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Sylvie Germain and the generic problems of the Christian novel
Margaret-Anne Hutton

 -  ‘Il n’y a pas de troisième voie’ (There is no third way): Sylvie Germain and the generic problems of the Christian novel Sylvie Germain (–) is an unusual phenomenon on the French literary scene. Having studied philosophy at the Sorbonne, she entered the audiovisual section of the Ministère de la culture in , securing immediate literary success four years later with her first novel, Le Livre des nuits ().1 Establishment recognition was soon to be consolidated by the award of the prix Fémina for her third novel, Jours de colère

in Women’s writing in contemporary France
Gender, sexual difference and knowledge in Bacon’s New Atlantis
Kate Aughterson

mother which counterbalance, but do not erase, this interpretation. They thence offer us a third way of interpreting Bacon’s familial images. The mother is placed on the right of the father, which explicitly places the mother’s relationship to the father typologically parallel to both the scriptural representation of the relationship between Christ and God, as well as between the Church and God: ‘hereafter shall ye see the Son of man sitting on the right hand of power’ (Matthew, 26: 64). Scriptural and theological accounts of the relationship between God and his people

in Francis Bacon’s New Atlantis
Open Access (free)
How anti-computing time-travels
Caroline Bassett

doing so it questions the authority that compels us forwards; compulsion falters. Anti-computational formations produce questions about what ‘we’ are supposed to want, or how ‘we’ are ‘supposed’ to think about computers, how ‘we’ are ‘supposed’ to forget them, on the one hand, and move on with them in the smoothly reassigned grounds of the permanent present of the markets they support and help to create, on the other. A third way in which anti-computing is disruptive is that it arises again . Alongside forgetfulness, or the tendency of anti

in Anti-computing
Open Access (free)
Street and theatre at the end of Fordism
David Calder

the saltimbanque evoked both the pre-industrial past and more recent crises in Fordist modernity, including, crucially, the festive energies of May 1968. Kristin Ross has called May 1968 the ‘confirming afterthought’ of France’s postwar modernization.13 During the postwar decades, France sought a ‘third way’ between American-style capitalism and Soviet-style socialism, neither of which was particularly attractive. But ultimately it became a consumer society in the model of the United States: mass production facilitated mass consumption, and a combination of job

in Street theatre and the production of postindustrial space