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Robin Norris

Moreover, Christopher Krebs calls the Germania ‘a mosaic of Greek and Roman stereotypes, arranged by a writer who most likely never went north of the Alps’; these mourning women and repressed men ‘are in many ways typical representatives of the northern barbarian, sketched within the Greek and Roman ethnographical tradition by … a Roman in Rome for Romans’. 6 Not only does Tacitus present mourning as women's work, but in this same passage he notes that Germanic peoples avoid both ostentation in burial and ‘the difficult

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

committed suicide. In order to ensure that he received a proper 9780719075636_4_014.qxd 252 16/2/09 9:29 AM Page 252 Fiction and autobiography Catholic burial, local men concocted a story about him being killed by the Black and Tans. A drunken neighbour subsequently reveals this to Mary, unaware that she already knew the truth. She makes Jack promise never to divulge a word of this at home.7 O’Keeffe then shifts the narrative forward once more, to 1983 and Jack’s mother’s deathbed. She startles him with an account of how another local man had pined for her, had

in Irish literature since 1990
Open Access (free)
The wall texts of a Percy family manuscript and the Poulys Daunce of St Paul’s Cathedral
Heather Blatt

from archaeological research indicates that the space had been used for burials dating from the Anglo-Saxon era through the thirteenth century; by the fourteenth, it appears regularly as Pardonchirchhawe in the wills of citizens requesting burial there.41 Pardon Churchyard thus had functioned as a space important for several centuries to the citizens of the city who sought burial in its grounds. Reading architecturally 145 Whether More’s contribution in the 1420s was to arrange, as Stow notes uncertainly, for either the endowment or building of the cloister, it is

in Participatory reading in late-medieval England
The plays of Ed Thomas and the cultural politics of South Wales
Shaun Richards

, however, lends itself to a reading more confirmatory of ‘residual’ cultural values than is suggested by this particular Welsh connection. At the film’s close the boys enact a ceremony of simultaneous homage and revenge, providing the father with the burial at sea he Norquay_09_Ch8 140 22/3/02, 10:04 am 141 The plays of Ed Thomas craved and executing Terry by strapping him to the coffin. As the coffin sinks beneath the waves the boys cast a Welsh flag on the sea, the whole final sequence being accompanied by the strains of ‘Myfanwy’ from a male-voice choir standing

in Across the margins
Open Access (free)
Behind the screen
Chloe Porter

‘surviving image’ of the Earl’s ‘Dead Wife’ (IV.i.34–8). This remarriage enables the burial of St Anne’s deceased wife, whose body the Earl has had embalmed and displayed in his home. St Anne, we are told: Retaines his wives dead Corse among the living, For with the rich sweetes of restoring Balmes, He keeps her lookes as fresh as

in Making and unmaking in early modern English drama
Open Access (free)
Coding same-sex union in Amis and Amiloun
Sheila Delany

artificiality of a too-strict demarcation of genre lines. Common topoi are fidelity to a vow, miraculous healing, angelic voices, wandering, disguise and poverty, and ability to revive the dead. Though these appear in many legends paired or not, burial in the same grave (as in Amis) is normally limited to paired saints and is usual for them. Nearly all the paired saints in the Golden Legend and in Butler’s Patron Saints are buried together, whether as friends, siblings or spouses. Occasionally they are buried together even when the two saints were neither friends nor martyred

in Pulp fictions of medieval England
The poetics of sustainability and the politics of what we’re sustaining
Matthew Griffiths

quickly’ in ‘Sea Change’, it is figured as ‘grasses shoot[ing] up, life disturbing life’ (Graham 2008a: 3); these echo the blooms emerging at the start of part I of Eliot’s poem, ‘The Burial of the Dead’ (2015 [1922]: 55). Eliot manages to half-contain natural energies with the present participles that end the first three lines of his poem, suggesting a circular pattern even with the onward thrust of those parts of the verb. He creates a cycle from processes that go beyond the containment of the line, managing to keep growth temporarily in check. By the twenty

in Literature and sustainability
Open Access (free)
Donna Beth Ellard

when they are present in our professional lives – in the classroom, at conferences, and in our criticism. Notes 1 Note that in contrast to scant scholarly discussions about Scyld's infant status, a robust critical tradition engages with his arrival by sea and his ship burial. Uninterested in the issue of Scyld's age, this critical tradition discusses the narrative details of his prologue in relation to source

in Dating Beowulf
Open Access (free)
Chantal Chawaf ’s melancholic autofiction
Kathryn Robson

heures (Paris: Des femmes, ); Rédemption (Paris: Flammarion, ).  Paul Barber, Vampires. Burial and Death: Folklore and Fantasy (New Haven and London: Yale University Press, ), p. .  Sheridan Le Fanu, Carmilla (Mountain Ash: Sarob Press, ).  Anne Juranville, La Femme et la mélancolie (Paris: PUF, ), p. .  See, for example, Helene P. Foley (ed.), The Homeric Hymn to Demeter: Translation, Commentary, and Interpretive Essays (Princeton, NJ: Princeton University Press, ).  Nicolas Abraham and Maria Torok, L’Ecorce et le noyau (Paris

in Women’s writing in contemporary France
Open Access (free)
Irish drama since 1990
Clare Wallace and Ondrej Pilný

that at times intermingle, at times diverge, and at other times cut across each other with turbulent effect. One of the most powerful and provocative of these currents is the tragic–mythic to be found in both new writing and adaptation. In Theatre Stuff (2000) Marianne McDonald noted over thirty adaptations of Greek tragedy that had been produced since 1984,14 and the number has even swelled further since then. Among the most recent are Seamus Heaney’s version of Sophocles’ Antigone entitled The Burial at Thebes (2004) and Conall Morrison’s Antigone (2003); however

in Irish literature since 1990