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An introduction
John J. Joughin and Simon Malpas

critique in the academy effectively expanded at an inversely proportional rate to its ability to intervene in, let alone stem or prevent, the ravages of capital’s advance on the public sphere. So much so, that by way of consolidating the material gains it had safely accrued 18 13 14 15 16 17 18 19 20 21 22 23 The new aestheticism during Reaganism and Thatcherism, the ideological offensive of 1990s neo-conservatism, manifested during the so-called ‘culture-wars’, had very little difficulty in caricaturing and hijacking its radical ‘opponent’. In this climate claims

in The new aestheticism
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Romances, novels, and the classifications of Irish Romantic fiction
Christina Morin

‘appropriate’ prose fiction as that which educates its young (female) reader by way of didactic realism. Its apparent conservatism notwithstanding, The convent 's treatment of its characters suggests a liberal agenda along the lines of that put forth by The heroine – one that implies that, perhaps more important than what one reads is how one reads. 46 The education Eleanor has received from her fashionable novels helps to win her a husband but provides no comfort when the fortune-seeking O'Flaherty absconds. Similarly, Woodville's misguided

in The gothic novel in Ireland, c. 1760–1829
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John Robert Keller

-into-space, and the dead end [which] haunts every demand for change and which engenders a deep conservatism, and a demand for sameness, stability and support’ (Bick, 1986: 299). The anxiety about change, this love of sameness, is a familiar one in Beckett. However, the deadened ‘dead end’ is one the narrative-self refuses to accept, as it continues to create, to start again, hoping for a change that will bring primal contact. A lorn land The central thesis of this study is that Samuel Beckett’s fictional/ dramatic universe is organized by an emerging-self attempting to maintain

in Samuel Beckett and the primacy of love
Bringing the Shows to life
Tracey Hill

escaped many people. ‘To humour the throng’: ‘popular’ elements of the Shows If the content of the mayoral Shows reflected popular London taste, at least to an extent, then they might be considered analogous to the popular taste in printed texts of ‘the general [non-elite] reading public’, where, as Watt argues, ‘conservatism’ and a ‘persistence of old-fashioned beliefs’ can be detected.219 Accordingly, there were other elements to the entertainment that, perhaps because they were so taken for granted, or because the poets had little to do with them, were never mentioned

in Pageantry and power