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Going on without in Beckett
John Pilling

own ‘definition’ of art in his review of Intercessions by Denis Devlin in the last pre war issue of transition, almost exactly four years earlier: ‘pure interrogation, rhetorical question less the rhetoric’.22 For here the ‘something there’ is nothing more than a question mark, the mark of ‘not being there’; and even without an answer there is no alternative to ‘going on’, irrespective of the conditions and constraints that threaten the continuance of the enterprise. On not being there 27 Notes 1 Samuel Beckett, The Unnamable, in Trilogy: Molloy, Malone Dies, The

in Beckett and nothing
Sam Haddow

bailed out, with losses of hundreds of millions. The show ends with all performers reciting a speech in unison, where they exhort us to ‘re-​establish [your customers’] trust. Remind them that there is no alternative.’ ‘There is no alternative’ is a phrase commonly attributed to Margaret Thatcher in her description of neoliberalism as the sole option for the management of the global economy (Robinson, 7 March 2013). The purpose of £¥€$ was clear –​by operating under gameplay rules that reflected a simplified version of the principles of advanced capitalism, the show

in Precarious spectatorship
Abstract only
Neoliberal gothic
Linnie Blake and Agnieszka Soltysik Monnet

’ to compete. What are notable in all three chapters here are the ways in which neoliberalism’s insistence that there isno alternative’ to it are embodied in the gothic texts under consideration, sometimes overtly and sometimes in their inability to posit a viable mode of being outside the neoliberal matrix of bio-power. Aspasia Stephanou’s chapter, ‘Game of fangs: the vampire and

in Neoliberal Gothic
Familiarisation and estrangement in Seamus Heaney’s later poetry
Joanna Cowper

off despair. District and Circle sees Heaney beginning to suspect that there is no alternative but to interiorise and to cherish the past as the tangible world becomes ever more insecure and loveless in outlook, no longer offering the comfort and succour that it once promised. This shift in perspective triggers a new urgency in Heaney’s interest in ‘Real Names’, and his new drive towards estrangement is concerned with the paring apart of memories, separating the real from the made-up in an attempt to restore the lines of differentiation between the qualities that

in Irish literature since 1990
Abstract only
The case of Jonson’s Sejanus
John E. Curran, Jr

's left of Roman political forms is mere theatrics devoid of substance; and yet, since there is no alternative to this theatrics, no going outside of it, and since it is presided over by so consummate an actor, who never lets fall his mask of abiding by Roman political decorum, a kind of substance is strangely reified. It seems both that what constitutes the Roman state has been irretrievably gone for a long time, and that what constitutes it can be nothing other than the Rome we see. With his measures to placate the censorious eyes of his own government, Jonson

in The genres of Renaissance tragedy
Bryce Lease

gender relations. While the production offers a critique of Polish martyrology and heroism, the use of racial masquerade is arrogated to white Polish bodies and there is no alternative parallel performance from actors of color. Is this a refuge from ‘raging Eurocentrism,’ as suggested by Szpecht, or merely a distorted picture of Europe’s self-image through its racist fantasies? Ultimately, the space for the co-presence of the abject African subjects (Kali and Mea) alongside the implied marginalization of the Polish Scouts, whose bigoted patriotism may be read as an

in After ’89
Heidi Hansson

, she said, was her own affair, and she intended to learn useful things and not useless ones. Considering that the useless ones in question included nearly every branch of ordinary information, and quite every ladylike accomplishment, it will be seen that Babs had at least the courage of her opinions.61 Given that the novel’s main character is a boy, women’s education is obviously not a central concern, and there is no alternative understanding of its main purpose than to produce a ‘lady’. In the case of Babs Kennedy, this process would give her the polish of what

in Irish women’s writing, 1878–1922
John Donne, George Chapman and the senses of night in the 1590s
Susan Wiseman

noone stay, We shall new shadowes make the other way. As the first were made to blinde Others, these which come behinde Will work upon our selves, and blind our eyes. If our loves faint, and westwardly decline, To me thou, falsely, thine, And I to thee mine actions shall disguise. (ll. 14–21)8 The possibility of continuing love is introduced almost parenthetically and semi-subjectively; ‘Except’ the love stays at frank, ‘reduc’d’, undisguised noon, there is no alternative but that love will decline and so be shadowed by disguise, feigned openness, lies. If ‘morning

in The senses in early modern England, 1558–1660
Bryce Lease

the denial or repression in a redemptive narrative that excludes or devalues trauma, presenting values and ideas as viably realized in facts. The second problematic method aggravates trauma, insisting there is no alternative to ‘symptomatic acting-out’ beyond a purely imaginary hope for totalization of full disclosure. However, following Jacques Derrida, LaCapra offers a third potential, proposing a use of theory that coalesces criticism with self-criticism without recourse to narratives of redemption or salvation (1996: 192–4). The productions I have singled out

in After ’89
Sam Haddow

the year. Trump’s language is constructed squarely upon Schmitt’s ‘state of exception’, where the law is built upon the condition of its own suspension, and the sovereign may enact that suspension under extraordinary circumstances. The unapologetic transparency of Trump’s falsehoods is unusual, but in principal his polemic follows the same ‘there is no alternative’ logic that has been referenced elsewhere in this book through the speeches of Hilary Benn and David Cameron. By dramatising a broader threat, the discourse is divorced from contextual interrogation and

in Precarious spectatorship