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Sarah Annes Brown

the future, we hear everywhere today, it must not re-incarnate itself; it must not be allowed to come back since it is past. 1 A quite different spectre haunts Derrida’s own text, that of Hamlet . Although ostensibly a political response to the fall of the Berlin Wall, and a critique of capitalism, Spectres of Marx seems

in A familiar compound ghost
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Sarah Annes Brown

metamorphosed into ‘The waste remains, the waste remains and kills’ in Empson’s poem. 47 Eventually the prophecy of future ruin which may be excavated from the Aeneid was, at least partially, fulfilled. In Rome in the Dark Ages , Peter Llewellyn describes how the city’s infrastructure collapsed, as Rome’s political and cultural importance

in A familiar compound ghost
katabasis and The Tempest
Sarah Annes Brown

of the play’s internal echoes Russ McDonald suggests that ‘the tendency of words and phrases to repeat themselves may be linked to the play’s profound concern with reproduction, in various senses from the biological to the political.’ 19 These are all legitimate points, but I would argue that, at least for the play’s imitators, textual reproduction is the key correlative of these verbal echoes

in A familiar compound ghost
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Orpheus and Pygmalion
Sarah Annes Brown

‘Drama, more than any other literary form, seems to be associated in all cultures with the retelling again and again of stories that bear a particular religious, social, or political significance for their public. There clearly seems to be something in the nature of dramatic presentation that makes it a particularly attractive repository for the storage and mechanism for the

in A familiar compound ghost