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James Thompson

solidarity between people – perhaps participant to participant or performer to audience. There is a sense that this aesthetics would value intimacy, but it would not be at the expense of what Nato Thompson refers to as ‘explicitly local, long-term, and community-based’ engagement ( 2012 : 31). While care might be exhibited fleetingly, it is more likely that care aesthetics would be realised in more enduring, crafted encounters between people. Seeking to overcome widespread social indifference implies commitment to deep and extended processes. At the beginning of the

in Performing care
Eiléan Ní Chuilleanáin

reinforcing a version of Italian intellectual life that is acceptable to English Protestants: grave, civic and refined. This English view of Italy is selective, abhorring Roman corruption but impressed by the clarity and seriousness of Guicciardini’s history, by the ethical philosophy of Cinzio, and by such works as Stefano Guazzo’s La civil conversazione and Alessandro Piccolomini’s De la ­institutione di tutta la vita de l’homo nato nobile e in citta libera, titles expressing the orientation of the genre towards society and public activity. Both writers are mentioned by

in Dublin
David Alderson

required to grasp it as such. Enlightenment and its discontents The fortuitous death of Glass in The Innocent suggests that McEwan had anticipated that the end of the cold war would bring about a reduction in US global influence. In fact, it paved the way for dreams of a New American Century. Central to this project was a now unrivalled military capability which underwrote a more flexible, because confident, imperialist strategy, characterised by an increasing disdain for the UN and even for NATO, and by a pursuit of ad hoc alliances in a commitment to ‘war without end

in End of empire and the English novel since 1945
The Lost Ones
Daniela Caselli

. 43 In the terrace of pride Dante carves out his place in the history of literature; in the words of Omberto Aldobrandesco: ‘Credette Cimabue ne la pittura / tener lo campo, e ora ha Giotto il grido, / sí che la fama di colui è scura. / Cosí ha tolto l’uno a l’altro Guido / la gloria de la lingua; e forse è nato / chi l’uno e l’altro caccerà dal nido’ (Cimabue thought to hold the field in painting, and now Giotto has the cry, so that the other’s fame is dim; so has the one Guido taken from the other the glory of our tongue – and he perchance is born that shall chase

in Beckett’s Dantes
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James Doelman

it, they strive to produce poems, ‘Grata patri & Nato qui iam moderatur habenas’ (Pleasing to the father and to the son who now holds the reins). 101 One surviving poem takes this desire for balance quite literally, actually alternating lines of elegiac praise with celebration of James’ replacement: Our Pellican is dead, but

in The daring muse of the early Stuart funeral elegy
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Coupland's contexts
Andrew Tate

? The novelist’s book jackets usually remind readers that he was born ‘on a Canadian NATO base’ in the former West Germany and now lives and works in Vancouver. Grassian’s suggestion that, symptomatic of ‘postcolonial homogenization’, Coupland’s ‘fiction, even when it is based in Canada, appears almost indistinguishable from American fiction’ is misjudged.64 There may once have been a case, as Alan Bilton suggests, given the thematic and spatial focus of Coupland’s early writing, for regarding him as a ‘canonical American writer’ who happens to have Canadian

in Douglas Coupland
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Daniela Caselli

from Leopardi’s Sopra il monumento di Dante che si preparava in Firenze , respectively. 2 The latter is a poem which describes Dante as the only poet capable of reaching Homer’s perfection, while the quotation from the Comedy is a self-description of Dante replying to Catalano dei Malvolti and Loderingo degli Andalò in the sixth section of Malebolge. To the two hypocrites who ask him about his identity, Dante replies: ‘I’ fui nato e cresciuto / sovra ’l bel fiume d’Arno a la gran villa, / e son col corpo ch’i’ ho sempre avuto’ (I was born and grew up on the fair

in Beckett’s Dantes
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Costume, performance and power in 1953
Lisa Mullen

1950s, which saw both the ‘natural’ order and the old political order being challenged, via developments as diverse as the first embryo transplant for cattle (1950) and the creation of NATO (1949). But for individuals creating costumes and settings for themselves on the domestic stage, technologically enhanced fabrics also promised to overturn the social codes governing the status of materials. The introduction of rotary screen printing in the 1950s (replacing the use of copper engraved rollers) meant that dye could be applied to the fabric in layers, creating ‘fine

in Mid-century gothic
Shakespeare’s Italian language-learning habits
Jason Lawrence

sarebbe, che tu fossi nato mutolo. (If you do not make me see with my own eyes what you have told me, be assured, I shall make you realise that it would have been better for you had you been born dumb.) 118 Cairncross notes that the same

in ‘Who the devil taught thee so much Italian?’
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Peter Redford

post fulmania(?) primi (O sanctum exemplum) liquimus? expuleras. Hand P. Complete entry. 415 Epit[affio] Qui giace Il Cardinale Ascan Colonna Romano nato Et delle bordelle in favora tutto spagnuolato. Hand P. This is probably ‘Pasquil’s Epitaph upon the Cardinal Ascanio Colonna’, which Wotton sent to Salisbury on 5 Jul 1608 (Pearsall Smith, Wotton, I, 431). 291v 416 Trovandosi la madre del Cardinale di Gioiosa di lui [gra....] da viene dal timore delle guerre [...] Aethera sol peragra, tu Joiiose inclyte terras [...] The Burley manuscript 182 Hand P. Six lines

in The Burley manuscript