In his Corrector, Burchard mentioned a similar belief connected with the Fates or “the sisters,” who were said to come into houses at certain times of the year and bring good luck if they found food and drink waiting for them.46 Neither Burchard nor William identified these ladies with Diana and her train, but other authors made this connection explicit. In the Romance of the Rose (c. 1270), Nature remarks that since women are credulous and emotional, they are especially susceptible to illusions and phantoms: As a result, many people in their folly think themselves

in The Malleus Maleficarum and the construction of witchcraft
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the forms and arrangements of social life: nationality, the state and the law, commerce, medicine and education, as well as in the conventions and affects of narrativity, romance and other protected spaces of culture. (Berlant and Warner 1998, 548) This important theoretical orientation presents us with the opportunity to think about singlehood in broader social and political terms, and prompts the consideration of issues related to social membership, identities, and normativity. Beyond this, it creates a new agenda for singlehood studies, one which highlights

in A table for one
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Ezra Pound

attempt to arrive at a sense of himself as poet through Distributing: Ezra Pound 83 the adoption of others’ style and modes. Or as he put it in his 1929 postscript to the preface on the republication of The Spirit of Romance: The detached critic may, I hope, find ... some signs of coherence, some proof that I started with a definite intention, and that what has up to now appeared an aimless picking up of tidbits has been governed by a plan which became clearer and more definite as I proceeded.5 What this retrospective theorizing should not be taken to imply is that

in Enthusiast!

Ayesha Ramachandran argues that “By associating the Elizabethan court with the romance garden rather than the epic battlefield, Spenser reveals and redefines the power relations that are at stake: romance is the world of Circe’s bed, of Acrasia’s garden and Aragnoll’s web, a world where the artfulness of women, the duplicity and dissimulation associated with female power, prevails over single-minded epic might” (Ramachandran, “Clarion,” 81). With one exception, even the Old Historicists, however, generally hesitated to identify Venus allegorically, despite their often

in Spenserian satire
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Cousins and the changing status of family

sexual openness and sexual suppressions that are built generally into the structure of the book’. 121 After she rejects her sexless, icy cousin it is to Rochester and his fiery nature that Jane runs and she is rewarded for her rejection of endogamic celibacy with a virile and masculine lover. DeLamotte argues that ‘the ideology of Gothic romance idealises female passivity and dependence. At the crucial

in Gothic incest
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John Lydgate’s ‘Soteltes for the coronation banquet of Henry VI’

include Barbara A. Hanawalt and Michal Kilbialka, eds, Medieval practices of space (Minneapolis: University of Minnesota Press, 2000); Mayke de Jong, Frans Theuws, and Carine van Rhijn, eds, Topographies of power in the Middle Ages (Leiden: Brill, 2001); Virginia Chieffo Raguin and Sarah Stanbury, eds, Women’s space: patronage, place, and gender in the medieval church (Albany, NY: State University of New York Press, 2005), and Geraldine Heng, Empire of magic: medieval romance and the politics of cultural fantasy (New York: Columbia University Press, 2003). 25 Mark

in Participatory reading in late-medieval England
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Speaking of Ireland

’s challenge of essential Irishness, or EC’s romance. And in a sense we have moved here beyond Michelet’s trauma of the loss of ‘the people’ as subject. As Levinas suggests: ‘It is as if the other established a relationship or a relationship were established whose whole intensity consists in not presupposing the idea of community’ (Hand 1996: 83–4). Stephen and Bloom have, in other words, fleetingly surpassed that sometimes stifling foundational need to speak to the future nation, seeing in the difference of each other a ‘deeper’ version of ethical responsibility than even

in Across the margins
Foregrounding the body and performance in plays by Gina Moxley, Emma Donoghue and Marina Carr

‘resist, exaggerate, and destabilize the distinctions and boundaries that mark and maintain high culture and organized society’.35 The Catwoman is ‘lapping wine from a saucer’ (p. 43) while the priest who is flirting with 9780719075636_4_004.qxd 74 16/2/09 9:24 AM Page 74 Drama her wears his trousers and shirt but as a loose mask over his pyjamas and substitutes the text of saying grace with fragments of his one-time romance, incarnating and voicing the duality of social gloss and private reality. But most importantly for the present investigation, there is a

in Irish literature since 1990
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Representations of Irish political leaders in the ‘Haughey’ plays of Carr, Barry and Breen

. Both plays deal with their subject through an almost exclusive emphasis on the family romance. Breen in opting for a more broadly social and satirical perspective would appear to have sidestepped some of the complications they encounter; but the more direct representation in Charlie of scenes from Irish political life has to contend with the wide range of archive material available to the documentary makers. All three plays depend 9780719075636_4_005.qxd 82 16/2/09 9:24 AM Page 82 Drama on a degree of knowledge of events from the last forty years of Irish

in Irish literature since 1990
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Writing home in recent Irish memoirs and autobiographies (John McGahern’s Memoir, Hugo Hamilton’s The Speckled People, Seamus Deane’s Reading in the Dark and John Walsh’s The Falling Angels)

and redefine oneself in the emptiness that is left behind. Walsh’s memoir is subtitled ‘An Irish Romance’, but that love of romantic Ireland is severely undercut by the narrator’s persistent sense of displacement. In many ways, Walsh’s writing exhibits those distinguishing characteristics identified by Deane in his account of Irish memoir and autobiography in the Field Day anthology. If at one level, there is an urge towards consolidation of a secure identity, there is at another level a counter-urge towards complete abandonment of any such notion. The Falling

in Irish literature since 1990