together the politics and ethics of

in Science in performance