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Clotilde Escalle’s tales of transgression

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

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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Corruption, community and duty in Family Matters

, 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

'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!
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Towards a contemporary aesthetic

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

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
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Watt’s unwelcome home

on the nature of the relationship between Watt and Knott as underlying the novel’s fragmentation and loss of meaning: ‘the figure of Knott has the effect on Watt of demolishing the already fragile structure on his identity as a subject of filiation’ (1990: 27). Knott is seen as a ‘figure of paternal indifference, engulfment and indeterminacy, apathy, and invisibility’ (1990: 27), ‘the still core of indifference at the centre of the novel’ (1990: 30). Hill also stresses Watt’s yearning for fusion with Knott and his anxiety about engulfment, seeing this dichotomy as

in Samuel Beckett and the primacy of love
The return of the repressed in Roddy Doyle’s Paula Spencer

. In fact, Paula specifically references the intense period of immigration following Ireland’s economic prosperity of the 1990s. The Irish Census of April 2006 shows that in the four years since the previous survey, the Irish population grew by 322,645.7 This statistic becomes more meaningful when we consider that non-Irish work permits went from fewer than 6,000 in 1999 to about 50,000 in 2003.8 In the conclusion to my critique of Irish novels published between 1989 and 1999, I noted that the rapid economic growth of the 1990s and the wave of consumerist global

in Irish literature since 1990
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, ferocious. Most often these mythic poems reiterate, in a radically non-traditional way, a creation narrative as a means of examining the nature of a monotheistic God and the ultimate meaning of its relation to humanity. In this way the poems are distinctly ‘mythopoeic’ or myth-making, theological speculations, allegorical openings into the possibility of underlying truths about the nature of deity. The mythic poems are to be found primarily in the collections H’m (1972) and Laboratories of the Spirit (1975). By contrast, the poems I have signified as ‘via negativa’ are

in R. S. Thomas
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Female sexual agency and male victims

. That research across a range of fields suggests there are links between positions of power, non-maternal instincts and dangerous sexual promiscuity illuminates the sociopolitical investment in maintaining the myth of biologically determined gender ideologies. These ideologies, enforced by the mother’s position as nurturer or deviant, are equally informed by the sexual politics of power and desire as

in Gothic incest