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Gender and a new politics in Achebe
Elleke Boehmer

On Achebe’s endorsement of Ikem’s views, and on his revisionist liberalism, see David Maughan-Brown, unpublished paper, ‘Anthills of the Savannah’s solution to The Trouble with Nigeria’, ACLALS Triennial Conference, University of Kent, Canterbury, 29 August 1989, pp. 4–5. 11 As Ikem discovers in his second encounter with Braimoh, the taxi-driver. The ceaseless circlings of such cognitions about ‘the people’ are of course a measure of Achebe’s political pessimism. See Ascherson, ‘Betrayal’, p. 3. 12 Rutherford, ‘Interview’, p. 3. 13 On interpreting the past

in Stories of women
The representation of violence in Northern Irish art
Shane Alcobia-Murphy

, ‘Emotion and Cognition: About Some Key-Figures in Films by Alan Clarke’: (accessed on 12 June 2005). 28 Kirkland, ‘The Spectacle of Terrorism’, pp. 86–7. 29 See Shane Murphy, ‘Don’t Mention the War: The Trouble(s) in Northern Irish Poetry’, in Michel Hensen and Annette Pankratz (eds), The Aesthetics and Pragmatics of Violence (Passau: Verlag Karl Stutz, 2001), pp. 89–102. 30 Sarat Maharaj, ‘Rita Donagh: Towards a Map of Her Artwork’, 197419841994: Paintings and Drawings (Manchester: Cornerhouse, 1995), p. 15. 31 David E. Morrison

in Irish literature since 1990
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The adolescent girl and the nation
Elleke Boehmer

, in so doing, at once repeating and yet revising those difficulties. Schreiner and Stead, Emecheta and Shields, reveal that, when it comes to national family dramas, the symbolic dice are weighed against women’s selfrepresentation. Although, as Rajeswari Sunder Rajan and other feminist critics have argued, it is in ‘the process of the creation of selfhood that self-cognition occurs, and an identity is taken on’, identities within the nation are at the same time communally authorised.36 As is indicated by the ersatz, perfectly madeto-measure quality of Emecheta

in Stories of women
Sustaining literature
Claire Colebrook

referred to as ‘phenomenalisation’, as a sign that offers – finally – true knowledge of the world as it is, and – in turn – explains the emergence of all other forms of inscription. (In this respect the geological scale of the Anthropocene would frame the emergence of life, cognition, humanity and its self-reflective triumph). Alternatively, and preferably, one might read the Anthropocene: there would be no direct passage from inscription to knowledge, nor to a humanity that would be the revealed ground or ‘we’ to whom the signs of the earth would be addressed. Notes 1

in Literature and sustainability
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Theory and Spenserian practice
Rachel E. Hile

and allegory compelling, even though I disagree with him about the cognition involved in making sense of allegory. The human mind’s ability to make sense of allegory— to correctly identify, say, the real-world satirical target of a short poem that does not mention the person by name—depends, according to Mark Turner, on three “principles of mind,” story, projection, and parable, that allow us to make sense not only of literature but also of reality, with “story” organizing our thinking, “projection” describing how “one story helps us make sense of another,” and

in Spenserian satire