Sarah Orne Jewett, The Tory Lover, and Walter Scott, Waverley
Alison Easton

she comes to love) and his mother, who remains throughout fiercely loyal to the British Crown. The novel interweaves Wallingford’s transatlantic adventures on the Ranger (voyage to France, raiding the English coast, imprisonment in Plymouth and escape) with Mary’s life in wartime Maine, her support of Madam Wallingford in spite of their big political differences and the two women’s attempt to rescue Roger in England. The Tory Lover is a problematic text in the Jewett oeuvre. Even Jewett expressed her doubts: ‘I grow very melancholy if I fall to thinking of the

in Special relationships
Open Access (free)
Alison Forrestal

bishops still had to endure when he addressed the Assembly of Clergy. All those bishops then in Paris received a personal invitation to hear him applaud the example of Thomas à Beckett, who had not hesitated to advise his king of the abuses committed in his name or to impress upon him the fact that he would one day be forced to render account to God for his administration. Dony urged his fellow bishops to follow the saint’s chap 5 22/3/04 156 12:53 pm Page 156 FATHERS, PASTORS AND KINGS example, in ‘[speaking] efficaciously to the King and [awakening] his

in Fathers, pastors and kings
Derval Tubridy

8 Beckett, Feldman, Salcedo . . . Neither Derval Tubridy Writing to Thomas MacGreevy in 1936, Beckett describes his novel Murphy in terms of negation and estrangement: I suddenly see that Murphy is break down [sic] between his ubi nihil vales ibi nihil velis (positive) & Malraux’s Il est difficile à celui qui vit hors du monde de ne pas rechercher les siens (negation).1 Positioning his writing between the seventeenth-century occasionalist philosophy of Arnold Geulincx, and the twentieth-century existential writing of André Malraux, Beckett gives us two visions

in Beckett and nothing
Open Access (free)
The cartographic consciousness of Irish gothic fiction
Christina Morin

almost essential to the genre’. 8 Yet, closer examination of Radcliffe's oeuvre reveals that even she was not as attached to Catholic Continental settings as we now tend to think. In fact, Radcliffe's earliest novel The castles of Athlin and Dunbayne (1789) shuns a medieval Catholic European setting in favour of the sublime scenery of contemporary Scotland. If this gestures towards the equation of the so-called ‘Celtic Fringe’ with a barbarity equally terrifying, if not more so, than that of the Catholic Continent, it also refers back to the local, English

in The gothic novel in Ireland, c. 1760–1829
The representation of violence in Northern Irish art
Shane Alcobia-Murphy

‘small’ ironic? How can we judge the scale of the implied deception? Commenting on the titles allocated to each of his works, Doherty contended that ‘[t]hey propose a narrative, and I’m interested in how the viewer completes that narrative and locates these images within it’.17 As Paul O’Brien rightly contends, therefore, Doherty’s oeuvre consistently raises ‘the question of how we fill in meanings to images, in the context of the set of accepted ideological responses’.18 The viewer may well be fully informed about how the ‘performative discourse of the body’ operates

in Irish literature since 1990
Open Access (free)
The hygienic utopia in Jules Verne, Camille Flammarion, and William Morris
Manon Mathias

and Deodorization? Smell in Early Modern English Culture’, in P. Burke, B. Harrison, and P. Slack (eds), Civil Histories: Essays Presented to Sir Keith Thomas (Oxford: Oxford University Press, 2000), 127–44 (p. 129). Such a narrative is exemplified in Sigmund Freud's Civilization and its Discontents [1930], trans. J. Strachey (New York: Norton, 1961), 93–4; 97; 99 n. 1. Freud's linking of increasing cleanliness with the development of human civilisation has been highly influential. Corbin's The Foul and the Fragrant , for example, broadly conforms to this

in Progress and pathology
Open Access (free)
Care and debility in collaborations between non-disabled and learning disabled theatre makers
Dave Calvert

have now become a principle of everyday socio-economic productivity. Bel’s interrogation of dance, therefore, contains an implicit political critique of neoliberalism. For Wihstutz, this political project legitimises Bel’s exercising of undue authority over the actors: It is fully justified to accuse Mr. Bel of exploiting the HORA actors. They are instrumentalized for an aesthetic concept that lies at the very heart of Bel’s œuvre. The actors need to be presented on stage as disabled, for it is their very disability that serves as a tool to deconstruct

in Performing care
Open Access (free)
Theory and Spenserian practice
Rachel E. Hile

, with multiple competing hypotheses regarding attribution (including multiple scholarly disagreements about whom Spenser satirizes through the Ape), reading the Fox has been, from the beginning, uncomplicated: the Fox allegorically represents William Cecil, Lord Burghley, Queen Elizabeth’s chief advisor. We know that Elizabethans interpreted Spenser’s Fox as referring to Burghley because of Richard MUP_Hile_SpenserSatire_Printer.indd 13 14/10/2016 15:35 14 Spenserian satire Peterson’s discovery of a letter from Thomas Tresham regarding the “calling-in” of the

in Spenserian satire
Open Access (free)
Mapping times
Alex Gekker, Sam Hind, Sybille Lammes, Chris Perkins and Clancy Wilmott

’, and are now ‘everywhere’ and ‘everyware’ (Greenfield, 2006), but that there is now little ‘unique’ about this digital imbrication. As Cramer (2014: no pagination) suggests: pragmatically, the term ‘post-digital’ can be used to describe either a contemporary disenchantment with digital information systems and media gadgets, or a period in which our fascination with these systems and gadgets has become historical just like the dot-com age ultimately became historical in the 2013 novels of Thomas Pynchon and Dave Eggers. (emphasis added) While these kinds of

in Time for mapping
Hans Peter Broedel

tradition to emphasize diabolic responsibility for misfortune at the expense of the divine.18 To take one example, the Dominican preacher Thomas of Cantimpré wrote in 1258 that during a demonically inspired storm, the vines of a notorious usurer were left intact, and that aerial demons were even heard to cry out, “Cave, cave,” when an overzealous member of their company approached his lands too closely.19 Thomas intended, of course, to illustrate that material prosperity is no sure indication of spiritual merit as well as the diabolic nature of usury, but in the process

in The Malleus Maleficarum and the construction of witchcraft