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Burke’s poetic (Miltonic) reading of the sublime
Eva Antal

11  Transgressing the boundaries of reason: Burke’s poetic (Miltonic) reading of the sublime Eva Antal ‘many of the objects of our inquiry are in themselves obscure and intricate’ Edmund Burke, ‘Preface’, A Philosophical Enquiry1 ‘as the saying is, Homo solus aut deus, aut dæmon: a man alone is either a saint or a devil’ Robert Burton, The Anatomy of Melancholy2 The sublime experience in the Age of Reason In his inspiring book, ‘The Stranger Within Thee’: Concepts of the Self in Late-Eighteenth-Century Literature, Stephen D. Cox, while elaborating on the

in Writing and constructing the self in Great Britain in the long eighteenth century
James Baldwin, the Religious Right, and the Moral Minority
Joseph Vogel

In the 1980s, James Baldwin recognized that a major transformation had occurred in the socio-political functions of religion. His critique adapted accordingly, focusing on the ways in which religion—particularly white evangelical Christianity—had morphed into a movement deeply enmeshed with mass media, conservativepolitics, and late capitalism. Religion in the Reagan era was leveraged, sold, and consumed in ways never before seen, from charismatic televangelists, to Christian-themed amusement parks, to mega-churches. The new movement was often characterized as the “religious right” or the “Moral Majority” and was central to both Reagan’s political coalition as well as the broader culture wars. For Baldwin, this development had wide-ranging ramifications for society and the individual. This article draws on Baldwin’s final major essay, “To Crush the Serpent” (1987), to examine the author’s evolving thoughts on religion, salvation, and transgression in the context of the Reagan era.

James Baldwin Review
New writers, new literatures in the 1990s
Editors: Gill Rye and Michael Worton

The 1990s witnessed an explosion in women's writing in France, with a particularly exciting new generation of writer's coming to the fore, such as Christine Angot, Marie Darrieussecq and Regine Detambel. This book introduces an analysis of new women's writing in contemporary France, including both new writers of the 1990s and their more established counter-parts. The 1990s was an exciting period for women's writing in France. The novels of Louise Lambrichs are brilliant but troubling psychological dramas focusing on the traumas that inhabit the family romance: incest, sterility, the death those we love and the terrible legacy of mourning. The body of writing produced by Marie Redonnet between 1985 and 2000 is an unusually coherent one. The book explores the possibility of writing 'de la mélancolie' through focusing on the work of Chantal Chawaf, whose writing may be described as 'melancholic autofiction', melancholic autobiographical fiction. It places Confidence pour confidence within Constant's oeuvre as a whole, and argues for a more positive reading of the novel, a reading that throws light on the trajectory of mother-daughter relations in her fiction. Christiane Baroche was acclaimed in France first as a short-story writer. Unable to experience the freedom of their brothers and fathers, beur female protagonists are shown to experience it vicariously through the reading, and the writing of, narratives. Clotilde Escalle's private worlds of sex and violence, whose transgressions are part of real lives, shock precisely because they are brought into the public sphere, expressed in and through writing.

Clotilde Escalle’s tales of transgression
Michael Worton

   Unnatural women and uncomfortable readers? Clotilde Escalle’s tales of transgression Described by critics variously as one of the ‘new barbarians’ of French writing,1 as one of the cruel ‘Barbarellas’ who seek only to depict the disarray of contemporary French society,2 and as one of the new breed of women writers who hold a violent and deep-seated grudge against the gaze of men,3 Clotilde Escalle is remarkable among new writers for the dispassionate way in which she presents violent sexual and familial dramas. Escalle was born in  in Fez

in Women’s writing in contemporary France
Swinburne’s aestheticism, blasphemy, and the dramatic monologue
Sara Lyons

As an undergraduate at Oxford, Swinburne fantasised about reviewing his own poetry and identifying his ‘models’ as ‘i.e. blasphemy and sensuality’ – an arresting formulation that seems to posit transgression itself as a celebrated literary form or precursor poet (qtd in Hyder 1970 , xiii). When Swinburne’s fantasy of literary scandal was in a sense spectacularly fulfilled in the

in Algernon Charles Swinburne
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Ugly subjects in early modern England
Naomi Baker

subject’s identity, even if her unattractiveness lurks behind a superficial beauty. At times a means of displaying the disparity between the body and the self while elsewhere drawing attention to the inseparability of the outer and inner person, ugly characters play a fascinating role in textual negotiations with identity in this era. Diseased, necrotic and perpetually transgressing its own borders, the

in Plain ugly
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A nineteenth-century Hellene?
Charlotte Ribeyrol

of Swinburne’s Hellenism but its relation to the more official and orthodox Victorian ‘hellenomania’ (Bernal 1987 ). I wish to explore Swinburne’s liminal and transgressive excursions into marginal Hellenic territories, often obscured by the exclusively Olympian vision of Greece extolled by most Victorians in their quest for secure ideological foundations. In the nineteenth century ancient Greece was a Western utopia to which

in Algernon Charles Swinburne
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Bruce Woodcock

won three of the major Australian literary prizes and was shortlisted for the British Booker Prize. Illywhacker examines twentieth-century Australian history with the savage humour and fantasy of the earlier fiction now placed within an epic framework. The result is a novel with energy, panache and sardonic vision, which mixes family history with satirical fable and fantasy in an abundance of play and arraignment. Like Bliss, Illywhacker transgresses and undermines presumptions of formal continuity and genre coherence: it both entertains

in Peter Carey
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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
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