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G. W. M. Reynolds and The Mysteries of London
Rob Breton

, ‘Vengeance serves power equalisation. When individuals or groups endeavour to impose their will upon others, vengeance serves to correct them. Revenge is the social power regulator in a society without central justice.’ 77 The Republican, a sort of deus ex machina figure kept in waiting, does not seek vengeance, in part because he has accepted that republicanism is an alternative and better social-power regulator. He tells Richard that he forgives George Montague ‘From the bottom of my heart’ 78 for betraying him to the government for his political beliefs, and

in The penny politics of Victorian popular fiction
Nigel Wood

spectrum of meaning, frequently returning to the ungovernable qualities of emotional excess, a state equally amenable to tragic as comic narratives. The major conundrum about the word spleen derives from a doubt about the anatomical value of the organ itself; now understood to offer some protection against serious disease and as a regulator of the blood, it is associated with

in The Renaissance of emotion
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Towards an aesthetic context for William Blake's 'Gothic' form
Kiel Shaub

as in an ark & veil’ ( FZ 109:25; E 378) suggesting that Mystery, or the ‘making mysterious’ of Rahab was actually an attribute imposed upon her by an external agent (that is, she ‘was hidden’ by the Synagogue). They are the keepers of the fruit's delight and the regulators of those who may have access to it. Part of what emerges here is a clarification of the relationship between regulation and creation in the process of repetitive

in William Blake's Gothic imagination
Juvenal, Boileau, Johnson and Cottreau
Howard D. Weinbrot

Rome appropriate for its endangered ‘unum civem’. Malign others alas do live in Rome and deface its history. Numa Pompilius was Rome’s second king, protector of the people and regulator of Roman religion. Now pedlars deface his holy fountain, and its environs (l. 13). Moreover, ‘Exeat’ (l. 153), beat it, an usher says when poor Umbricius wrongly takes an equestrian’s seat in

in Changing satire
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Corporate medical horror in late twentieth-century American transfer fiction
Sara Wasson

donation, procurement, and transplantation, the United Network for Organ Sharing (UNOS), and Fortune magazine voiced a common criticism when it asked, ‘Will this emerging high-tech industry be run efficiently by dynamic entrepreneurs of the capitalist persuasion, or will it be semi-socialised and smothered by regulators?’ 16 In multiple ways, then, trends in economic management and political economy influenced expectations of transfer administration. The financial benefits that accrue from disaggregating bodies are manifold and exceed mere ‘organ sale’. Most

in Transplantation Gothic
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Angela Lait

(Sennett, 1998 : 114). Similarly the phenomenon ‘recession’ has become the force by which bank executives, fund traders, government regulators and others distance themselves from the effects on individuals of their (in)action. So at the same time that business embraces fluidity, responsiveness and mobility for profit-making and claims this empowers the individual to self-manage and develop, its agents are

in Telling tales