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This book addresses the special relationship from the perspective of post-Second World War British governments. It argues that Britain's foreign policy challenges the dominant idea that its power has been waning and that it sees itself as the junior partner to the hegemonic US. The book also shows how at moments of international crisis successive British governments have attempted to re-play the same foreign policy role within the special relationship. It discusses the power of a profoundly antagonistic relationship between Mark Twain and Walter Scott. The book demonstrates Stowe's mis-reading and mis-representation of the Highland Clearances. It explains how Our Nig, the work of a Northern free black, also provides a working-class portrait of New England farm life, removed from the frontier that dominates accounts of American agrarian life. Telegraphy - which transformed transatlantic relations in the middle of the century- was used by spiritualists as a metaphor for the ways in which communications from the other world could be understood. The story of the Bolton Whitman Fellowship is discussed. Beside Sarah Orne Jewett's desk was a small copy of the well-known Raeburn portrait of Sir Walter Scott. Henry James and George Eliot shared a transatlantic literary network which embodied an easy flow of mutual interest and appreciation between their two milieux. In her autobiography, Gertrude Stein assigns to her lifelong companion the repeated comment that she has met three geniuses in her life: Stein, Picasso, and Alfred North Whitehead.
filmic techniques they frequently show, for instance, anachronisms, time stoppages, time travel and cyclical time. In this introduction we will trace the special relationship to temporality that characterises medieval film to its roots in the overlap of medievalism, film history and film theory. Though frequently not taken seriously by film scholars or medievalists, medieval films are pivotal in challenging both
’s novel. Perhaps Steffen Hantke had this in mind when he observed that a special relationship seems to exist between Shelley’s Frankenstein and modern writers of neo-Victorian fiction (250). While some of the most famous neo-Victorian texts (works like William Gibson and Bruce Sterling’s The Difference Engine , Neal Stephenson’s The Diamond Age , or Alan Moore’s League of Extraordinary Gentlemen ) make no reference to Shelley’s Creature, many other pieces bear out Hantke’s observation, including the two texts on which this chapter will
Introduction Janet Beer and Bridget Bennett The celebrated description of Britain and America as two nations divided by a common language suggests the limits, at both ends, of the relationship between the two countries. It is a relationship that has received a good deal of critical attention, yet the collaborations, collisions, friendships, mutual admiration or hostilities between individual British and American writers and their cultural preoccupations has not been an area of much study. The idea of a special relationship between the United States and Great
biblical address that it paraphrases. The anonymous author frames his moving rendition of Job’s appeals to God with a short form of the biblical refrain Parce michi, Domine, nichil enim sunt dies mei (Job 7.16: ‘Spare me, God, for my days are nothing’). Since I will go on to argue that the texts of Pety Job and Roberd of Sicily preserved in CUL Ff.2.38 share a special relationship, I cite their texts directly from the manuscript source: Parce michy, Domine! Leef Lord, my soule thou speare! The sothe I seye now sekerle: That my dayes nought they are, Ffor though I
from open to closed and back again. While a common key is not ordinarily seen as wondrous or wrætlic , the riddle allows us to see this object anew by rendering it as a thing. Every key—although superficially similar to every other key—is in fact a unique object with a special relationship to both an individual human being and to other objects. Moreover, the obscene ambiguity here points to the tendency for people to attribute phallic power to their tools. Or tool-like power to phalluses. Yet, because this particular tool seems to have been more often associated
’re absolutely right, I’m interested in siblings, and one particular permutation is the special relationship there sometimes is between an artist and one of his or her siblings. Vincent and Theo Van Gogh would be a good example, Patrick and Peter Kavanagh, James and Stanislaus Joyce. There can be interdependence, supportiveness, rivalry, tremendous love. When I wrote Authenticity , I
relationship previously felt in Venice: ‘States fall, arts fade –but Nature doth not die, /Nor yet forget how Venice once was dear’ (3). Italy ‘is the loveliest, and must ever be /The master-mould of Nature’s heavenly hand’, and its ruins make this special relationship manifest, as ‘Nature’ ‘charms’ and ‘graces’ those ruins with ‘weeds’ that are ‘beautiful’ (25). For Byron, Italy’s ruins simultaneously fulfil history’s inherent ‘tendency’ towards ‘destruction’ and function as the sites of nature’s redemption of history. Given Byron’s dual focus both on himself in Italy
-like, while the ‘people themselves are like their land’. It is not just that the granite land and the Celts are imagined to have some kind of close, special relationship, but that they are like each other and could even be part of each other. Accounts such as Val Baker’s regarding the essential sameness of the land and the Celts are a way of claiming that these people belong, that the land
as for thi wedded husband, as thy derworthy derlyng … And therfor thu mayst boldly take me in the armys of thi sowle and kyssen my mowth, myn hed, and my fete as sweetly as thow wylt’ (1.36.2102–8). In passages like this one, the text suggests an erotic aspect to true devotion to Christ. Part of Margery’s special relationship with Christ is her obedient rendering of her marriage debt to him, making their relationship sexual as well as spiritual. Margery associates Christ’s body with both her