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The plays of Ed Thomas and the cultural politics of South Wales
Shaun Richards

domestic rather than social, his characters frequently traumatised by the deaths of parents or siblings with the Norquay_09_Ch8 150 22/3/02, 10:04 am 151 The plays of Ed Thomas social and economic dimensions to those tragedies, while alluded to, never becoming central to the work. This is in striking contrast to the works of 1930s South Wales writers such as Lewis Jones, who has the protagonist of his novel We Live make the fervently socialist declaration ‘Keep close to the people. When we are weak they’ll give us strength. When we fail, they’ll pick us up and put

in Across the margins
Open Access (free)
Sibylle Lacan’s Un père: puzzle
Elizabeth Fallaize

narrowly escapes falling to his death as the father catches hold of his clothing at the last moment. No other family member found the episode particularly memorable, but Sibylle is so transfixed by this heroic role for her father, that she reads her own attachment to the island of Formentera (‘Fort-m’enterra’(fort buried me)) as a re-enactment of the incident.The following fragment again evokes her father in a saviour role – this time when he intervenes on her behalf against her siblings. The fragment ends on the following remark: ‘Et si un père servait d’abord à cela: à

in Women’s writing in contemporary France
Heidi Hansson

, parenthood and family but also raises questions about the meaning of origin: ‘Has the rain a father . . . What womb brings forth the ice?’ (n.p.). God as the Creator is speaking in the extract, which seems to emphasise and solemnise the matter of origin, but, on the other hand, since the Bible verses are about creation, about entities that were never born, the epigraph also seems to suggest that once something is brought into the world it has no family except, perhaps, for the similarity that exists between siblings like water and ice. The clearest indication that family

in Irish literature since 1990
Siobhán McIlvanney

The narrator draws attention to the significance the articulation of identity holds for her when she determines to teach her own mother to write her name as soon as she herself learns to write. As Kessas’s dedication highlights, these daughters of first-generation Muslim women, women who are generally illiterate and unable to express themselves in French, seek to speak out against the tradition of silence in order to voice their own sense of identity and to legitimate their own life histories. In all these texts, the female siblings are more educated and fare better

in Women’s writing in contemporary France
Open Access (free)
Sustainability, the arts and the watermill
Jayne Elisabeth Archer, Howard Thomas, and Richard Marggraf Turley

destruction of Tulliver’s grain mill, home and, most importantly, the family’s future, when the siblings Tom and Maggie Tulliver drown as freak storms coincide with the Floss’s biannual tidal bore. Writing forty years after the events described, Eliot’s narrator remembers the mill just as its role as centre of the sustainable community is vanishing. The ensuing analysis of the reasons for this loss are sharply critical and insightful: Our instructed vagrancy, which has hardly time to linger by the hedgerows, but runs away early to the tropics, and is at home with palms and

in Literature and sustainability
The failure and success of a Swedish film diversity initiative
Mara Lee Gerdén

forged together by at our first meeting. As mentioned, the abuse that Chehrehgosha and her siblings endured during their childhood had been brought up before, and especially in relation to the highly acclaimed and prize-​winning series of photographs entitled To Mom, Dad and My Two Brothers, where Chehrehgosha staged the death of her parents. In an interview, she has explained how this project was grounded in affects of anger and hate, but also love: My upbringing consisted of abuse and constant fear … My anger was so immense, many times I wanted to see my dad dead. My

in The power of vulnerability
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The adolescent girl and the nation
Elleke Boehmer

once disturbed by being called ‘a norphan’ (MLC 199), now enacts her fantasy of being parented, or so she hopes, by relative strangers (MLC 373). In contrast with Lyndall’s sense of being undelivered of herself in Schreiner’s novel, Stead’s iconic daughter rejects her father’s demand that she mother her motherless siblings, choosing rather, as she announces, to be her own mother: to engender her own future (MLC 511, 521). The last scene of the novel sees Louie leaving on what she romantically if vaguely styles her ‘walk around the world’, yet what the substance of

in Stories of women
Open Access (free)
Jonathan Atkin

Cambridge during the 1880s and 1890s. Although Thoby Stephen did not live long into the twentieth century, it was his siblings, Adrian, Vanessa and Virginia, who, freed by the death of their strict father, formed the nucleus of what became the Bloomsbury Group. The ‘members’ of the group often had difficulty in naming the entire fellowship, with characters seeming to drift in and out at will. In later years, some even denied the existence of any such group at all. The ‘core’ individuals included the economist John Maynard Keynes; the art critic and essayist Clive Bell and

in A war of individuals
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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
Roberta Frank

, but solely through the sibling they had wrongheadedly killed. 33 Pointed circumlocutions like these open cracks in the frame surrounding the immediate action of the story, letting past and future in; they are condensed allusions to a legend everyone knew. Taken innocently, the epithet suhtergefæderan , ‘brother's son, father's brother’, describes an everyday kinship relation; read suspiciously, it is a mocking reminder of a particular family's disintegration. When a few lines later Wealhtheow

in Dating Beowulf