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Abstract only
Sharon Lubkemann Allen

EccentriCities Introduction Introduction Every work of genius slants the rational plane, or so claim twentiethcentury writers as disparate in style and distant in setting as Mário de Andrade and Vladimir Nabokov, re-casting creative consciousness in their respectively ‘hallucinated’ cities of São Paulo and St. Petersburg.1 While these writers eccentrically reconfigure and relocate creative consciousness in citytexts marked by peculiarly modern tempos and marginocentric topographies, they also recuperate an ancient association between art, alienation and

in EccentriCities
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Classical and Christian divinity in Palyce
Caitlin Flynn

humanist interpretations of venerean cosmology. Throughout the poem Douglas refers to cosmological events and celestial bodies and links Venus’s shining countenance with Phoebus: ‘For lyk Phebus in hiest of his spere / Hir bewtye schane, castand so gret a glance / All farehed it opprest, baith far and nere’ (451–3) (For like Phoebus at the height of his course, her beauty shone, casting so great a flash it oppressed all beauty, both far and near). Several aspects of this observation are essential to untangling

in The narrative grotesque in medieval Scottish poetry
Town meets country
Jill Liddington

bank, just inside the new Halifax borough; he leased this from Anne Lister at an annual rent of £ 26, 22 and so was entitled to vote in Halifax borough. With no secret ballot, Anne Lister could tell ‘him to vote for Wortley tomorrow’; but the Whigs ‘had all been at him, and some said they would not employ him again if he would not vote their way’. In fact the 1832 Poll Book records poor John Bottomley as dutifully casting a ‘plumper’ for Wortley (i.e. just using one of his two possible votes

in Female Fortune
Disturbance of the epistemological conventions of the marriage plot in Lila
Maria Elena Carpintero Torres-Quevedo

’ (125, 132). Despite Ames ‘worr[ying] over her reading the Bible just at that place’, Lila becomes fixated on the Book of Ezekiel, particularly on an allegorical passage in which a baby (Israel) is cast out to die, only to be saved by an older man (God), who raises the child into a woman and marries her (125). The woman goes on to sleep with other men, acts which God describes as ‘prostitution’ and punishes by stripping her naked and casting her into the street to be abused until his anger has passed. Ames tries to dissuade

in Marilynne Robinson
Christopher Lloyd

dominates Home , and it is an emotion or affect with strong and sturdy bonds. What might be thought of as an ‘ordinary’ or ‘basic’ feeling is, in Robinson's hands, one of the most profound and political ways to reflect on ideas of family and nation. In casting a melancholy gaze upon the past, Robinson's Gilead trilogy reframes and mediates the United States’ complex and troubling past, particularly with regards to race. While the Boughtons cannot do anything active, their passivity is important to represent and understand. Though its political scope may leave readers

in Marilynne Robinson
Johannes Wolf

preach, however, troubles begin anew. Despite the warnings of the parish priest, Melton is unable to forgive the disruptions to his sermons produced by Kempe's ‘boystows wepyng’. When her friends intercede on her behalf, Melton comes clean, declaring ‘he wolde not levyn that it was a yyft of God’, casting suspicions on the source of her behaviour. He adds that the irrepressible nature of Kempe's behaviour suggests a physiological or psychological disorder – a ‘cardiakyl, er sum other sekenesse’ (p. 290). The Franciscan turns to the language of diagnosis, of

in Encountering The Book of Margery Kempe
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The first wife’s response
Caitlin Flynn

fuses multiple perspectives on love by intertwining horror and humour and casting the wife’s words in a morally ambivalent light. On the level of poetics, Dunbar overspills boundaries by exercising a series of dissonant poetic forms and lexicons to explore the continuums of artificiality–authenticity and veracity–falsity, ultimately proving them to be malleable rhetorical features. Critics have previously noted the manifold allusions, sources, and connections woven into the narrative. 6 This

in The narrative grotesque in medieval Scottish poetry
Caitlin Flynn

–16) [I often muse on such matters at midnight and suffer so in my mind, I murder myself. Then I lie awake from woe, tossing and turning about, often cursing my wicked kin for casting me away to such a coward without [sexual] desire to join together with my bright beauty, and there [being] so many bold knights in this kingdom.] These lines allude to two moments from Howlat . The first occurs at the opening of the narrative when the narrator overhears the eponymous howlat moaning and

in The narrative grotesque in medieval Scottish poetry
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John Kinsella

(I always have) and exploiting them (to my mind). My poetry was tracking my concern, so my poetry helped in the decision-making – that old argument of poetic language expressing the inexpressible. When I wrote of casting aside the gun, of leaving animals be, it was because I had – but also to articulate and mark it. To give a sign in word as well as thought and action. A pact, a long-term agreement written out for myself. A constant reminder of how and why I’d got to that point of change. This was not easily the case – as

in Beyond Ambiguity
Politics and Religion - December 1834–May 1835
Jill Liddington

home the rents collected & came in about 1½— brought three hundred and twenty three pounds four shillings, and sat with A– counting it over and she put it away to be ready for tomorrow; (I had one hundred and three sovereigns and the rest in five pound country notes.) Some while with my aunt.…John Booth soon returned from H-x—one Jennings (lives at Cow-green) had given the casting vote for Protheroe—by & by came Mr Washington who had it from Wortley himself at the [White] Swan committee room that the casting vote was in

in Female Fortune