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Jeffrey Wainwright

. 7). What is the justice of the ethical demand Hill puts upon his work? Night and fog it ís then, comrades ( SpSp 88) In the seventh section of The Mystery of the Charity of Charles Péguy Hill quotes his protagonist: ‘Péguy said / “why do I write of war? | Simply because / I have not been there”’ ( CP p. 192). There is a voice in The Triumph of Love which sees the prominence of the two world wars, the Shoah, and other extremities in Hill’s poetry as ‘obsession’: ‘This is quite dreadful – he’s become obsessed

in Acceptable words
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‘Churchill’s Funeral’ and ‘De Jure Belli ac Pacis’ (Canaan, 1996)
Jeffrey Wainwright

task, every detail of the weights, rhythms, contexts and histories of the words in which the poet’s subject consist can be registered. The ethical demand upon the poem is to use the leisure of this attention to be part of the exploration Rose speaks of, and it is this that gives it the quality of an act. Nevertheless, memorial must seem, although the most compelled, still the most impotent of poetic acts: ‘What shall the poet say, / what words inscribe upon your monument?’ cries Hecuba in Euripides’ Trojan Women . Discussing Hecuba’s lament, Martha Nussbaum dwells

in Acceptable words
The Orchards of Syon (2002)
Jeffrey Wainwright

, unkillable sense of what is due, of the importance of making a proper account of the uncounted. Such pains of omission and commission, and the ethical demand, mean that this is never a dream: ce n’est pas drôle . But ‘the incorrigible nature of judgement’ can be experienced as consuming the self and the world with its implacability. In the sequence LVII, LVIII and LIX, Hill revolts against its implications: Reading Dante in a mood of angry dislike for my fellow sufferers and for myself that I dislike them

in Acceptable words
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‘A quoi bon la littérature?’
Jeannette Baxter, Valerie Henitiuk, and Ben Hutchinson

’s narratives at times display an oedipal complex, suggests Herren, it is ‘Oedipus Rex refracted through Kaf ka and Beckett’: by the end of The Emigrants, the narrator ‘effectively chooses to blind himself rather than face the full implications of his family crisis head on’. Yet the reader is meant to see beyond the narrator’s ‘averted gaze’, and thus to reach the very conclusions that the narrator seeks to avoid. The various intellectual and ethical demands that the Sebaldian text makes on the reader inform the closing essay in this volume, Russell J. A. Kilbourn

in A literature of restitution
Space, limitation and the perception of female selfhood in Samuel Richardson’s Pamela
Barbara Puschmann-Nalenz

unable to resolve the struggles in her own consciousness and still fears that Mr B. will dishonour her causes his outbreak of anger that terminates the pastoral scene – harmony is still at a distance, although the peak of despair lies behind her. Since Pamela cannot be his wife for reasons of class and will not be his mistress she must suffer the pains of unrequited love and spatial separation from Mr B. While she tries to unify her inner self which resembles a battlefield of conflicting rules, ethical demands and inclinations, she once more moves spatially away by

in Writing and constructing the self in Great Britain in the long eighteenth century
Open Access (free)
Southern worlds, globes, and spheres
Sarah Comyn and Porscha Fermanis

See, e.g., Walter D. Mignolo, Local Histories/Global Designs: Coloniality, Subaltern Knowledges, and Border Designs (Princeton: Princeton University Press, 2000); and David Slater, Geopolitics and the Post-Colonial: Rethinking North–South Relations (Oxford: Blackwell, 2004). 43 Shino Konishi, ‘First Nations Scholars, Settler Colonial Studies, and Indigenous History’, Australian Historical Studies , 50 (2019), 1–20; Alissa Macoun and Elizabeth Strakosch, ‘The Ethical Demands of Settler Colonial Theory’, Settler Colonial Studies, 3:4 (2013), 426, 436. For

in Worlding the south
Transhistorical empathy and the Chaucerian face
Louise D’Arcens

empathic affiliation with him. It should not be surprising that the author’s face would be a locus of intersubjective affinity for those who claim to have a transhistorical empathic encounter with him. Many who work on the intersubjective experience of encountering the face cite Emmanuel Levinas’s quasi-theological account in Totality and Infinity of the ethical demand made by the face of the Other and its ineluctable alterity, which compels a response that transcends Chaucer as Catholic Transhistorical empathy childand Chaucer’s face 207 one’s own subjectivity.19 But

in Contemporary Chaucer across the centuries