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Gender and narrative in L’Hiver de beauté, Les Ports du silence and La Rage au bois dormant by Christiane Baroche
Gill Rye

this is to be lived out is not actually represented in the novel. It is left for the reader to work with the pointers in the text. Les Ports du silence arguably gives its readers a little more practical detail on the subject of heterosexual sexual politics. The relationship between Jaime and Elodie is suffused with silence and mutual respect: ‘je reste où je suis, je ne franchis pas sa frontière. . .’ (p. ) (I stay where I am, I don’t invade her territory. . .). They are ‘deux solitudes’ (p. ) (two solitary people), a ‘fils’ and a ‘fille du vent’ (pp

in Women’s writing in contemporary France
Clotilde Escalle’s tales of transgression
Michael Worton

explosion of exploratory ways of saying sexuality (or, rather, sexualities) and of telling tales of selfdom. Hélène Cixous has argued that what she calls écriture féminine (feminine writing) ‘means embarking on “the passage toward more than the self, toward another than the self, toward the other”’.4 Elsewhere, she affirms that feminine writing is a ‘fidelity to what exists. To everything that exists. And fidelity is equal respect for what seems beautiful to us and what seems ugly to us’.5 Cixous’s theoretical position is clear and seductive, but it does rely on a notion of

in Women’s writing in contemporary France
Open Access (free)
Elleke Boehmer

a collection of case studies on the south? 15 As we see, for example, in the several chapters investigating efforts by southerners over time to convey and explain something of their southern environments to northerners, such as Kiro or Kōhere (or, I would add, in respect of South America, Jeremy Button of Tierra del Fuego on board the Beagle ), is it necessary to translate and thereby inevitably filter and adapt ideas of the past and future, history and geography, through northern languages and allegorical models to do so? Even eloquently transmigrated texts

in Worlding the south
Open Access (free)
Herman Melville
David Herd

artist as an ardent young man whose coming of age consists precisely in his first-hand acquaintance with the ruinous implications of literary enthusiasm. Pierre is cast as an enthusiast from the beginning – ‘To a less enthusiastic heart than Pierre’s the foremost question in respect of Isabel... would have been, What must I do?’ – and chief among the ambiguities the novel’s subtitle points towards is whether or not in light of Pierre’s (which is to say Melville’s) disappointments, enthusiasm is a sustainable mode of existence. Whether, that is, advanced minds should

in Enthusiast!
Open Access (free)
Unearthing the truth in Patrick O’Keeffe’s The Hill Road
Vivian Valvano Lynch

idea of such a ceremony would probably have been unthinkable. Those whom we commemorate here were doubly tragic. They fell victim to a war against oppression in Europe. Their memory too fell victim to a war for independence at home in Ireland. . . . The Peace Park does not invite us to forget the past but to remember it differently. We are asked to look with sorrow and respect on the memory of our countrymen who died with such courage far from the common homeland they loved deeply. . . . These too are Ireland’s children as those who fought for her independence are

in Irish literature since 1990
Jonathan Atkin

dramatically the natural processes of learning (and even perhaps reverse this process) while creating barriers against international academic research and cooperation. On the other side was trepidation about the effect of the war on domestic affairs and in particular the smooth running of the country’s principal centres of knowledge and learning. An early indication of fears of increased militarism was the public debate over military training at Cambridge University in the late spring of 1914. The respected Cambridge academic A.C. Benson wrote to The Times criticising a

in A war of individuals
Steve Sohmer

affable than any Prince vnder heauen. In which respect of her owne vertue and not his desert, it pleased hir so to humble the height of hir judgement, as to grace him a little whiles he was pronouncing, by these or such like tearmes. Tis a good pretie fellow, a lookes like an Italian ; and after hee had concluded, to call him to kisse her

in Reading Shakespeare’s mind
Political and contemporary contexts of the Shows
Tracey Hill

threats to the City’s peace and stability such as Envy or Ambition. In so doing, they inevitably engaged with political questions in the broadest sense. In this respect, as in others, they contrast to the royal masque, where, as Norbrook has argued, ‘overt religious imagery and overt political comment are kept under strict control’.2 The Shows also displayed the City’s sense of itself, often in implicit or, more rarely, explicit contrast to the values of the court. Mayoral pageantry was therefore a reflection of a civic culture grounded in the values of a local

in Pageantry and power
Eric Pudney

–328; Ewen, Witchcraft Hunting and Witch Trials; Macfarlane, Witchcraft in Tudor and Stuart England. 2 Kittredge, pp. 319–23; Sharpe, The Bewitching of Anne Gunter provides a book-length case study of one well-documented example. Witchcraft in Jacobean drama 131 respect. The theatrical representation of witches in the early part of James’s reign can be seen to complement (and compliment) his highly political interest in witchcraft, in view of the significance of the witch characters within the plays in which they appear. Above all, it is the way these characters become

in Scepticism and belief in English witchcraft drama, 1538–1681
The Show from street to print
Tracey Hill

date of the entertainment, as if to underscore the point. They were, after all, only ever printed at around the same time as the event. Here they differ from masque texts, which in some cases (Jonson’s masques are of course the most notable of these) were republished, sometimes amended, a while after the performance took place. In this respect the printed texts generated by the mayoral Shows are more reminiscent in content, form and purpose of the works produced to commemorate royal progresses and the like. As with these works, printing the Shows may have been

in Pageantry and power