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New perspectives on immigration
Caroline Fache

6 Beur and banlieue television comedies: new perspectives on immigration Caroline Fache On July 17, 2013, Paris à tout prix (Kherici, 2013), a comedy about immigration, was released and received mixed reviews, despite decent numbers at the box office. Two days later in L’Express, journalist and movie critic Xavier Leherpeur assessed the production of French films about immigration in an article titled ‘L’immigration dans le cinéma français: un bilan mitigé’ (2013) (Immigration in French cinema: mixed reviews). In his review, Leherpeur also analyzes ‘la manière

in Reimagining North African Immigration
Rachel Willie

5 Ideas of panegyric in early Restoration comedy Then to Westminster-hall where I heard how the Parliament had this day dissolved themselfs and did pass very cheerfully through the Hall and the Speaker without his Mace. The whole Hall was joyful thereat, as well as themselfs, and now they begin to talk loud of the king. Tonight I am told that yesterday, about 5 a-clock in the afternoon, one came with a ladder to the great Exchange and wiped with a brush the Inscripcion that was upon King Charles, and that there was a great bonefire made in the Exchange and

in Staging the revolution
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The limits of comedy
Robert Duggan

Chapter 3 Martin Amis: the limits of comedy [I]n Angela Carter and Martin Amis, one finds Dickens’s impress, in particular the interest in the self as a public performer, an interest in grotesque portraiture and loud names, and in character as caricature, a vivid blot of essence. (Wood, 2002, 11) This chapter of the present study will look at the work of Martin Amis in the light of my earlier discussion of the grotesque in literature. I will be examining, among other works, his novels Money: A Suicide Note (1985a, first published 1984) and London Fields (1989

in The grotesque in contemporary British fiction
Christina and Maria Francesca Rossetti’s Dante sisterhood
Federica Coluzzi

patent in the misquotation of Rossetti’s name and book title; in the definition of Miss Cotes’ book topic – ‘the plants and flowers in the Divine Comedy ’ – as a ‘pretty subject which only a woman could treat with so much delicacy’; or in the elusive reference to Enriqueta Rylands as ‘a woman here in Manchester who founded a library to which flocks of scholars from all parts of the world’ (436). Similarly, the wording of

in Dante beyond influence
Philip H. Wicksteed and Victorian mass readerships
Federica Coluzzi

Wicksteed’s titled as ‘AN ATTEMPT TO STATE THE CENTRAL THOUGHT OF THE COMEDY ’. Here, the preacher’s spiritual use of the Commedia is superseded by the emergence of as critical and didactic interest for the wide-ranging study of Dantean textuality, which will characterise Wicksteed’s activity as an Extension lecturer and Dante scholar. As much as Arnold’s transition from lectures to periodical articles, the new portable guise

in Dante beyond influence
The Lost Ones
Daniela Caselli

an unresolved tension is created. The Lost Ones uses romantic notions of perception, experience, landscape, and unspeakability, playing them against ideas of language and textuality. 6 The text’s intertextuality is displayed in this strategic adoption and critique of the oppositions between perception and language, spatial organisation, and inside and outside. Rather than being one of the ‘subtle allusions’ which add to the text’s value, Dante’s visibility in The Lost Ones/Le dépepleur is produced by what the Comedy calls ‘ravening

in Beckett’s Dantes
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Matthew Arnold’s criticism in Victorian periodicals
Federica Coluzzi

‘to give a sort of introduction to the reading of his principal poem, by presenting to you the essence and its form on a reduced scale’ ( La Belle Assemblée , 1838: 50). The first lesson sketched Dante’s life and earlier works ( Convivio , De vulgari Eloquentia and Monarchia ) and concluded with an ‘outline’ of the Divine Comedy . Most interestingly, the magazine reported the ‘very agreeable change’ the Professor made

in Dante beyond influence
Abstract only
Caitlin Flynn

Newly Discovered Manuscript Fragment of Sir David Lyndsay’s The Testament of the Papyngo ’, Notes and Queries (2021), 1–5 . See also Calin’s chapter on Lyndsay in The Lily and the Thistle , pp. 126–56, and M. T. McMunn, ‘Parrots and Poets in Late Medieval Literature’, Anthrozoös 12.2 (1999), 68–75 . 10 See, for example, L. Tracy, ‘The Uses of Torture and Violence in the Fabliaux: When Comedy Crosses the Line’, Florilegium 23.2 (2006), 143–68 .

in The narrative grotesque in medieval Scottish poetry
Marginal annotation as private commentary
Federica Coluzzi

‘replacement of the Divine Comedy ’ ( Braida , 2004: 28), Cary’s translation launched the process of commodification of Dante’s poem into a classic best-seller, an object of wide production and consumption among the English-speaking public. The first edition published in 1814 consisted of three volumes in 12mo, printed at the translator’s expenses and sold for ‘the modest price of twelve shillings, in boards’ ( Toynbee , 1912

in Dante beyond influence
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Dante studies in Victorian Britain
Federica Coluzzi

be ready at hand for reference or illustration’ ( Tomlinson, 1894 : 792). The news was reported by local newspapers such as the Liverpool Mercury (1 November 1894), the Manchester Courier (3 November 1894) and then reached Scotland through the Glasgow Herald (21 November 1894) , which stressed the importance of such an institution aimed at furthering ‘the pious study and investigation’ of the Divine Comedy among

in Dante beyond influence