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Hood’s tied trope
Sara Lodge

accusers alledge against me, to a hair’.22 The puns, then, are associated with an episode of (comic) defensiveness and anxiety surrounding the ‘matter’ of the body, which literally and linguistically occupies an ambivalent status between subject and object. The transgressive anatomising of the body upon which the characters are about to embark is mirrored by a transgressive anatomizing of language, which may be both literal and metaphorical: ‘touching’, ‘head’, ‘hair’. It seems that puns are particularly suited to the exploration of such unsafe, unstable subjects. Crambe

in Thomas Hood and nineteenth-century poetry
Martine Beugnet

misappropriation, exile and racism, alienation and transgression. Thus, from an early encounter with ‘an established order that, already in my childhood, appeared unfair’ (Lifshitz 1995 ), 1 grew a questioning of the ethics of belonging and appropriation: En France, je ne me sens pas du tout chez moi. Peut-être parce que je n’ai pas grandi en France. Mais en Afrique

in Claire Denis
Abstract only
Sarah Lonsdale

group of women’s lives, it becomes possible to piece together the kaleidoscope of their upbringing, personality and the choices they made to focus the image better, and to obtain a clearer picture of individuals’ actions and motivations. Thus we can trace a line from Claudia Parsons’ childish experiments with plasticine, water and piping, and transgressive bicycle rides, to her taking her place at Loughborough Technical College. We can read, in Dorothy Pilley’s diaries and in her journalism, her utter conviction that marriage, even to a man as sensitive and alert to

in Rebel women between the wars
Grotesque selves and self-fashioning in Pope’s Dunciad
Clark Lawlor

-classic study, The Politics and Poetics of Transgression, while the latter follow in the monumental footsteps of Reuben Brower and Maynard Mack.3 In both cases ‘deformity as a self-consciously created figure for Pope’s poetics patterned after the poet’s own person is lost from sight’.4 This chapter will argue 117 SELF-EXPLORATION IN THE AGE OF REASON that Alexander Pope’s self – as depicted in his various Dunciads – is a conflicted entity riven by the discourses of gender, physical norms based on classical precedent, the ever-rising middling orders, and consumer mercantile

in Writing and constructing the self in Great Britain in the long eighteenth century
Sherry Velasco

significance for the understanding of how gender identity, sex assignment and sexuality were configured during that time. Most often, the representation of hirsutism involved a visual spectacle, which in turn required a narrative to interpret the transgression of cultural norms regarding gender and sex categories. An analysis of these texts indicates that both word and image underscore the fluid and unstable nature of ambiguously sexed bodies, which ultimately serve to police and reinforce the superiority and dominance of the traditional male gender and sex conflation, as

in The last taboo
Megan G. Leitch

anonymous literary texts, alongside instructions about sleep in courtesy books, dietaries and homiletic writing. Here, sleep is deployed to evaluate the conduct and aspirations of characters and contemporary readers. Moments where characters sink into untimely sleep reflect on their identities and reputations and offer readers exempla of what not to do, emphasising the dangers of transgressing expectations. One of the main contentions of this chapter is that the untimely, appetite-driven sleep of knights and kings, and that of

in Sleep and its spaces in Middle English literature
Christabel, The Eve of St Agnes and Lamia
Robert Miles

respect, is the measure of the poem’s own assessment of its transgression. The Eve of St Agnes The critical literature has long recognized The Eve of St Agnes as a Gothic poem influenced by Christabel (Maier 1971 : 62-75; Barnard 1977 : 621). In general, Keats’s use of the Gothic is seen to be critical (cf. Lau 1985 : 30–50). I want to take this further by arguing that

in Gothic writing 1750–1820
Alison Findlay

witchcraft in Lancashire were supported by the confession of sixty-year-old Margaret Johnson, made on 2 March before the same justices. Although not mentioned by Robinson, she claimed the Devil had appeared to her as a spirit called Mamilion ‘apparrelled in a suite of black, tyed about with silk points, who offered that if shee would give him her soule hee would supply all her wants’. 5 She too was familiar with the conventions of demonological practice as discussed in numerous European and British treatises on the subject, referring to transgressive sexual practices with

in The Lancashire witches
Narratives of Ukrainian solo female migrants in Italy
Olena Fedyuk

work’ and an ‘inappropriate transgression’ (see Pine and Haukanes, Chapter 1 , this volume). The chapter aims to maintain the complexity of such encounters by contextualising a wide range of intimate relationships as power relations of uncertain economic situations, dismantling the dichotomy of paid versus unpaid sexual relations and scrutinising the boundaries of care work. Drawing a complex picture of sexual, romantic, and intimate encounters between migrant women and local men with various motivations, degrees of exploitation, and rewards on both sides, I take a

in Intimacy and mobility in an era of hardening borders
Satadru Sen

, subversion and transformation. The second pattern is that money was not simply a mechanism of transgression; it was simultaneously a mechanism of racial and political restraint. It allowed Ranjitsinhji’s British and Indian partners and adversaries to attempt to fix him in his place, not by depriving him of money as might be expected, but by attaching conditions to his income, by calling attention to moral inconsistencies in his financial decisions, and by pointing out the consistencies between how he spent his money and who he was

in Migrant races