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Self-entrapment in Waiting for Godot

’s use of art, both in his metaphorical dance (see below), and in his monologue, to disguise (and reveal) his depressed feelingstate. Just as Lucky fears direct confrontation with Pozzo, and must resort to forms of expressive art, so this patient’s writing explored her inner sense of despair and rage. Like Estragon, who must say ‘I am happy’, this patient felt she had to respond to her father in a way that complied with his demand for omnipotent control. Her dependency on him as a primary object, coupled with a fear of abandonment, would eradicate her sense of self at

in Samuel Beckett and the primacy of love
The Catholic challenge during the Thirty Years’ War

4 ‘When will the burning start here?’: the Catholic challenge during the Thirty Years’ War The authorities in Rothenburg were spared another problematic encounter with a self-confessed child-witch until 1627, when thirteen-year-old Margaretha Hörber from the hinterland village of Gebsattel began claiming that she had been seduced into witchcraft and taken to witches’ dances by older women. As befitted a teenager, her story was more detailed than that told by six-year-old Hans Gackstatt in 1587, particularly in terms of her descriptions of the witches’ dance and

in Witchcraft narratives in Germany

involve dancing, drumming, and extraordinary efforts on behalf of the saint that resulted in participants achieving alternate states of consciousness. These states played an important role in individual spirituality – one that has sometimes been overlooked by researchers. In my fieldwork, I observed that some individuals were deeply and spiritually attracted to religiosity. These people often became involved in religious

in Witchcraft Continued
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become. In this, the dream message of the note also becomes an oracular injunction, to ‘network’ with others in an ongoing dance of life. Reader and writer become twinned, coupled themselves, contained and containing, meeting and separating within the unity of a textual, maternal space, going on alone, yet not alone. This seems to me to be Beckett’s primal message to himself, to us – within the nest of his texts, meant to protect a nascent self, there is ultimately the sharing that is life. Keller_06_ch5+Epil 218 23/9/02, 11:03 am

in Samuel Beckett and the primacy of love
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Unearthing the truth in Patrick O’Keeffe’s The Hill Road

can have a bit of a get-together. Celebrate the life of the dead you or they don’t know a thing about. Their poor mother. Not long after their father. Oh, to be alone! To be alone and far from all of them! Back in my flat in Dublin and dancing on a Saturday night after work, pissed and holding a girl against a wall to the pounding music, and my mickey filled with warm blood. My posters of Bob Dylan and The Smiths above my single bed.8 Minutes later Jack attempts a farewell to his parents’ world and muses that after death: There was only the clay; that’s all we all

in Irish literature since 1990

around 20 seconds featuring a small group of Sioux Indians. One of these films, entitled Buffalo Dance , showed three dancers moving in a circle with two drummers seated behind them, while the other, Sioux Ghost Dance , involved about ten dancers milling back and forth on the small studio stage ( figure 2.1 , left). 1

in Beyond observation
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and work. And in those days too, there were the joys of the elegant Pittman’s shorthand, with its own compensatory aesthetic rewards.) And yet this life of efficiency has been paralleled – or perhaps it’s better to say occasionally interrupted – by repeated attempts at creativity. Over the years, I have from time to time taken piano and classical guitar lessons; enrolled in drawing classes; studied ballet and contemporary dance; joined creative writing groups and workshops. Nearly always, and even when my attempts were good enough, I managed to undermine this

in Austerity baby

fancy dress ‘Variety Race’ and during a period of night duty, Harris persuaded another nurse to cover her duties until 3 a.m. so that she could attend a local English colonists’ dance, leaving at 2 a.m. to complete her duty. It seems she did not even stop to change into civilian clothes, claiming to have proudly worn her nurse’s uniform while indulging in ‘plenty of dancing’ and enjoying herself ‘immensely’ as it ‘was very jolly’.48 During their service in South Africa, nurses recorded their many varied excursions in their personal correspondence. They recorded their

in Colonial caring

appealing idea, but the differences as well as the similarities between minstrels need to be appreciated. A diversity of vernacular terms for minstrels conveyed status differences as well as different performance skills among the entertainers. Some performance genres travelled better than others. Low-status physical performers – acrobats, jugglers and dancers – probably moved more easily between different language and cultural groupings than verbal performers, who might have high status within their own speech communities. Traditions of minstrelsy that gave high prestige

in The spoken word

on his visit to England and the court of Queen Victoria in 1838 – an event referred to in Victoria the Great . The film’s comedy relies on a series of misunderstandings. Firstly, Victoria’s court ball director is sent to Vienna to learn about the new waltz, witnesses a drunken brawl involving orchestra and dancers and presumes this riotous behaviour to be part of the dance. This uproar is a

in The British monarchy on screen