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Anna Maguire Elliott

ask how, and whether, an Emersonian, solitary connection to the landscape might be reconciled with a wider network of care, which recognises human interdependence with each other as well as the wider, natural world. The literary orphan and the ethic-of-care The nineteenth century, as Nina Auerbach explains, was as an era of ‘orphan worship’ in the English novel, from Dickens to Eliot to Thackeray to the Brontës (Auerbach 411; Mills 227; Peters 24). Although mortality rates were high, and a significant

in Marilynne Robinson
Disturbance of the epistemological conventions of the marriage plot in Lila
Maria Elena Carpintero Torres-Quevedo

extremely limited terms of what constitutes development, desirable or successful initiation, and eventual independence. In Lila, Robinson instead presents interdependence through various pairings of characters. Lila's development from childhood into adulthood is heavily influenced by her identification with Doll, as reflected in the choosing of her name. Lacking any knowledge of her legal surname, Lila identifies as ‘Lila Dahl’, with ‘Dahl’ a phonetic spelling of her pronunciation of Doll's name. Describing her relationship

in Marilynne Robinson
Sif Ríkharðsdóttir

and articulation foregrounds the interdependence of memory, history, voice, poetry and text in Egils saga : Þö mun eg mitt og mödr hrer faudr fall first um telja þad ber eg üt ür ordhofe mærdar timbur mäle laufgat. 27 Yet I will

in Medieval literary voices
Abstract only
The Hegelian project of Infinite Jest
Adam Kelly

Warren notes that Wallace read Marx's ‘Contribution to the Critique of Hegel's Philosophy of Right ’ for a class at Harvard ( 2018 : 173) and makes a connection between Hegel's critique of ‘interdependence’ and O.N.A.N.'s ‘Interdependence Day’ (182). Jeffrey Severs makes multiple allusions to Hegel's importance for Wallace, particularly the dialectic of lord and bondsman from The Phenomenology of Spirit ( 2017 : 54–5, 86). Addressing the passage I have quoted above, Jon Baskin briefly glosses Hal's reference to Hegel as simply an initial therapeutic signal that the

in Reading David Foster Wallace between philosophy and literature
Abstract only
John Kinsella

the counter-tendency of a cooperative interdependence and constituted at least one way forward in this domain.

in Beyond Ambiguity
Ekphrastic encounters in Kyd’s The Spanish Tragedy
Richard Meek

to draw forth a more striking, moving dramatic painting in which speech, gesture, and passionate expression create living art.’5 By contrast, the present chapter seeks to question the paragonal model of ekphrasis, and argues that The Spanish Tragedy highlights drama’s interdependence with, rather than superiority to, other forms of art. The chapter also suggests that the play’s interest in ekphrasis opens up larger questions about borrowing, imitation, and collaboration. Such concerns are reproduced on the level of plot: Hieronimo’s quest for a suitable

in Ekphrastic encounters
Timothy Raylor

brings into play others of Waller’s Restoration and Protectoral panegyrics, and in so doing, I suggest, he advances an attack that ranges more broadly than the immediate moral and political shortcomings of the late Caroline court. Marvell’s attack argues, I think, for a debilitating interdependence between the predominantly romance mode of Wallerian panegyric and the failures of English maritime power and court ideology. In thinking of Restoration panegyric as primarily romance in mode, I draw on Epic Romance, an important and wide-ranging study in which Colin Burrow

in Texts and readers in the Age of Marvell
G.K. Chesterton

Mr Kipling is not courage, which scarcely interests him, but discipline, which is, when all is said and done, his primary theme. The modern army is not a miracle of courage; it has not enough opportunities, owing to the cowardice of everybody else. But it is really a miracle of organization, and that is the truly Kiplingite ideal. Kipling’s subject is not that valour which properly belongs to war, but that interdependence and efficiency which belongs quite as much to engineers, or sailors, or mules, or railway engines. And thus it is that when he writes of

in In Time’s eye
Representations of the immigrant in the contemporary Irish short story
Anne Fogarty

categories are highlighted and notions of belonging, interdependence, political violence, and social inclusion tested in the process. The stories in Philip Ó Ceallaigh’s The Pleasant Light of Day (2009), which are situated in numerous locales including Brazil, Egypt, Spain, Ireland, the US, and several unspecified Eastern European countries, undertake such interrogations as do the tales in Kevin Barry’s Dark Lies the Island (2012), which shift between the UK, the midlands and west coast of Ireland, and Berlin, and foreground encounters between transient diasporic figures

in Literary visions of multicultural Ireland
Lee Spinks

outlaw.’ 15 Billy the Kid , he insists, is, after all, ‘a tightly controlled book: Ondaatje is a careful artist and the images of violence are never allowed to get out of hand in the book. The book is not chaos, the book is not manic. It is an attempt to comprehend the legend of Billy the Kid, to see him as one of the exemplary figures of modern consciousness, outlaw as artist, artist as outlaw.’ 16 This emphasis upon the interdependence of the figures of outlaw and artist dovetails neatly with Susan Glickman’s view that Ondaatje’s work presents a gradually evolving

in Michael Ondaatje