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Irish poetry since 1990
Jerzy Jarniewicz and John McDonagh

normality of the crucifixion at the time, leading us to infer that its sacred status is one that has accreted over the centuries. Flanagan epitomises the concept that individuals have no control over what history will do to them and actions carried out for purely pragmatic reasons will be wholly reinterpreted by succeeding generations. Equally, the time vortex through which the characters in the poem travel dislocates both the actuality of the historical event, inasmuch as it can have actuality, and the contemporary re-reading of that event. 9780719075636_4_007.qxd 128

in Irish literature since 1990
Open Access (free)
Sustainability, the arts and the watermill
Jayne Elisabeth Archer, Howard Thomas and Richard Marggraf Turley

historical relation with the worked land and, specifically, the relationship 22 Discourses of sustainability between its produce and water sources. Constable’s portrayal of the latter has also posed problems among critics. Kroeber refers to the hay wain’s crossing of the river Stour (and mill stream) as a ‘short cut’ (1992: 29). The route from the meadows and back again would have been the most direct and traditional route to the landowner’s barn. Such journeys across fords are critical for the sustainability of communities, as reflected in the countrywide profusion of

in Literature and sustainability
Natalie K. Eschenbaum

-Cartesian understanding of sensation: According to the model of the mind […] inherited from Aristotle, Galen, Avicenna, Averroës, St. Augustine, and Aristotle’s scholastic disciples, all knowledge begins with sense experience. […] The route from the senses to the intellect was not, however, the direct electrical connection between sense organs and brain mapped by modern physiology. […] Rather, a circuit through the heart via the vaporous fluid spiritus was imagined to act as the body’s internal communication system. As a result, sensation was a whole-body experience. To sense

in The senses in early modern England, 1558–1660
Familiarisation and estrangement in Seamus Heaney’s later poetry
Joanna Cowper

the same time, it signalled an inclination to favour a chosen region and keep coming back to it’.23 Critics of District and Circle, in common with critics of the collections that preceded it, charge Heaney with a failure to ‘move on’. Clive Wilmer dismissed the new collection as the work of one ‘cornered by his own genius: writing too many poems that emulate past successes, and shutting off routes to discovery’,24 whilst Stephen Knight finds that Heaney ‘replaces surprise with deliberation’ in a collection that suffers from ‘a lack of edge . . . [and is] nothing

in Irish literature since 1990
Bringing the Shows to life
Tracey Hill

, stresses a number of times that the new Lord Mayor was accompanied by his immediate predecessor, John Swinnerton. Swinnerton’s Show itself was witnessed by the Elector Palatine and his entourage, who were in town for the latter’s marriage to Princess Elizabeth. We have Scultetus to thank 128 Pageantry and power for the detail that the Archbishop of Canterbury accompanied the Elector Palatine in a coach following the aldermen in the procession.38 The Goldsmiths’ Company had an expectation that Queen Anna was ‘certainly’ to attend the 1611 Show, although on this

in Pageantry and power
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Greeks and Saracens inGuy of Warwick
Rebecca Wilcox

rewards and political influence in the region. But when Prince Alexius, now Alexius IV, failed to fulfil all the terms of his agreement, the Crusaders MUP_McDonald_11_Chap10 223 11/18/03, 17:06 224 Rebecca Wilcox attacked Constantinople in retribution. Far from conquering Egypt and establishing a solid Christian dominance in the Near East, the Fourth Crusade did not advance beyond the borders of Christendom; it ended, instead, with the Latin conquest and pillage of Constantinople in 1204, when a Latin emperor, Count Baldwin of Flanders, was established for the first

in Pulp fictions of medieval England
James Paz

‘living waters’ of divine teaching come into human breasts from heaven, through holy books.63 When speech does exit our bodies, into the external world, it leaves as sound, and in the case of poetic performance the sound is a blend of human and nonhuman noise. Indeed, Jager draws our attention to the Anglo-​Saxon practice of holding the harp or lyre near the chest. Positioned thus, ‘the harp’s sound would have come from near the pectoral region traditionally considered the source of physical words and the repository of verbal art’.64 A combination of words and music

in Nonhuman voices in Anglo-Saxon literature and material culture
Sukanta Chaudhuri

.2 Neateheard] used of all herdsmen. Both speakers actually keep sheep and goats. spoyle of Mantua] After Octavian (the future Emperor Augustus) defeated Brutus and Cassius at Philippi in 42 BCE, he seized many farmlands in Mantua, Virgil’s native region, to settle his discharged soldiers. Virgil I is commonly read as the poet (as Tityrus) offering thanks to Augustus for saving his land and granting him its freehold. 4 Tityr] See 13n. shade plot] demanded by the metre: perhaps a compound, ‘shade-plot’. Pastoral Poetry of the English Renaissance 11 Neuer a tender Lambe

in Pastoral poetry of the English Renaissance