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Shadow resurrections and artistic transformations
Naomi Booth

the striking depiction of the soul swooning at key moments in his early texts, Dubliners ( 1914 ) and A Portrait , Joyce is also reworking the trope of swooning to complicate the relationship between mind and body – to disturb the received, religious dogma of an immortal soul that will leave the intermittent, swooning body behind. The soul-swoon, I argue, becomes an important part of Joyce's exploration of what it means to be an artist – and to his related sense of the importance of embodied, physical experience. I will argue that a compound of spiritual and

in Swoon
William Godwin, Mary Wollstonecraft and the perils of the present
Jonathan Dent

Wieland . Brown focuses on ventriloquism and (inner) voices in order to show how frighteningly vulnerable individuals are to powerful ideologies, and the destructive consequences that can result from religious enthusiasm and the internalisation of religious dogma. Theodore does not question the voice in his head, and this is one of the main targets of Brown’s Gothic novel: the disturbing ease with which

in Sinister histories