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Mona El Khoury

5 Seeking paths to existence in Rachid Djaïdani’s Rengaine Mona El Khoury Rengaine, Rachid Djaïdani’s first feature-length film not only expands on 1980s and 1990s works by Maghrebi-French directors,1 but is quite original in the themes it tackles.2 Indeed, if Djaïdani’s film shares ‘a concern with the place and identity of the marginal and excluded in France’ (Tarr, 2005: 3) which is typical of beur and banlieue films, it innovates through its focus on minority racism and its treatment of identity construction.3 The original choice of telling a philosophical

in Reimagining North African Immigration
Ordinary Intimacies in Emerson, Du Bois, and Baldwin
Prentiss Clark

This essay reads James Baldwin in conversation with two unexpected interlocutors from the American nineteenth and twentieth centuries: Ralph Waldo Emerson and W. E. B. Du Bois. What draws these historically distant and intellectually different thinkers together, their differences making their convergences all the more resonant and provocative, is a shared mode of attention they bring to the social crises of their eras. It is a mode of attention foregrounding how the often unobserved particulars and emotional registers of human life vitally shape civic existence; more specifically, a mode of attention provoking us to see how “a larger, juster, and fuller future,” in Du Bois’s words, is a matter of the ordinary intimacies and estrangements in which we exist, human connections in all their expressions and suppressions. Emerson names them “facts [. . .] harder to read.” They are “the finer manifestations,” in Du Bois’s terms, “of social life, which history can but mention and which statistics can not count”; “All these things,” Baldwin says, “[. . .] which no chart can tell us.” In effect, from the 1830s to the 1980s these thinkers bear witness to what politics, legislation, and even all our knowledges can address only partially, and to the potentially transformative compensations we might realize in the way we conduct our daily lives. The immediate relevance and urgency this essay finds in their work exists not in proposed political actions, programs for reform, or systematic theories of social justice but in the way their words revitalize the ethical question “How shall I live?” Accumulative and suggestive rather than systematically comparative or polemical, this essay attempts to engage with Emerson, Du Bois, and Baldwin intimately, to proceed in the spirit of their commitment to questioning received disciplines, languages, and ways of inhabiting the world.

James Baldwin Review
Željka Doljanin

mcgahern: authority and vision the essay will move to McGahern to show how his last novel, That They May Face the Rising Sun (2002), not only counters this sense of fracture, but offers ways for us to understand the complexity of exile, migrant existence and homecoming. I will argue that the immigrant characters that we meet in twenty-first-century Irish literature often come from a ‘nowhere-in-particular’, have no history and are driven by the desire to be assimilated into Irish society, thus absolving the reader from having to engage with their dual existence. Even

in John McGahern
The Children’s Book, The Biographer’s Tale and Angels and Insects
Alexa Alfer and Amy J. Edwards de Campos

provides Geraint Fludd, who will indeed become a banker in due course, with the prospect of financial security that has been so painfully lacking from his parents’ unconventional existence but also serves as a means of escape from, precisely, the ‘animal energies’ that have blighted his own and, even more so, his sisters’ childhood in the form of Benedict Fludd’s incestuous molestations. Moreover, during

in A. S. Byatt
Jeffrey Hopes

or, as for Shaftesbury, his virtuous nature. In both cases, if happiness through proximity with God is seen as the ultimate end of human existence, and vice and enslavement to the corporeal are construed as misery, then the passions should be judged by the degree of happiness or misery they procure. Here happiness could also be defined as pleasure and misery as pain, though they might have both corporeal and spiritual dimensions. This happiness or misery could be individual or collective; indeed the two might not coincide, so that the pleasure of one individual

in Writing and constructing the self in Great Britain in the long eighteenth century
The Virgin in the Garden and Still Life
Alexa Alfer and Amy J. Edwards de Campos

–7). These ephemera both function nostalgically, as mnemonic touchstones of a forgotten era, and signal a deliberate focus on the material side of existence. Significantly, though, even in this most ‘thingy’ of descriptive passages, we are far from the nouveau romanesque project of ‘no ideas but in things’. For Winifred, even the teapot stand is replete with symbolic significance: all these small

in A. S. Byatt
Par Kumaraswami, Antoni Kapcia and Meesha Nehru

and his work, Bourdieu’s central contribution has been to reveal the mechanisms and strategies by which the collective – whether society at large, social class, dominant social group, or smaller sub-group – produce and reproduce the conditions of their existence: in other words, to explore artistic practice as a social construction which employs classificatory mechanisms in order to award acceptability, status, prestige (or ‘distinction’, in Bourdieu’s terms). In particular, his work on habitus, or the internalised relationship with objective structures which allows

in Literary culture in Cuba
The Silence in the Garden
Derek Hand

implication, the existence of its wild, destructive opposite.3 Of course, Deane’s charge is very much bound up with the moment of its utterance in the 1980s and the continuing horrors of the Northern ‘Troubles’. The cultural and theoretical debates of that moment in Irish studies revolved around ‘history’ and its revision, the present moment of violent conflict being the prism through which the past 126 William Trevor: Revaluations was viewed and re-viewed. Simply put, the debates within the pages of journals such as The Crane Bag and the Field Day series of pamphlets4

in William Trevor
Abstract only
Peter Barry

of Gold’ is not open to everybody, for the very term in itself implies the existence of lesser realms, which must have their citizens too – realms of silver and bronze, for instance. If Keats in his reading were reliant on translations of Homer, and not able to read Homer’s text in the original Greek, then this indicates that he did not belong to Barry.indb 193 9/6/2013 8:43:49 AM 194  Reading beyond the lines the social elite which would be taught Greek at school and university. Hence, stating so resoundingly his preference for the ‘uncouth’ Chapman translation

in Reading poetry
Bruce Woodcock

: Carey’s strategy is to assume a knowing audience for the narrative voice, an audience which is mostly familiar with the details of the cultures invoked, as with the address ‘[y]ou know this already, Meneer, Madam? Then skip ahead’ (356). This is both effective and problematic. Its effectiveness is measured by the degree of absorption achieved by the narrative. The assumption of such an audience creates a sense of the pre-existence of this fictional world alongside our own. It makes it easier to generate narrative conviction, to suspend the reader’s disbelief, if the

in Peter Carey