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Language, lies and the crisis of representation in Such a Long Journey
Peter Morey

This chapter studies Mistry's Such a Long Journey, a novel that contains elements of a political thriller and which shows that the operations of history are linked to, and impose on, everyday life. The novel, which is set in 1971, presents political events that put pressure on a family already under strain. The chapter discusses Such a Long Journey in detail, and notes the political features included that seem to be characteristic of a political landscape of deceit, corruption and decline. It determines that Such a Long Journey presents a powerful combination of casual brutality and political deception, which descends on the fiercely guarded private world of sensitive individuals.

in Rohinton Mistry
Jayne Lloyd

. This prompts questions that I engage with in the following section about the specific role performing certain domestic processes in the context of an art session can play in supporting care home residents’ sense of identity. Framing domestic performances in art sessions There were important differences between how Betty’s laundry practice was framed in the context of an art session and how laundry is done in everyday life. Her laundry practice had become performative: her actions had lost their practical application, she repurposed materials and spaces that were

in Performing care
Open Access (free)
Farah Karim-Cooper

seen both as the ‘“most noble, perfect and admirable” of the senses’, while being burdened with the notion of ‘visual deception’ (p.  42). As a result of this dichotomy, the ability of sense perception to enlighten or harm an individual meant that people were constantly reminded to be vigilant, guarded and to regulate their sensory activities. Our senses are often taken for granted in everyday life, but to early moderns, ignoring the sensations of the world upon the body would have been unthinkable. In addition to hierarchies and dichotomies, the senses are beset by

in The senses in early modern England, 1558–1660
Open Access (free)
An introduction
John J. Joughin and Simon Malpas

determinants outside or beyond literature, Bennett’s anti-aestheticism is committed to a ‘sociology of social forms’11 where the emphasis falls on exposing the regulatory character of ‘cultural institutions’ and on the need to bridge the gap between ‘literature’ and everyday life.12 The slippage implied here between art, literature and ‘lifeworld’ is certainly one which some forms of affirmative postmodern cultural criticism have facilitated, and in recent years ‘anti-aestheticism’ has itself, at times, almost become a unifying device for articulating the shared concerns of

in The new aestheticism
Open Access (free)
Don’t Ever Wipe Tears Without Gloves as a reparative fantasy
Anu Koivunen

also has a particular narrative function. As Rasmus’s eyes look straight into the camera, they serve as an injunction to the viewer: you are seeing this, and you are hailed as a witness. With its narrative structure, Don’t Ever Wipe Tears Without Gloves invites its viewers into what Roger Hallas has termed an ‘intersubjective space of testimony’ (Hallas, 2009). Documentary footage is used to enhance a sense of historical accuracy. Each episode features a title sequence in which documentary footage of everyday life in Stockholm is mixed with dramatic scenes from the

in The power of vulnerability
Open Access (free)
Baconian rhetoric and the New Atlantis
Sarah Hutton

wider sense is political. Persuasion is part of the business of everyday life. And, as Bacon himself notes in his aptly named Essay, ‘Of Negotiating’, the business of persuasion requires techniques other than reason and logic: If you would work any man, [writes Bacon] you must either know his nature and fashions, and so lead him; or his ends, and so persuade him; or his weakness and disadvantages, and so awe him; or those that have interest in him, and so govern him.20 Successful persuasion is contingent upon knowledge of ‘ends’. The man whose ‘ends’ Bacon ‘knew’ and

in Francis Bacon’s New Atlantis
Open Access (free)
Trauma, dream and narrative
Victoria Best

with a dash of karaoke, instead of the sober method acting of everyday life. Dreams are performative in the Butlerian sense of the word; they bring something into being, enact something, and this process is taken to its logical excess in Journal d’Hannah. Freud suggested that dreams were the dramatisation of an idea: ‘But this feature of dream-life can only be fully understood if we further recognise that in dreams . . . we appear not to think but to experience’.2 And the ideas that we experience in our dreams are essentially derived from the translation of reality

in Women’s writing in contemporary France
Sylvie Germain and the generic problems of the Christian novel
Margaret-Anne Hutton

tame wolves; the death of his first wife Mélanie is heralded by a sparrow flying into her room;8 his fourth wife Ruth wears a green dress on the day she meets him, and subsequently on the day she is deported to a concentration camp.9 Given the presence of such phenomena, we might categorise Le Livre des nuits as an example of the ‘marvellous’: the reader is invited to suspend disbelief and accept the supernatural phenomena as a part of everyday life.10 Narrative point of view is key here. Neither the characters, nor, crucially, the narrator, express astonishment in the

in Women’s writing in contemporary France
Thomas Docherty

, thus, have experience; but there is no truth to such experience. Once more, Erlebnis becomes vacuous, despite our seeming validation of all kinds of experience; and, ‘truthless’, it has little relation to education. Against this we might set Paul Zweig, who argues that our knowledge of adventure tends to be literary nowadays, rather than being drawn from our everyday life: ‘adventures are precisely what few of us know from experience’. Yet, he suggests, our familiarity with adventure might be more common than we routinely think: Haven’t all of us, now and then

in The new aestheticism
Open Access (free)
Simon Smith, Jackie Watson and Amy Kenny

of the senses, representations of sensory encounters, and even accounts of the sensory experiences that articulated everyday life for early modern subjects. This suggests a useful relationship of mutual elucidation between works of art and wider culture: not only can a clearer picture of early modern thinking about the senses clarify our understanding of particular artworks, but in turn, the ideas about sensory experience suggested in these artworks might illuminate wider early modern understandings of the senses. Our investigation aims at precisely this mutual

in The senses in early modern England, 1558–1660