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White male vulnerability as heterosexual fantasy
Susanna Paasonen

-​saturated liveliness of romance fiction with the generic features of pornography that explore ‘the explosion of the boundaries of the self and where social constraints are overwhelmed by a flood of sexual energy’. For Snitow, romance fiction differs from pornography mainly in how it negotiates, or balances, the visceral force of sex with romantic magnetism and the goal of domestic security (Snitow, 1983: 259; also Smith, 2007:  201). This magnetism and security ultimately make it possible for Christian to have his body touched and change his routines of sexual play from the

in The power of vulnerability
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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

complexity of any autobiographical narrative that seeks to capture both the intensity of childhood feelings and the more circumspect nature of adult recollection. It is not surprising, therefore, that initially McGahern appears to invoke the romantic idealism of Wordsworth, for whom the child is father of the man: There are many such lanes all around where I live, and in certain rare moments over the years while walking in these lanes I have come into an extraordinary sense of security, a deep peace, in which I feel that I can live for ever. I suspect it is no more than

in Irish literature since 1990
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Watt’s unwelcome home
John Robert Keller

feels Watt’s journey to Knott is primarily religious but, instead of salvation, he finds ‘a negative God, the great Nothing of which nothing can be predicated’ (Fletcher, 1964: 86). Again, it is Watt’s failed relationship with Knott-as-mother, the infantile-self’s ‘personal God’, that explains this ‘impossibility […] of all knowledge’. Engagement with the mother’s body/mind engenders knowledge, as the security that comes through her containing love reduces the anxiety of psychic disintegration, allowing for an inner ‘peace’ that makes incorporation of the whole world

in Samuel Beckett and the primacy of love
Cardboard publishers in Latin America
Lucy Bell

presence on the highway – corresponds with a social connection, as they are cast aside, alienated, and looked down upon: Gated residences, barbed wire, security cameras all around Today I saw, today I saw, today I saw you in the TV screen’s reflection, sitting in the guard house … your limit is the corner and mine is far away. (22) Social barriers are materialised by man-made physical barriers here: the waste pickers are separated from ‘worthy’ or ‘valued’ citizens by gates, barbed wire, walls, windows, limits and corners, but also by the lens of the security camera and

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

explanation than that he has embarked on a covert mission in the interests of national security. Eventually we discover that he is involved in the activities of RAW – the Research and Analysis Wing of India’s secret service. It seems that he is engaged in providing funds for the cross-border guerrilla groups. However, it is soon apparent that Jimmy has become deeply embroiled in an altogether more murky set of events involving the embezzlement of large sums of money. The outline of his story is based on that of a parallel historical figure – also a Parsi and, by all

in Rohinton Mistry
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Representations of the house in the poetry of Eiléan Ní Chuilleanáin and Vona Groarke
Lucy Collins

be identified and located the woman may gain power both through the act of self-articulation and through the assumption of a recognisable identity. Yet at the same time she surrenders the freedom of movement and self-definition that accompanies imaginative representations. The relationship between the speaker and the material world of the poem often reflects the contingent nature of ‘home’ for these poets: one interpretation sees the house as a space of security and sheltered intimacy; another, as a place of disenfranchisement for women. This double perspective

in Irish literature since 1990
John Robert Keller

write that it is: constituted by a profound sense of helplessness and hopelessness. The depriving experiences with real others have produced a fear of and antipathy towards life so intense and pervasive that this central portion of the ego has renounced all others, external and internal, real and imaginary; it has withdrawn into an isolated, objectless state [… and] Keller_02_ch1pm 15 23/9/02, 10:49 am 16 Samuel Beckett and the primacy of love seeks to return to the prenatal security of the womb, to await a rebirth into a more hospitable human environment. Thus

in Samuel Beckett and the primacy of love
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Winifred Dolan beyond the West End
Lucie Sutherland

, but this was not secure enough for a woman alert to the need for long-term employment in order to ensure financial security: ‘Would it be permanent this time? Would my health stand the strain of those six months I have described, stand it for years? I refused.’21 Again, Dolan emphasises her own participation in the development (and indeed the termination) of her career in the West End. The way her own initiative is foregrounded in Small Beer, alongside the technically specific manuals that make up the rest of the collection, indicates proactive behaviour translated

in Stage women, 1900–50
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Sustainability, the arts and the watermill
Jayne Elisabeth Archer, Howard Thomas, and Richard Marggraf Turley

1 The millers’ tales: sustainability, the arts and the watermill Jayne Elisabeth Archer, Howard Thomas and Richard Marggraf Turley In 2009, the Nobel Prize-winning economists Joseph E. Stiglitz and Amartya Sen issued a report urging a shift from a purely economic analysis of a country’s success or relative failure to one which includes (and is informed by) an analysis of wellbeing and sustainability (Stiglitz et al. 2009). The report concluded that wellbeing and sustainability, which comprise factors such as culture, education, health, water security and food

in Literature and sustainability
Open Access (free)
Sara Haslam

; it is instead the mouth of abject terror, unable to know or to control the stream of words that issue from deep inside of him. ‘At that moment Robert Grimshaw knew himself’; in fear, in lack of security, in nakedness, in the enforced removal of habitual niceties, lies a truth. Grimshaw then knew himself, inarticulately, as Ellida had proved she always knew him. The mention of Peter in this passage is instructive, as is the fact that Grimshaw gazes at his collar, for Peter is a projection of Robert’s latent sexuality. It is hard to avoid the obvious, post

in Fragmenting modernism