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The no-thing that knows no name and the Beckett envelope, blissfully reconsidered
Enoch Brater

become the empty can, but in the transformational historical process this anxiety between object and audience has become a terrifying metaphor for the anxiety the world imposes on us as we approach the final quarter of twentiethcentury aesthetics.4 Shades of Harold Rosenberg, self-quotation notwithstanding. In his 1964 study, The Anxious Object: Art Today and Its Audience, Rosenberg made a persuasive case for an unenviable condition Beckett had earlier problematized in his novel Watt: ‘But what was this pursuit of meaning, in this indifference to meaning? And to what

in Beckett and nothing
James Thompson

Children in Crisis, a non-governmental organisation (NGO) based in London, and a Congolese organisation called Eben-Ezer Ministry International (EMI). In a broader school building and teacher development programme, sponsored by Comic Relief among others, my responsibility had been to train local community animators in interactive and participatory theatre techniques so that they could subsequently create performances on the subject of girls’ education and women’s rights. EMI believed that by encouraging communities not to discriminate against girls in access to

in Performing care
Clotilde Escalle’s tales of transgression
Michael Worton

resort to violence as a means not of salvation,but of survival.Furthermore,the violence is directed much more often against themselves than against others. These novels are tales of oppression, of violence and abuse, of masochism, of cruelty and despair, of lancinating indifference, and ultimately of  Transgressions and transformation transgression. They portray a world in which love is strikingly absent, if none the less sometimes – nostalgically rather than prospectively – yearned for. They present sex brutally and almost pornographically. They tear the soul

in Women’s writing in contemporary France
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Murphy’s misrecognition of love
John Robert Keller

all day, brightening against the darkening that was its end. A peristalsis of light, worming its way into the dark. She preferred sitting in the chair, steeping herself in these faint eddies till they made an amnion about her own disquiet. (67) 7 The light suggests a life-force in constant, wavering engagement with death and darkness, it is a sense of contact with a loving mother who brings her infant into the world with attentive, nurturing care as a sun that shines on the something new. There are complex non-engagements, since the room, with its living and dying

in Samuel Beckett and the primacy of love
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Agency in the Finnsburg episode
Mary Kate Hurley

This chapter re-reads the Finnsburg episode of Beowulf as a monument both to the failure of human community and to the human interconnection with outside forces (both human and non-human) that presage and condition that failure. 5 Throughout the episode, we encounter scenes that foreground certain kinds of objects, such as lifeless human bodies and the gold meant to ensure that such corpses will be forgotten. However, the poem also foregrounds the ability of narratives, when circulated, to change the reception of

in Dating Beowulf
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Corruption, community and duty in Family Matters
Peter Morey

, carries with him the whiff of scandal and divided loyalties owing to his liaison with a non-Parsi, Lucy Braganza. When his father refuses to countenance his exogamous intentions, Nariman reluctantly yields to the marriage with Yasmin Contractor. Nariman soon adds a daughter of his own, Roxana, to his newly acquired stepchildren, leading to longstanding jealousies and resentment about favouritism. As these almost ad hoc arrangements indicate, families develop, change and some branches die out while others are propagated and flourish. Beyond this, as in A Fine Balance

in Rohinton Mistry
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Frank O’Hara
David Herd

'Hara 137 amount of energy he invested in our art and our lives made me feel like a miser. (H, 99) One expression of that energy was, as Rivers indicated, O’Hara’s capacity for intimacy, where intimacy meant not just friendship but a detailed understanding of the artist friend’s work. Philip Guston recalls a conversation with O’Hara: Frank was in his most non-stop way of talking; saying that the pictures put him in mind of Tiepolo ... Suddenly I was working in an ancient building now a warehouse facing the Giudecca. The loft over the Firehouse was transformed. It was

in Enthusiast!
Derval Tubridy

fro, between unattainable self and unattainable non-self.’) . . . ‘It would need a bit of work, wouldn’t it? Well, if I get any further ideas on it, I’ll send them on to you.’10 Beckett, Feldman, Salcedo 145 This was the beginning of the libretto for Neither. At the end of the month, while Beckett was still rehearsing in Berlin, a card arrived in Buffalo, New York, where Feldman was Professor of Music. On it was a brief note from Beckett: ‘Dear Morton Feldman. Verso the piece I promised. It was good meeting you. Best, Samuel Beckett.’11 On the back of the card

in Beckett and nothing
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Towards a contemporary aesthetic
Jonathan Dollimore

cognitive content of some kind, and it is only in relation to theories of art as non-referential that it becomes an issue. The dissociation of art and knowledge is relatively recent. As J. M. Bernstein puts it in The Fate of Art, ‘the experience of art as aesthetical is the experience of art as having lost or been deprived of its power to speak the truth . . . This loss . . . I shall call “aesthetic alienation”; it denominates art’s alienation from truth which is caused by art’s becoming aesthetical, a becoming that has been fully consummated only in modern societies’.23

in The new aestheticism
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Defining the nation differently
Elleke Boehmer

nation and fulfil the terms of Jameson’s hypothesis ‘writ small’, as Susan Andrade would put it. To support this interpretation, the social and political situation in Lahore as well as in Amritsar at times mirrors Virmati’s personal state. This is made explicit when she comments: ‘I fret about my petty, domestic matters, at a time when the nation is on trial. I too must take a stand. I have tried adjustment and compromise, now I will try non-cooperation’ (DD 239). Simultaneously, however, Virmati feels increasingly cut off from the city, as she does from her past – and

in Stories of women