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Northern Irish fiction after the Troubles
Neal Alexander

Patterson observes that in the present political climate ‘[c]risis management has become indistinguishable from actual government’.2 Patterson’s misgivings, bordering on disillusionment, have been echoed by a number of critics and commentators upon the faltering ‘peace process’, who suggest that whilst the outward signs of conflict have diminished considerably its underlying causes remain largely unaddressed. For Richard Bourke these causes are to be traced to a fundamental problem of legitimacy affecting all modern democracies, whereby the principle of majority decision

in Irish literature since 1990
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Mother–daughter relations in Paule Constant’s fiction
Gill Rye

resulting ambivalences that surround real mother–daughter relations. On the other hand, however, the confidences the four women exchange during the morning they spend together mean that they reveal to each other something of the pain of the private selves behind their public identities: despite their mutual dislike, Gloria puts her Mother–daughter relations in Constant’s fiction  arms round a tearful Babette in order to comfort her, Aurore looks after the alcoholic Lola, and, in turn, Lola helps Aurore to recognise the legitimacy of her own pain. Furthermore, the

in Women’s writing in contemporary France
The return of the repressed in Roddy Doyle’s Paula Spencer
Jennifer M. Jeffers

dominate and the powerlessness of wives which make them legitimate outlets for aggression which cannot be vented on others’. Typically, however, such issues and those relating to men’s greater cultural value, and the legitimacy of their dominance, are ignored.18 There is also ‘implicit colluding’ on the part of the government officials with those who commit domestic violence; only one in five women, in a recent study on domestic violence, actually report violence to the Gardai. The women in the study stated that the men who committed the violence 9780719075636

in Irish literature since 1990
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Colonial body into postcolonial narrative
Elleke Boehmer

BOEHMER Makeup 3/22/05 2:55 PM Page 127 John's G5:Users:john:Public:John's Mac: John's Job 7 Transfiguring: colonial body into postcolonial narrative to get me out of the belly of my patriarchal mother . . . [distance] my eye from her enough so as to see her in a different way, not fragmented into her metaphoric parts. Crossing through the symbol while I am writing. An exercise in deconditioning that allows me to acknowledge my own legitimacy. The means whereby every woman tries to exist; to be illegitimate no more. (Nicole Brossard, These Our Mothers)1 The

in Stories of women
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Sustainability, the arts and the watermill
Jayne Elisabeth Archer, Howard Thomas, and Richard Marggraf Turley

, representing the transformation by which Old Law is ‘ground’ into the New Law, and flour is transubstantiated into the body of Christ, the Host (Aston 1994; Delasanta 2002). In the English literary canon, concerns about sexuality are never far from issues of class and legitimacy (sexual and parental). In post-medieval drama, such as John Fletcher and William Rowley’s comedy The Maid The millers’ tales 19 in the Mill (licensed for performance in 1623 and first published in 1647) and the anonymous Fair Em, the Miller’s Daughter of Manchester (performed between 1589 and

in Literature and sustainability
Katariina Kyrölä

post-​traumatic stress disorder sufferers in mind –​ more so, the use of terms like ‘trigger’ and PTSD in these contexts appears to lend the warnings more legitimacy in the therapy cultural context. When warnings are seen first and foremost as a call for recognition of and care for the suffering that racist, sexist, heterosexist and cis-​sexist hegemonic structures produce for members of subordinated groups, then the argument against trigger warnings as ineffective treatment loses much of its meaning. The argument indeed recalls the critiques that feminist

in The power of vulnerability
Theorising the en-gendered nation
Elleke Boehmer

, Nations and Nationalism since 1780: Programme, Myth and Reality (Cambridge: Cambridge University Press, 1990), on the ways in which states draw on nationalist sentiment to establish legitimacy where other socio-political bonds are in decline. 36 Alexis de Tocqueville, Democracy in America, ed. J. P. Mayer, trans. George Lawrence (New York: Doubleday, 1969), p. 601. 37 ‘The African Charter on Human and People’s Rights’, Appendix 1, International Legal Materials, 21 (1982), 61. 38 See Ashis Nandy’s compelling thesis of the compensatory masculinity of anti

in Stories of women
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Writing home in recent Irish memoirs and autobiographies (John McGahern’s Memoir, Hugo Hamilton’s The Speckled People, Seamus Deane’s Reading in the Dark and John Walsh’s The Falling Angels)
Stephen Regan

are ‘multiple and blatant’, and so the writing of an autobiography or memoir produces an unusually intense enquiry into the nature of identity, personal or national. The growth of consciousness in such writing is not likely to be registered as a smooth and uninterrupted process but one of profound unease and disturbance. This, Deane asserts, is ‘one of the obsessive marks of cultures that have been compelled to inquire into the legitimacy of their own existence by the presence of another culture that is forever foreign and forever intimate’.6 In the context of

in Irish literature since 1990
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Irish poetry since 1990
Jerzy Jarniewicz and John McDonagh

as ‘an entry’. The widely defined notion of translation as discussed above allows for the introduction of the poetics of the many and the heterogeneous, of the scattered and the diverse. In the wake of the Good Friday Agreement, former inherited boundaries and strict categories of exclusion lose their legitimacy, with the growing number of translations as cross-boundary and cross-cultural shifts making their mark on contemporary poetry. Most conspicuously, perhaps, the former divisions into the poetry from the North and from the Republic have become increasingly

in Irish literature since 1990
The failure and success of a Swedish film diversity initiative
Mara Lee Gerdén

a desire to ‘implement Swedish values’; and (4) seven film projects that, while at first sight fed into the ‘diversity/​quality project’ of SFI, soon turned out to be not the least interested in supporting a vague or generalised ‘quality concept’ or a diversity initiative in which real and lived difference runs the risk of being domesticised and reframed as manageable difference –​i.e. as commodities. We were a group of eight women of colour. Our ‘diversity’ was supposed to feed into the quality notion of SFI, strengthening and validating its legitimacy. Instead

in The power of vulnerability