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Alternative pasts, sustainable futures

interaction.’8 So far, so familiar: such claims to spectatorial activity echo the rhetoric of participation that has long pervaded political theatre, immersive theatre, relational or ‘socialpractice, and minimalist and installation art.9 More significant than the mere existence of the claim is the situation from which the invitation is made and the circumstances under which one might accept. Who – and what – is acting, how, when, and to what end? In what follows I establish, first, the complex interplay of human and non-human agency that emerges from encounters with these

in Street theatre and the production of postindustrial space
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What lovers want

their honour, and the law and social practice enabled them to do so in a way we would find intolerable.25 Degrevant’s actions are never directly critiqued. As Philippa Maddern says, ‘the violent and destructive activities of fifteenth-century knights were thus surrounded by so great a cloud of laudatory adjectives – worthy, worshipful, manly, doughty, invincible, fierce – that no disapproval could touch them’.26 What makes Degrevant’s role as landholder different from his role as crusader is that the earl is not a pagan, a distant enemy, a usurper – he is a neighbour

in Pulp fictions of medieval England
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Geoffrey Chaucer’s Troilus and Criseyde and John Lydgate’s Troy Book

medieval literacy practices: hearing the text, as well as apprehending it with the eye, are both modes of reading. It does mean, however, that members of Lydgate’s anticipated audience may not have possessed the writing skills that enabled them to follow through with the provision of corrections. Corrections may then have been enacted more by the most Corrective reading 41 s­ ophisticated and learned of readers, such as scribes, instead. Yet the ‘see or here’ construction, in particular, emphasizes corrective reading as a social practice, in which participation

in Participatory reading in late-medieval England

, Christianity was organised in ways that were local but nevertheless replicable anywhere: In effect, early medieval Christianity was neither centralized nor systematized. Not a single, uniform cultural package to be adopted or rejected as an entity, it comprised a repertoire of beliefs, social practices, and organizational forms that could be adopted and adapted piecemeal. Thus Christianity jumped from one cultural and political context to another, repeatedly mutating and reconstituting itself in ways that preserved its core features. Differently put, a religion with an

in Nonhuman voices in Anglo-Saxon literature and material culture
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An introduction

eighteenthcentury Enlightenment philosophers, which came to a head in the writings of Kant. He argues that modern experience has become separated into three spheres that are autonomous from one another and only formally connected, and whose interaction has become the site of intense theoretical, social and political debate. These spheres are, very briefly, scientific truth, normative rightness and beauty, which correspond to the philosophical disciplines of epistemology, ethics and aesthetics, and give rise to selfsufficient forms of social practice: the sciences and technology

in The new aestheticism
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Marianne Moore

spirit of the gift. In gift exchange no symbol of worth need be detached from the body of the gift as it is given away. Cash exchange, on the other hand, depends upon the abstraction of symbols of value from the substances of value.4 ‘Cash exchange,’ by this way of thinking, and as Hyde formulates it, ‘is to gift exchange what reason is to enthusiasm.’ Plunging us back into the postKantian landscape of Walden Pond, Hyde’s analogy between gift economics and religious enthusiasm has the intention of showing how things can be made more available, how there are social

in Enthusiast!
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Theory and Spenserian practice

indirect clues: the audience will be more able to make these cognitive leaps if author and audience share extensive background knowledge. This way of thinking about satire as a social practice draws from and adds nuance to the work of numerous critics who have considered the social dimension of satire. Fredric Bogel describes satire’s social function as exclusion: creating and policing boundaries between the in-group and the outsider (Bogel, Difference Satire Makes). George A. Test explains the multiplicity of satirical forms as deriving from the limitless possibilities

in Spenserian satire
Father– daughter incest and the economics of exchange

moments’ in dreams with a man she has never met but on whose picture she gazes continually, making her father the object of her female gaze in a fixation of desire that functions in two important ways. First, it exemplifies what Judith Butler describes as the failure of the incest taboo, the existence of which: ‘appears to suggest that desires, actions, indeed, pervasive social practices of incest are

in Gothic incest
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Cousins and the changing status of family

Cynthia Klekar, ‘The obligations of form: social practice in Charlotte Smith’s Emmeline ’, Philological Quarterly , 86:3 (2007), 271. 45 Klekar, 269–70. 46 Klekar, 277. 47

in Gothic incest

Pastoral Poetry of the English Renaissance contains the text of the poems with brief headnotes giving date, source and other basic information, and footnotes with full annotation.

in Pastoral poetry of the English Renaissance