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Christopher Morgan

word. Ben Astley, in his 1998 article ‘“Somewhere Between Faith and Doubt”: R. S. Thomas and the Poetry of Theology Deconstructed’, sees this ‘breaking open’ of language as a manifestation in Thomas’s work of ‘Derridean deconstruction’ in which ‘the free-play of the sign destroys any attempt to reduce or restrict the associations of the sign’ (77). While this seems true, it should be noted that in the discourse of the via negativa the word becomes an approximation, often more accurate in its cataloguing of what a thing, in this case deity, is not, rather than of what

in R. S. Thomas
The crisis of masculinity in Ian McEwan’s early fiction
Justine Gieni

Whitney’, ‘Faith and Doubt at Ground Zero’, Frontline, , April 2002, (accessed 26 April 2013)

in Incest in contemporary literature
Janice Valls- Russell

’; ‘Faith and doubt in Shakespeare’s Henry VI , Parts 1 and 2, and King John ’, Shakespeare Jahrbuch , 149 (2013), 73–87 (p. 82). Goodland, Female Mourning , discusses Constance’s passionate rhetoric from the perspective of Reformation prohibition of mourning rituals, pp. 119–33 (p. 133). 38 See

in Interweaving myths in Shakespeare and his contemporaries
Abstract only
Anatomy of a metaphor
John M. Ganim

perspective, viewing medieval religion as a mixture of intolerance and superstition. The structure and politics of the Church and conflicts between Christianity and Islam in films about the crusades often form the background of medieval movies in general. But in many medieval noir films, personal faith and doubt and its testing are very much the central themes and also determine the progress of the plot and

in Medieval film
The Innocent and Black Dogs
Dominic Head

reuniting of Leonard and Maria, seem to be concessions to filmic narrative: the dismemberment (necessarily) happens off camera, for example; and Maria engineers her relationship with Bob immediately after the killing of Otto, in order to save Leonard. See The Innocent (Island World, 1993), directed by John Schlesinger, starring Anthony Hopkins (Bob Glass), Isabella Rossellini (Maria) and Campbell Scott (Leonard). 15 Helen Whitney, ‘Faith and Doubt at Ground Zero’ (interview), Frontline (April 2002), available at faith

in Ian McEwan