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Elements of Margery Kempe’s world
Laura Kalas

lond wey’ instead, the son and his wife arrive safely, as prophesied (p. 390). The story operates as a structural means of affirming Kempe's holy privilege, trusted in her older years as an earthly conduit to the Holy Ghost, as the son attests, and also as a narrative foreshadowing of the growing importance that the power of the elements will hold for her subsequent experience. That the son is noted straight after to have shortly died is also appropriated as a sign of verification, bearing witness to his safely ‘coming home’ into heavenly life: ‘So gostly and bodily

in Encountering The Book of Margery Kempe
Speaking of IMELDA

of large numbers of Irish women. It was, for us also, a coming home of sorts. Ireland's social values are usually reflected in Irish organisations in Britain, so feminists and other people marginalised by practices in Ireland often formed alliances of alternative Irish voices in Britain. In Terminal, Speaking of IMELDA mined the history of the Irish Women's Abortion Support Group touching on the story of Irish women in Britain, 28 which is expanding to include survivors of the Magdalen Laundries, of Mother and

in Legacies of the Magdalen Laundries
Abstract only
Richard Taylor

years; and there would never be peace in Ireland until unification was achieved and the British withdrew. Coming home Maynard decided in 1985 that she would not stand again at the next general election. Her decision was based primarily on her domestic, family commitments: her sister TAYLOR (Radicalism) 9781784993191 PRINT.indd 178 18/08/2020 09:48 Joan Maynard 179 Elsie, who was suffering from Alzheimer’s disease, returned from the USA to be near her; and her brother Rowie was becoming increasingly frail.49 Maynard always took her family responsibilities very

in English radicalism in the twentieth century
Contemporary Irish and Scottish fiction
Glenda Norquay and Gerry Smyth

learn about the central character is that ‘[you’d] never see Jimmy coming home from town Norquay_10_Ch9 159 22/3/02, 10:06 am 160 Cultural negotiations without a new album or a 12-inch or at least a 7-inch single’ (Doyle 1992b [1987]: 7). The most frequently remarked characteristic of Barrytown’s youth is their familiarity with and desire for non-Irish, late twentiethcentury popular culture, represented throughout the text (and in the above sentence) in the form of English and American music. Also noteworthy, however, are both the movement and the function

in Across the margins
Open Access (free)
Sara Haslam

damage from air raids. Apart from the injured, there was no sign of a war having taken place.79 What the soldiers who were returning lacked was an external and reciprocal echo of that which they had seen and done and felt. They could see nothing around them on their coming home that answered or balanced what they had experienced in France. They had been changed, irreparably. Where was the subsequent change in their external landscape? It was not there.80 The civilian population was a significant part of this problem. Ford goes so far as to redraw the battle lines in

in Fragmenting modernism
Katharine Tynan, Lord Edward Fitzgerald, and George Wyndham
Kieron Winterson

. ‘Ireland Long Ago’ is a lament for the past; the title is also a refrain, occurring no fewer than twelve times in the poem’s thirty-two lines. It celebrates the land, as many of Tynan’s earlier poems had done – its mists and streams, flowers and birds, its mountains and its ‘emerald plain’ – but it is no longer the land of agrarianism, Land Acts, the blackbird of Avondale, or the Dark Rose. It is not a political or even a geographical place. It is, rather, a prelapsarian land of childhood. The poet longs ‘to be a child again beside my father’s knees, / And coming home of

in Irish women’s writing, 1878–1922
The ‘negative dialectics’ of The Maximus Poems
Tim Woods

’s subject may seek consciousness of the ‘self’: the voyage out is the voyage in.1 Travelling away, moving to the external, into exile, is thus paradoxically conceived of as a means of ‘coming home’. MUP_Herd_Printer.indd 233 21/11/2014 12:39 234 Section IV: History The rhetorical inversion in the Olson line, as well as the narrative structure of the poems as a whole, conveys the elusive nature of both the grammatical and human subject. The reading needs to be silent, since this holds different performances in balance better than reading aloud, which has to select

in Contemporary Olson
Michael John Law

appearance and their cycling is presented as modern and embracing the technologies of the arterial road. Currys’ head office on the Great West Road is shown as up to date and sophisticated, the road outside dominated by cyclists coming home to the mother store, in a world independent of cars, who are in this picture shown as marginal and faint elements.25 This engagement with the road was also exemplified by the life of a keen, perhaps even obsessive, suburban cyclist, John Sowerby, who, unusually, recorded his everyday suburban cycling. One reviewer of Sowerby’s published

in The experience of suburban modernity
Michaela Benson

of their lives, and as I argue below, particularly revealing of their original class origins, from which they had not yet fully escaped. 34 The British in rural France Contextualizing migration It’s the quality of life. I wish I could have done it much earlier than I did. But then, having said that, I did enjoy every minute of my working life. (Ron Stampton) To move to France had always been my husband’s dream … he really wanted France … At that time [the French] were more concerned with how they lived than what they had … It felt so much like coming home … it

in The British in rural France
Trevor Harris

Details of numbers of New Zealand servicemen who returned during and after the war can be consulted at https://nzhistory.govt.nz/war/public-service-at-war/repatriation-of-returned-servicemen (accessed 3 March 2021). 13 On Australia's ‘exit’ from the war, for example, see Romain Fathi and Bart Ziino, ‘Coming home: Australians’ sorties de guerre after the First World War’, History Australia , 16:1 (2019), 5–19. The process of

in Exiting war