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hand, Lethemâs decline-of-the-family novel tells a familiar story of the decline of the Left, a drift from ideology to identity politics, from internationalism to individualism. But on the other, Dissident Gardens is itself akin to the sort of work carried by Albert, a revisionist history, not dissimilar to the 1990s re-evaluations of the Popular Front surveyed in Chapter 1 . Emphasising family resemblances between successive generations of leftists, Lethem portrays a contemporary political culture grounded in the ideals of a previous era, suggesting hope for the
the Anglo-Irish identity politics which shape her better-known writing. As I will suggest later, part of the point may be that one size of moral child fits all. Her childrenâs fiction, when it is read at all, is seen to inculcate the precepts of Malthus and Smith in the new generation, sometimes allowing the childless writer to âmetonymiz[e] the book (or, more precisely the pen) into the figurative breastâ. 2 But, as recent accounts of Belinda suggest, Edgeworth views the breast and indeed the rest of the maternal body with suspicion and ambivalence; what she
1440s: Walter Bowerâs Scotichronicon. I argue that Bowerâs desire to create a history of Scotland that focused on identity politics meant that Margaret became for him a figure not only of sanctity but also of Scottish culture, and even Scottish identity or patriotism. While texts from the twelfth to the fifteenth centuries depict Margaret as a figure of what Karen Winstead calls âsaintly exemplarityâ, the ways in which these texts interpret what it meant to be saintly in a Scottish context differs greatly.1 Margaret as exemplum is understood quite differently in
discussed above, the 1601 will and accompanying inventory anticipated and for a short period of time participated in a future moment of death. The will shows evidence in marginalia, additional codicils and a final nuncupative statement of intention, that this moment was revisited again and again. These revisitations brought the material again into view, into a hyper-presence. Those object actors that generally silently mediated social relations, identities, political structures and the routines of daily life that maintained these became visible. One of the codicils