Mother–daughter relations in Paule Constant’s fiction
, Klein’s ‘phantasy’ is the process of psychical interaction between inner and outer world.
For a sensitive analysis of the place of remembering in mourning drawing on
Barthes’s La Chambre claire, see Michael Worton, ‘Thinking through photography, remembering to love the past’, in Monique Streiﬀ-Moretti, Mireille Revol
Cappelleti and Odile Martinez (eds), Il senso del nonsenso: scritti in memoria di
Lynn Salkin Sbiroli (Naples: Edizioni Scientiﬁche Italiane, ), pp. –.
For such connections between mother–daughter relations, women’s identities
historiography and literature, see Yolanda Rodríguez Pérez, The
Dutch Revolt through Spanish Eyes. Self and Other in Historical and Literary Texts of Golden Age Spain
(c.1548–1673) (Oxford and Bern: Peter Lang, 2008).
7 S. Moretti, ‘La trattatistica italiana e la guerra. Il conflitto tra la Spagna e le Fiandre (1566–
1609)’, Annali dell’Istituto storico italo-germanico in Trento, 20 (1994), 129–64; see also my
article: Cees Reijner, ‘Il mito dell’Olanda. Politiek en geschiedschrijving in vroegmodern
Italië’, Incontri, 30:2 (2015), 41–55.
8 Hispano-Habsburg troops were
formal innovations of Ulysses and Finnegan’s Wake.
As Franco Moretti has shown, the relationship between the individual
and modern society produced in the realist Bildungsroman was one
governed by the logic of compromise and exchange, with happiness and
freedom as the currency of this symbolic economy.26 In the Joycean
Bildungsroman, this governing logic has been replaced by the Oedipal
logic of separation and identification. The plot in Portrait is constructed
out of Stephen’s struggle to forge and construct his own identity in
opposition to the various social and
Peter, was a mapmaker and surveyor) and an imperial one (the
generational transition from colonial expansion to, with Thomas,
the settling of the continent by an independent United States).
Both Jeffersons, though, embody the Enlightenment imperative to
self-regulate, to overwrite the landscape with what Franco Moretti
has described as ‘the impersonal and automatic mechanisms of the
In Mason & Dixon this imperial geography is competing with an
already crowded terrain, for the land is inscribed with earlier – and
differently configured – markings
quite the politic imposture, then, based on equal disbelief in all religions, that Chloe Preedy has
highlighted in Christopher Marlowe.16 For Thomas J. Moretti finds that
in The White Devil John Webster’s exposure of the inauthenticity of every
form of faith does ‘ironic service’ (cf. p. 127) to interdenominational rapprochement, as a type of negative ecumenicism that leaves playgoers desiring to pretend their common Christianity. And even in Macbeth James R.
Macdonald identifies an eschatological ambivalence, compounded by Thomas
to be herself. Yet, precisely by standing outside of legal
strictures, Elizabeth seems to have opened the opportunity for
others to do the same. Franco Moretti makes an analogous argument
with respect to Renaissance tragedy: ‘Tragedy disentitled the
absolute monarch to all ethical and rational legitimation. Having
deconstructed the king, tragedy made it possible to decapitate
, indicates the high degree of global transmissibility of spectacle-driven and action-adventure films, given what Franco Moretti terms their ‘abrogation of language’ relative to more voluble genres such as comedies and dramas ( 2013 : 97). Audiences abroad are also able now to view Hollywood’s products much more rapidly than before. The domestic model of TV-advertised saturation release of a film – emergent in the mid-1970s, largely replacing an earlier pattern of gradual, or platform , release (major cities first) – has been internationalised; the launch of blockbusters
‘secular corrective’ (p. 109) to the transcendent values of hagiography.
36 M. M. Bakhtin, The Dialogic Imagination: Four Essays, ed.
Michael Holquist, trans. Caryl Emerson and Michael Holquist
(Austin: University of Texas Press, 1981), p. 120.
37 Bakhtin, The Dialogic Imagination, p. 120.
38 Hans Ulrich Gumbrecht, ‘The roads of the novel’, in Franco Moretti
(ed.), The Novel, 2 vols (Princeton: Princeton University Press, 2006),
vol. 2, pp. 611–46 (p. 614).
39 Sir Eglamour of Artois, in Harriet Hudson (ed.), Four Middle English
Romances: Sir Isumbras, Octavian, Sir
McKenzie (eds), The Cambridge History of the Book in Britain, vol. 4, 1557–1695
(Cambridge: Cambridge University Press, 2002), pp. 779–84. Hereafter CHBB.
22 F. Moretti, Distant Reading (London: Verso, 2013).
23 J. McElligott, Royalism, Print, and Censorship in Revolutionary England (Woodbridge:
Boydell Press, 2007).
24 Of course, this is not the final word on the matter, as the number of publications in
1642 might have been higher still if Parliament had not tried to control the press.
25 The ESTC totals include serials and periodicals, which is one reason why the
far from the poorest – though, as Anna Minton shows in Big Capital
(2017), this distance has been growing in the twenty-first century – and
consequently London has escaped the kinds of absolute class and racial
ghettoisation that is characteristic of many American cities (Moretti
1998; Goldberg 2006).
With late twentieth-century globalisation, London became defined
as a ‘global city’ (Sassen 2001), linked through international flows of
capital and financial services and information to other nodes – New
York, Tokyo – of an emergent global information network, a