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Rachel E. Hile

for satirical readings or uses of Spenserian intertexts. Analyzing Thomas Nashe’s Choise of Valentines with reference to Spenser’s “March” eclogue from The Shepheardes Calender and Tailboys Dymoke’s Caltha Poetarum alongside Spenser’s Muiopotmos gives a sense of the code of indirect satire as a flexible vocabulary of subterfuge and innuendo. In Nashe’s, Dymoke’s, and (in the chapter’s “coda”) Shakespeare’s responses to and reworkings of Spenserian images and narratives, we see the overwhelming significance of Spenser in the literary field of the 1590s. Hunting love

in Spenserian satire
Open Access (free)
Chantal Chawaf ’s melancholic autofiction
Kathryn Robson

’, Freud posits mourning and melancholia as different responses to the loss of a love object. Where the mourner gradually withdraws libido from its attachments to the lost object, the melancholic, unable to avow the loss, desires to incorporate the lost object into the self.5 This incorporation is oral: Freud writes that ‘The ego wants to incorporate this object into itself and [. . .] it wants to do so by devouring it’, so that the melancholic ego feeds vampirically off the lost object.6 Where the mourner must symbolically ‘kill off’ the love object, the melancholic

in Women’s writing in contemporary France
Open Access (free)
Trauma, dream and narrative
Victoria Best

   Louise L. Lambrichs: trauma, dream and narrative The novels of Louise Lambrichs are brilliant but troubling psychological dramas focusing on the traumas that inhabit the family romance: incest, sterility, the death of those we love and the terrible legacy of mourning. Bringing together themes of loss and recompense, Lambrichs’s novels trace with infinite delicacy the reactions of those who suffer and seek obsessively for comfort and understanding. But equally they perform a subtle and often chilling evocation of the secrets, lies and crimes that

in Women’s writing in contemporary France
Open Access (free)
Simon Smith, Jackie Watson, and Amy Kenny

in works of art, including contexts of night, of sexual pleasure, and of love melancholy. These investigations yield clear suggestions about early modern sensory configurations, as well as emphasizing the contingency of sensory experience. Once again, attention to the senses provides a distinctive route through the texts being interrogated, offering mutual illumination of cultural context and work of art. The final section asks what sensory experiences might have been enacted when early modern subjects actually engaged with works of art, considering practical

in The senses in early modern England, 1558–1660
Open Access (free)
The adolescent girl and the nation
Elleke Boehmer

microcosm. They have dramatised her negotiated bid for selfhood and status within what might be called the national house, that is, within the inherited and correlated structures of both family and nation-state. This chapter will address how three very different postcolonial women writers, each one a ‘daughter’, if lost or prodigal, to one or other nation, have written themselves into the national family script, or redrafted the daughter’s relationship to the national father. The novels in question are: the expatriate Australian Christina Stead’s The Man Who Loved Children

in Stories of women
Roberta Frank

; (syð)ðan Ingelde weallað wælniðas, ond him wiflufan æfter cearwælmum colran weorðað. (2063–6) (Then on both sides the oaths of men will be broken; then deadly hostility will boil up in Ingeld, and his love for the woman will become cooler after the seething of sorrow.) The

in Dating Beowulf
New writers, new literatures in the 1990s
Editors: Gill Rye and Michael Worton

The 1990s witnessed an explosion in women's writing in France, with a particularly exciting new generation of writer's coming to the fore, such as Christine Angot, Marie Darrieussecq and Regine Detambel. This book introduces an analysis of new women's writing in contemporary France, including both new writers of the 1990s and their more established counter-parts. The 1990s was an exciting period for women's writing in France. The novels of Louise Lambrichs are brilliant but troubling psychological dramas focusing on the traumas that inhabit the family romance: incest, sterility, the death those we love and the terrible legacy of mourning. The body of writing produced by Marie Redonnet between 1985 and 2000 is an unusually coherent one. The book explores the possibility of writing 'de la mélancolie' through focusing on the work of Chantal Chawaf, whose writing may be described as 'melancholic autofiction', melancholic autobiographical fiction. It places Confidence pour confidence within Constant's oeuvre as a whole, and argues for a more positive reading of the novel, a reading that throws light on the trajectory of mother-daughter relations in her fiction. Christiane Baroche was acclaimed in France first as a short-story writer. Unable to experience the freedom of their brothers and fathers, beur female protagonists are shown to experience it vicariously through the reading, and the writing of, narratives. Clotilde Escalle's private worlds of sex and violence, whose transgressions are part of real lives, shock precisely because they are brought into the public sphere, expressed in and through writing.

Open Access (free)
Theatre and the politics of engagement
Author: Simon Parry

This book is about science in theatre and performance. It explores how theatre and performance engage with emerging scientific themes from artificial intelligence to genetics and climate change. The book covers a wide range of performance forms from the spectacle of the Paralympics Opening Ceremony to Broadway musicals, from experimental contemporary performance and opera to educational theatre, Somali poetic drama and grime videos. It features work by pioneering companies including Gob Squad, Headlong Theatre and Theatre of Debate as well as offering fresh analysis of global blockbusters such as Wicked and Urinetown. The book offers detailed description and analysis of theatre and performance practices as well as broader commentary on the politics of theatre as public engagement with science. It documents important examples of collaborative practice with extended discussion of the Theatre of Debate process developed by Y Touring theatre company, exploration of bilingual theatre-making in East London and an account of how grime MCs and dermatologists ended up making a film together in Birmingham. The interdisciplinary approach draws on contemporary research in theatre and performance studies in combination with key ideas from science studies. It shows how theatre can offer important perspectives on what the philosopher of science Isabelle Stengers has called ‘cosmopolitics’. The book argues that theatre can flatten knowledge hierarchies and hold together different ways of knowing.

The sense of an ending in Jeanette Winterson’s The Stone Gods
Adeline Johns-Putra

more generally, as many critics do (for example, Onega 2006: 8; Andermahr 2009: 25), that her work is dominated by the idea of love, particularly, the theme of love as a power that transcends the real and the use of ‘the metaphor of lovemaking as writing’ (Andermahr 2009: 26). And, while her novels’ tendency for experimental points of view, non-linear temporality and rich, repetitive style seems ample evidence of her postmodernist credentials, Sonya Andermahr, citing Susana Onega, rightly identifies a tension in Winterson’s postmodern aesthetics: ‘she The

in Literature and sustainability
John Donne, George Chapman and the senses of night in the 1590s
Susan Wiseman

place as a ground of philosophical thought.6 An example of the key role of the senses in Donne’s early poetry is the ‘Lecture Upon the Shadow’. The poem is generally regarded as needing explication, and critics tend to explain the use of shadows shortening and lengthening in the poem as standing for the uncertainties that shade the lovers’ frankness in the early, morning stages of love, disappearing at love’s zenith only to be replaced by shadows facing the other way:7 MUP_Smith_Printer.indd 131 02/04/2015 16:18 132 The senses in context Except our loves at this

in The senses in early modern England, 1558–1660