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Identities in crisis in the early novels of Marie Darrieussecq
Shirley Jordan

connect. We keep on missing each other. It is to Naissance des fantômes and Le Mal de mer that we will turn in order to consider the idea of the missing other and the shaken sense of self which is its corollary. In the first of these, Darrieussecq’s lucid and inventive meditation on the enduring theme of the disappeared distils the effects of a common grief within one woman’s experience. Her choice of a missing rather than a dead husband is a key factor in this respect, embracing generations of women who have waited (Duras’s La Douleur is clearly a precursor),11 and

in Women’s writing in contemporary France
Shérazade and other women in the work of Leïla Sebbar
Margaret A. Majumdar

. In many cases, the women have no particular names of their own, but reappear from one text to another as almost archetypal figures – the Mother, the Daughter, the Old Woman. As this intertextuality also applies to the visual references which concern us, I shall refer to texts from the whole corpus. My starting point is the role which the gaze has played in the theorisation of the other, for which much is owed to the analyses of Jean-Paul Sartre, who not only developed this notion generally in respect of relations between the self and the other, but also specifically

in Women’s writing in contemporary France
Open Access (free)
Walt Whitman and the Bolton Whitman Fellowship
Carolyn Masel

imagination. Traubel’s wife Anne, whose intuitions he respected, did not like Bucke; moreover, she thought his ideas about women were deplorable.36 Traubel went so far as to criticise Bucke’s paper on Cosmic Consciousness (a spiritual phenomenon inspired by his first meeting with Whitman) as suffering from a lack of creative imagination.37 Wallace himself, Traubel wrote, was able to ‘get at the spiritual Whitman more infallibly than [did] “the good doctor”’.38 In response to Wallace’s hint that he was likely to ‘criticise [Bucke’s paper] sharply’, Traubel expanded on his

in Special relationships
Open Access (free)
Eric Pudney

Elizabeth Sawyer is a witch; but it is clear that their credulous excesses are also blameworthy. Not all of the characters in the play are quite so credulous, however, and the less credulous characters are presented as more deserving of respect. The Justice is certainly sceptical about the burning of thatch as a test for witchcraft (despite the fact that the test appears to the audience to have worked). However, while the Justice is presented as the voice of reason in the fourth act, he is not quite the voice of outright scepticism about the existence of witches. Rather

in Scepticism and belief in English witchcraft drama, 1538–1681
Open Access (free)
Frank O’Hara
David Herd

the mediation of metaphor or symbol, action painting being, in this respect, the art equivalent of religious enthusiasm. What is at issue here is proximity to the creative impulse. The object of action painting was to arrive at a technique – byway, largely, of rejections of technique – which permits as direct an expression as possible of that impulse. Pollock’s paintings work because he was prepared to risk ruin in pursuit of this object, and because, therefore, there is nothing bogus in the claim of intimacy with the impulse to act. Or as O’Hara quotes Pollock as

in Enthusiast!
Open Access (free)
Performing in the spaces of city and nation in A Fine Balance
Peter Morey

Rohinton Mistry censored.10 Indira even demonstrated her mastery over time itself, by introducing constitutional amendments conferring on herself retrospective immunity from prosecution in respect of past or future criminal offences.11 In Mistry’s novel, Vasantrao Valmik remarks ironically on this development: ‘We poor mortals have to accept that bygone events are beyond our clutch, while the Prime Minister performs juggling acts with time past’ (AFB, 563). However, perhaps the most sinister elements of the Emergency were initiated by Indira’s son and heir apparent

in Rohinton Mistry
Sustaining literature
Claire Colebrook

utterance significant is (for Wordsworth) its immortality quite distinct from the book:   Oftentimes at least Me hath such strong entrancement overcome, When I have held a volume in my hand, Poor earthly casket of immortal verse, Shakespeare, or Milton, labourers divine! (Wordsworth 1968: 71) In this respect literature is at once immortal (resisting erasure, and therefore non-biodegradable), and yet also utterly fragile (a mere casket). One might also think of the material inscription of pure truth and logic as being biodegradable: the truths of science may have required

in Literature and sustainability
Eric Pudney

the ancient poets were serious or joking).67 Nevertheless, even with these fictional works, Scot does feel the need to repeatedly state that they are untrue. He cannot take for granted that his readers will automatically accept this to be the case – although he thinks most of them will68 – and in fact the authors he disagrees with seem not to. The respect given to all stories, and the understanding that even a fabrication can convey a higher truth of practical value, allows fiction to be used as a means of argument. While fiction is typically more useful to the

in Scepticism and belief in English witchcraft drama, 1538–1681
Catherine Laws

of finding a means of meaning that does not falsify the transient, contingent, uncertain experience of perception. This entails the unpicking of both music and silence as transcendent, ideal others of language, and the imaginative re-production of sound, music and silence, heard and unheard, as markers of the blurring of interior and exterior, self and unself, being and nonbeing, and of the uncertain, ghostly perseverance of imaginative agency even in the face of death. In this respect, the apparent persistence of a desire for silence is less significant than the

in Beckett and nothing
Critical and historical contexts of the Lord Mayor’s Show
Tracey Hill

John Astington puts forward an even wider claim: ‘renowned in London culture’, he writes, ‘the shows formed one of the central icons by which London was memorialised in European civilisation at large’.6 So why has the Lord Mayor’s Show been repeatedly sidelined? It appears that for generations of critics and scholars, pageantry – or at least that pageantry produced by and for the City – is both one-dimensional and relentlessly lowbrow. In this respect E. K. Chambers’s view is typical and probably did much to entrench the view of the Shows’ alleged mediocrity: ‘a full

in Pageantry and power