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William Morris’s News from Nowhere and Chaucer’s dream visions
John M. Ganim

character of fiction, an allegory of Life. Through renunciation both of established politics and of religious dogma, the Nowherians seem to have regressed, in an historical perspective, to a pre-capitalist, even a pre-Christian era, indeed to the legendary period when the Western world was inhabited by humans and fairies living in harmony.16 Laurent suggests that Morris engages in a kind of word-painting of landscapes in the novel, akin to how the visual arts successfully merge the moral and the political qualities of buildings and 192 Contemporary Chaucer across the

in Contemporary Chaucer across the centuries
Open Access (free)
Corruption, community and duty in Family Matters
Peter Morey

Rohinton Mistry law’s earnest yet aggressive bedside devotions in the disturbing scene in which Yezad’s prayers and Daisy’s music seem to do battle over the mute, prostrate elder (FM, 433–5). Formally, the concern for past-present connections is played out through repetitions: Yezad comes to repeat Nariman’s father’s inflexible religious dogma; Murad’s non-Parsi girlfriend threatens a repeat of the parental estrangement of the earlier generation; and, at one point, Yezad unfairly accuses Roxana of neglecting the rest of her family in favour of her father, paralleling

in Rohinton Mistry
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Steven Hutchinson

Protestantism and claimed victims in the Nordic countries, in the Mediterranean and even in Japan. A geo-religious map would indicate the distribution of martyrs in certain areas, but wouldn’t show a ducal pleasure mansion in the interior of Aragon: martyrdom had its own geography. Our martyr Sancho doesn’t die, he defends no religious dogma, he won’t be taken directly to heaven for his martyrdom, he provides no edifying model for others. But his martyrdom – expressed in singular and plural, as martirio and martirios – is not merely understood as ‘pain or suffering

in Frontier narratives
Eileen Fauset

no relation to the realities of life. Her argument stems from her reservations with Madame de Staël’s own philosophy that religious dogma is an impediment to thought and the imagination. While Kavanagh declared that, by its very nature, the absence of ‘tame realities’ was systematic of fiction, she believed that religious dogma was a fundamental part of French life and, whether for good or bad, she could not accept a novel that ignored the consequential reality of its influence. As she says: to banish dogmatic religion from fiction means that it should be left out

in The politics of writing
Howitt’s Journal and Douglas Jerrold’s Shilling Magazine
Rob Breton

necessary, reforms of ourselves.’ 8 Meteyard insists on a hard division between ‘sorts’ of Chartism, the kinds that seek self-reform and the kinds that seek the ‘destruction of what sort soever, pulling down parliament houses, sacking a city, or burning acts of parliament’. 9 Warning against the ‘sort of oratory’ that might inflame the people, she embraces a conditional Chartism by hardening the distinction between its ‘forms’: ‘this sort of Chartism is the offspring of popular ignorance; and had the governing class taught instead of quibbling over religious dogma

in The penny politics of Victorian popular fiction
Susana Onega

transcendental gods and religious dogmas to be used as instruments of power over other human beings. Noah’s physical aspect enhances this interpretation. Gloria despises him because he looks like ‘a transvestite [wearing] frocks and stacked heels and make-up’ (BB 18) and, while his three sons call him ‘Dad’ (BB 109), the Unpronounceable calls him ‘mother’ (BB 89, 111, 122). This suggested androgyny is in keeping with the description of the creation of humans as male and female in the first chapter of Genesis.59 In the biblical account, these androgynes ‘were giants in those

in Jeanette Winterson
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Shadow resurrections and artistic transformations
Naomi Booth

the striking depiction of the soul swooning at key moments in his early texts, Dubliners ( 1914 ) and A Portrait , Joyce is also reworking the trope of swooning to complicate the relationship between mind and body – to disturb the received, religious dogma of an immortal soul that will leave the intermittent, swooning body behind. The soul-swoon, I argue, becomes an important part of Joyce's exploration of what it means to be an artist – and to his related sense of the importance of embodied, physical experience. I will argue that a compound of spiritual and

in Swoon
Margret Fetzer

itself, is suspected of being the first reason for God’s ‘ravishment’ of Anne’s soul. Only outside of that social frame, one may conclude, is religious devotion possible – which is why even today Catholic clerics are expected to remain celibates. The ‘Holy Sonnets’ as theatres of their own Through an interpretation of Donne’s ‘Holy Sonnets’ as ‘autotheatrical’, I would like to suggest a denominationally neutral reading of these poems. Although Donne refused to elevate theologically controversial points to the status of religious dogma (Roston, 2007: 176), there is no

in John Donne’s Performances