Contemporary Irish and Scottish fiction

formal challenge to conventional narrative discourse is to combine limited authorial narrative with a range of focalisers so as to produce a text decentred in terms of focus and identification. As with Doyle, this narrative technique is linked to the subject matter, as the loss of narrative control highlights the loss of individual self-control brought on (in many cases, actively sought) by the characters’ substance abuse. The most obvious formal signal of their difference from standard novelistic discourse, however, is the adoption of ‘regional’ voices, and the

in Across the margins

what that purpose consists of beyond the collective maintenance of a safe space, democratically self-governed. That seems a weak reed on which to support the heavy lifting of the liberal state. The intergenerational qualities of citizenship are central to Bauböck's analysis. Although those intergenerational qualities serve the interests of both the state and liberal conceptions of justice, it is not clear that they are necessary to community

in Democratic inclusion
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Self-entrapment in Waiting for Godot

experiences enact this aspect of the narrative-self’s experience.3 The ‘codification’ and ‘impositions’ of language within the play are results of this primary rupture between primary containing and expressive aspects of the narrative-self, which struggles to be recognized within an entrapping, unheeding matrix. The play’s appeal can be partly understood because of its elucidation of primary states of human experience. The emerging-self responds to traumatic disconnection from the world/mother with powerful admixtures of rage, despair, and hope, developing powerful imagos

in Samuel Beckett and the primacy of love
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Memories of cinema-going in the ‘Golden Age’ of Hollywood

research into the memory narratives of a particular local city press, the study argues that personal memory of cinema is socially constructed by its context to create certain culturally sanctioned discourses, in this case figured around age, community, and city identity. If the last two chapters raised issues of history and memory through particular historical and commemorative texts and events in the 1920s

in Memory and popular film
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This is the second time I have written about Beowulf . This is also the second time I have written about Beowulf in the weeks following and – now, as I revise this chapter – preceding the births of my two youngest children. Beowulf and babies. Beowulf and babies? The only easy connection I can make is alliterative. For scenes of childbirth and infant caregiving fall outside the narrative purview of the poem. Yet, in Beowulf 's opening lines, birth and childcare are brought to centre stage in the story of Scyld Scefing. A foundling of

in Dating Beowulf
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Mistry conventional’, and which, thereby, partakes of ‘the postrealist ideology of postcolonial writing’.43 This phrase turns out to refer to the way in which postcolonial writing often interrogates and deconstructs legitimising hegemonic narratives, but does so in a way that retains a concern for material suffering, especially that of the body, which distinguishes it from the more internalised preoccupations with the self-referentiality of language found in postmodernism. This distinction between postcolonialism and postmodernism has generated much critical debate in

in Rohinton Mistry
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witchcraft, both during trials and in the course of everyday social interaction. The narratives told by the child-witches of Rothenburg were thus so shocking to contemporaries and posed such a severe test of the authorities’ restrained handling of witchcraft allegations because they broke and threatened to permanently loosen the conventions that traditionally governed and constrained how people in the area spoke about witchcraft. The second factor which limited the severity and scale of witch-trials in Rothenburg was the refusal on the part of the elites to abandon normal

in Witchcraft narratives in Germany
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lee-line between the nature of self, at one end, and the nature of the collective, at the other, in which subjectivity, race and colonisation were reimagined as the conditions for culture, nation and freedom. In France Présence africaine ( Revue Culturelle du Monde Noir) , founded in 1947, was dedicated to revitalising, illustrating and creating ‘values that belong to the

in West Indian intellectuals in Britain
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constituencies faced eternal damnation. Here, to my mind, were discourses that drew upon imperial concerns to construct narratives of progress. This seemed a more productive way of proceeding, and so I studied evangelical and travel writings on the metropolitan poor and India in order to understand better the ways in which they were structured by, and the mechanisms they displayed to express fears about, the

in The other empire
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sense of these ‘big stories’ in order to legitimise particular political programmes in the contemporary context. However, national identity derives its power from being embedded in individual subjectivity. Thus the narratives of national identity articulated by political and intellectual elites are manifested and constantly reinterpreted in social practice. None of the three levels can be prioritized because they are mutually constitutive. That is, social practices within nations make no sense outside the narratives of the first and second levels. The first, most

in The formation of Croatian national identity