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June 1835–September 1835
Jill Liddington

grasping. He had given A– fourteen hundred pounds to satisfy [i.e. atone] . I said it was an ungentlemanly misrepresentation and explained how it was.…Advised Mr Gray not to tell A– now; it would only annoy her—but told her myself afterwards . Mr Gray wrote form of inscription to be put with the coins in the 1st [i.e. foundation] stone of the Casino, and he also wrote a speech for A– to make to Mr Nelson, the master builder

in Female Fortune
Bereavement, time, and home spaces in Marilynne Robinson’s Housekeeping and Home
Lucy Clarke

is always, paradoxically, a timeless condition, ‘an eternal now’ ( Dramas 238, 239). To describe the uniquely liminal situation of ‘peculiar unity’ for a group created within a seclusion space, Turner coined the term ‘ communitas ’ and wrote, ‘it is in liminality that communitas emerges’ ( Forest 99, 100; Dramas 232). As bereaved narrator Ruth describes it, the children's responses to Sylvia's tasks are all linked to the time ‘[ a ] fter their father's death’ and in the house (Robinson Housekeeping 10, emphasis mine). Their experiences can therefore be

in Marilynne Robinson
Abstract only
Louise D’Arcens
Sif Ríkharðsdóttir

of Lost Time ), Lawton traces the voices of medieval authors as they overlay one another, modulate each other and, ultimately, parody each other. He coins the term ‘public interiorities’ to foreground the interplay between voice, text and mediation: Public interiorities are pieces of language – as speech or text – which

in Medieval literary voices
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David Foster Wallace and the body as object
Clare Hayes-Brady

state being both deeply embodied and deeply social – is a recognizable feature of the deeply embodied characters of Wallace's worlds, as well as of the experience of reading his work. Writing about feeling late in the nineteenth century, Wilhelm Wundt argued that ‘internally-generated sensations were as important to mental life as externally-driven sensations, so that affect (what he called “simple feelings”) and sensation were two sides of the same mental coin’ (Wundt, 1897 , qtd in Barrett and Bliss-Moreau, 2009 : 169) – a line of argument that would become

in Reading David Foster Wallace between philosophy and literature
Annalisa Oboe
Elisa Bordin

Luck’s night is still ‘full of stars’ ( SN , 79), of tiny dots of light that, like beacons, will hopefully lead him to the path he has lost. Understanding ‘how far into darkness’ human beings can go ‘and still find their way back to light’ and, even more importantly, ‘how much [it is] necessary for there to be darkness for the concept of light to exist’ is a central question posed in Song for Night . 30 The predicament of the child character shows that guilt and redemption are two sides of the same coin, or that

in Chris Abani
Great War archaeology
Angie Blumberg

same, inert residues of consumed existences.) 3 He likens historical study after the war to the stirring of ashes, some cold, ‘inert residues of consumed existences’. This invocation of a world in ruins and lives transformed to ash suggests the archaeological discourse surrounding Pompeii, to which I return below. Fernand Braudel, a second-generation Annales scholar, who coined

in British literature and archaeology, 1880– 1930
Annalisa Oboe
Elisa Bordin

common hope. The ‘planetary’ quality of Song for Night , which Chapter 4 reads via Spivak and Mbembe, is further explored in The Secret History of Las Vegas , in which the issue of human rights, a constant in Abani’s prose, is matched by a reflection on environmental rights. In the novel the historical and geographical interconnections of South Africa and Nevada are two sides of the same coin, that is, state power and its biopolitical control. The investigation of the limits of agency and freedom, visibility and

in Chris Abani
Civil rights, civil war, and radical transformation in Home and Gilead
Tessa Roynon

–283. 14 See, for example, Chesnutt's 1899 collection, The Conjure Woman . 15 Robinson discusses this phrase, coined by Ulysses S. Grant, in her first “Conversation” with Barack Obama; she points out that Iowa never had either laws against interracial marriage or segregated schools. 16

in Marilynne Robinson
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The narrative grotesque
Caitlin Flynn

grotesque history The term ‘grotesque’ was coined in reference to a decorative style made popular after the excavation of the Domus Aurea of Rome around 1480. In its earliest form, grotesque was used to describe foliate figures that defied natural laws to show animate forms flowing together with floral shapes and creating figures that were doubled or reflected into distorted configurations. 22 Luca Signorelli’s borders at Orvieto cathedral, painted between 1499 and 1504, demonstrate the translation of the classical

in The narrative grotesque in medieval Scottish poetry
Johannes Wolf

herself into textual work; versions of her proliferate at the same rate as readings. Different Margerys for different Books . The effect of the wishes and desires brought by readers to texts has long been a hallmark of autobiographical theory. In his 1975 On Autobiography Philippe Lejeune works to make the particular relationship between text and reader represented by autobiography key to a definition of the genre. Coining the term ‘autobiographical pact’ to describe this phenomenon, Lejeune argues that autobiography is ‘a mode

in Encountering The Book of Margery Kempe