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Representations of the house in the poetry of Eiléan Ní Chuilleanáin and Vona Groarke

concern has been evident and the built environment of her more recent poems is also culturally contextualised. Often the building may be a church or convent rather than a house. Throughout Ní Chuilleanáin’s work, religious institutions are seen to offer the security and support more usually associated with the family home and her sense of the religious community is one of female opportunity rather than limitation. ‘In Her Other Ireland’ sees the austerity of religious life bizarrely placed alongside (or within) the world of the seaside fairground, creating two opposing

in Irish literature since 1990

romance A blurring of the opposition between public duty on the one hand and amorous gallantry on the other, and a privileging of the romance motivations of youth and beauty over those of epic austerity: this is the dominant mode of early Restoration panegyric. To a poet of high principle, these procedures created a toxic compound of generic confusion, moral flaccidity, and political corruption. And this, I suggest, is what Marvell is gesturing towards in his account of de Ruyter’s cruise up the Medway: Ruyter the while, that had our ocean curbed, Sailed now among our

in Texts and readers in the Age of Marvell
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Sustainability, subject and necessity in Yann Martel’s Life of Pi

conception of ‘other’ – both of which turn out to be necessary to his survival. Through imposing such a dynamic, placing Pi under a fiscal austerity of sorts, the novel explores not just the challenges faced by collective humanity but also the difficulties and costs to which such challenges give rise. Through Pi’s first-person narration, the novel foregrounds the impacts of perspective, the impossibilities of (absolute) knowing, the possibilities of encounter, and the ways in which intention and necessity can put us at odds with ourselves. As the novel progresses, Pi

in Literature and sustainability
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The rise of the psychic detective

and possible elaborate hoax, as well as crime, are certainly to be found in this key Gothic work, but, as Knight observes (2004, 19) – and as usual in these early works – ‘there is very little actual detection involved’. However, Andrew Brown can still write of Schiller’s Prince of ** ‘in “detective” mode (in Book One), availing himself of the straightforward austerities of logical deduction and scientific methodology’ (Schiller, 2003, xvii) in his efforts to comprehend the mysterious ‘Russian’ (or ‘Armenian’) dubbed ‘ The Unfathomable ’ (ibid., 31). 5

in Odoevsky’s four pathways into modern fiction
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reality of the word ‘austerity’ paced side by side with a sense of future born out of the immediate past. The air was filled with stories of history only just made: the heroic oratory of Churchill; villains defeated and, at Nuremberg, punished; heroes ሁሂ 20 ሃሁ 3927 Alden- Reading behind the lines:Layout 1 27/9/13 09:04 Page 21 Introduction and heroines of the Resistance. The children received these stories along with – as part of – the creation myths of their culture and time, bedrock on which a sunny future would be built. They were simple tales of good and evil

in Reading behind the lines
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Cynthia’s Revels imagines the death of the queen

during and as a result of the revels. The revels were explicitly supposed to be a demonstration of Cynthia’s lack of ‘austerity’, so that there is something unsporting about using them as a means of carrying out reformation ‘strictly, and to roote’. Cynthia is, in effect, acting as an agent provocateur . And this speech can also be carried forward to compromise Cynthia when she

in Goddesses and Queens
Marnie (1964)

there is more variation of material than one imagines. In Marnie, the degree of correspondence of leitmotif and image is beyond Herrmann’s norm, and makes the music seem extremely –​almost untenably –​ repetitive.16 In other words, they remade the ‘score’ as a recording through removing one of its key characteristics: its repetition. In a way, Herrmann’s score ought to be understood as ‘disciplined’ austerity, rather than self-​indulgent free-​ ranging flourishes. Artistic plagiarism and authorial presences It is perhaps not difficult to characterise the Marnie score

in Partners in suspense

continuity with the past, overlaid with experience at the French court and constrained by financial austerity, one obvious absence is through-​sung opera. While cost was surely significant in shaping Charles’s entertainments, he was nevertheless happy to loosen the purse strings from time to time; Boswell calculated tradesmen’s bills relating to the ‘Queen’s Masque’ at £2,316.1.2, and that was certainly not the limit of what he was willing to pay.22 The first large-​scale musical-​theatrical work at court for which the text survives was composed by the Frenchman Robert

in From Republic to Restoration
Republicanism,exclusion, and the name of king in Nathaniel Lee’s Lucius Junius Brutus

shake your head and cross your arms /​And wonder what the gods and he intend’ (V.2.23–​25). Has Rome removed one tyrant only to earn another? Brutus’s deeds seem to be governed by some personal and arbitrary notion of justice, and what he calls ‘th’austerity of my virtue’ (II.309) is in fact an unrestrained, upstart pride that, when Valerius stabs Titus to spare him the scaffold, makes him exclaim: ‘Why, my Valerius, didst thou rob me of my justice?’ (V.2.150). His sole aim is to live up to a personal notion of righteousness, even at the price of forfeiting his own

in From Republic to Restoration
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Remapping early modern literature

dawn, bringing with it ‘the restoration of the old constitution’, and emancipating ‘thousands of minds from a yoke which had become insupportable’. 20 The ‘revenge’ of wit upon Puritan austerity and censoriousness, however, Macaulay finds to have been intolerably extreme, giving rise to a polite culture he deems ‘profoundly immoral’: The hostility excited by a grotesque caricature of virtue did not spare virtue herself. Whatever the canting Roundhead had regarded with reverence was insulted. Whatever he had proscribed

in Aesthetics of contingency