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Aspects of Trevor’s England

) ‘was the preservation of love within marriage’ (LD 14). But her glibly trivialising method of realising it is shown up by the rather more testing and painful experiences of married love that Elizabeth Aidallbery and Julia Anstey undergo. As Elizabeth Alone and Other People’s Worlds suggest, an important aspect of Trevor’s English novels of recovery and reintegration is the emergence of female protagonists. Conventionally seen as embodiments of dependence, these characters are shown to be unexpected sources of renewal and reconciliation. 34 William Trevor

in William Trevor
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The cinematic afterlife of an early modern political diva

against the politician, the mediality of her material embodiment also comes to be foregrounded. Moreover, these screen re-enactments thematically address the conflict between private person and public persona particular to female sovereignty because the Queen is both stateswoman and potential wife and mother (or virgin in the case of Elizabeth I). This raises the question of how each of the four film

in The British monarchy on screen

) ‘objectivation’ and (4) embodiment. None of these practices can be correctly described as a ‘symbolic’ reading of the Regula Benedicti (as Pius Engelbert phrased it) or using the Regula Benedicti simply as a metaphor (as Josef Semmler suggested it).10 All of them demonstrate an intensive engagement with its content but also a variety of attempts to get around its normative character. Yet each of them approaches the Regula Benedicti in strikingly different ways, which vastly complicates the notion of normative observance. Exegesis The insight that the intellectual and

in Religious Franks

, European novels and other relevant texts are looked at, both as descriptions and embodiments of the Zeitgeist – in them are discerned ‘cartographies of disenchantment’, vying accounts of the causes, consequences and agents of rationalisation. Habermas’s Frankfurt School predecessor Leo Lowenthal engaged in a comparable exercise, though with an orientation to social, rather than cultural, modernity. Löwenthal’s studies of drama and fiction in the nineteenth century served to show in detail that the

in Habermas and European integration
Reflections on John Harris’s account of organ procurement

enlightenment, perhaps the most powerful is Lawrence Sterne’s comic fantasy, The Life and Opinions of Tristram Shandy, Gent. The powerful descriptions of the extreme characters in this satirical book convey the central dilemma of an age that tried to see reason as supreme. Porter captures Sterne’s central message in his own inimitable prose: [Sterne] was uncommonly sensitive to the conundrum of embodiment. In flesh and blood lay the self and its articulations. With its own elaborate signlanguage of gesture and feeling, the body was the inseparable dancing-partner of the mind

in From reason to practice in bioethics
Haroun and the Sea of Stories and The Moor’s Last Sigh

finds the novel’s ending pessimistic anymore, because what has happened in India since 1981 is so much darker than I had imagined. If anything, the book’s last pages, with their suggestion of a new, more pragmatic generation rising up to take over from the midnight children, now seem absurdly, romantic. (IHL, 33) Rushdie’s sixth novel, The Moor’s Last Sigh , written fourteen years after Midnight’s Children , may be seen as the fictional embodiment of this darker, less forgiving assessment of India’s post-Independence political life. Here

in Salman Rushdie
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Sentient ink, curatorship and writing the new weird in China Miéville’s Kraken: An anatomy

the squid’s ink. After his initial reduction to ash, mixed to form a type of ink, he also bonds with ink drawn from the Kraken library to imbibe knowledge of the squid ( ibid. : 441). Although he appears reliant on Byrne his partner to transcribe his inked instructions, he is also able to change, encharming paper to create a tiger and in his inkform writes spells on the body that kill. Grisamentum as the combined ink is revealed as briefly ‘authorial’ and able to remake place as he ‘writes’ ( ibid .: 459). As the embodiment of logos , from the polysemic λόγος in

in Tattoos in crime and detective narratives

exploration of the enigma of the stolen diamonds is also an exploration of (Deneuve) as enigma (the lost diamonds functioning as a metaphor for the effect of time on Deneuve’s body)’. 5 In this sense, at least, the traditional focus of the thriller on the enigma of the depleted male body is refocused onto the female body. As we shall see at the end of the chapter, the issue of embodiment is a key turn in certain thrillers of the late 1990s, and is

in European film noir
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embodiment of what limited independence remained to the Vichy regime. Preservation of imperial control helped Vichy governments withstand Germano-Italian pressure for concessions in metropolitan France, and was pivotal to Vichy’s claim to be more than the mouthpiece of a defeated nation. The national revolution espoused by the supporters of Marshal Pétain was enthusiastically endorsed in many regions of the

in The French empire at war 1940–45
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of the ether, it ends with a project for a space below ground, the Moscow Metro which opened in 1935, the most colossal Soviet public work.The final Chapter 6, “Golden calf, golden tooth,” explores the history of this immense structure, clad in expensive marble and illuminated by electrical lighting, altogether the embodiment of socialist modernity. The process of its construction was meant to transform its builders, peasants coming from all parts of the Soviet Union, into New Men – enlightened urbanites. These men and women were not only record-breaking workers

in Modernism and the making of the Soviet New Man