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Critical overview and conclusion

social managers rather than legal draftsmen. Our workplace is’, he says ‘not a neat tabletop but a messy workshop.’9 In the wealth of interpretation that has accumulated around his work, a recurrent criticism from feminist scholars is that far too little space in this workshop is given over to balanced representations of women. In the wave of African writing from the late-1950s onwards concerned with cultural reclamation, this was seen as a common problem. As Kirsten Holst Petersen wrote in Kunapipi in 1984, while work like Achebe’s might be laudable for its assault on

in Chinua Achebe
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different sorts of performative manifestations, and by contemplating ( theor-ising ) them, portrays the multiplicity of forms and shapes theatre could assume, before later eras compartmentalised and institutionalised them within specific, fixed architectural and social spaces. Nonetheless, our inclusive notion of theatre is narrowed down by a specific agenda: we study theatre as a connective instrument

in Transnational connections in early modern theatre
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Caledonian fatality in Thomas Percy’s Reliques

an entity whose identity belonged to the social and political elite. The Jacobite rebellion of 1745 in particular advanced a political supremacy which was inherently Scottish in a time when the idea of inherent Scottishness threatened an emerging stability in British statehood. By 1814, Walter Scott had produced the first historical novel in English – Waverley; or, ‘Tis Sixty Years Since – and in so doing had confirmed that the Jacobite threat was dead enough to become an appropriate vehicle for antiquarian fictions about Scotland. What happened in those sixty

in Suicide and the Gothic

Protestant statehood from a more ‘pure’ ecumenicalism. If such purity even exists: when churches and governments overlap, ecumenicalism cannot fail to have political ramifications. For someone like Donne, respecting all forms of Christianity cannot be allowed to slide into valuing all monarchs or forms of government. This may be why it is quite possible to match every ecumenical passage in the sermons with one that sounds far more prejudicial, be it against Catholics or more radical Protestants.  184 184 Negotiating confessional conflict Since looking at what Donne has

in Forms of faith
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Culture, criticism, theory since 1990

‘minor’ and the ‘great’ mingle, and by articulating a broad understanding of the connections between literature and other forms of cultural production.54 Roisin Higgins has claimed that, since feminism does not posit statehood as its ultimate goal, gender as the organising principle for the volumes ‘opens up debate rather than conscribing it and admits the stories of the dispossessed’.55 This rethinking of the relation between gender, sexuality and the nation was paralleled in the field of social policy. Membership of European Union not only brought improvements to the

in Irish literature since 1990

has become a de facto orthodoxy over the past few decades loses much of its explanatory power. It becomes necessary to find a different way of reading Achebe’s early novels and the ways they fit into his larger project. ‘In my hometown, Ogidi, we have a saying’, Achebe writes in The Education of a British-Protected Child. ‘Ikpe Ogidi adi-ama ofu onye: The judgement of Ogidi does not go against one side. We are social managers rather than legal draftsmen. Our workplace is not a neat tabletop but a messy workshop.’5 The inference of this, if taken as a guide to

in Chinua Achebe

possible to see the novel as rejecting the longstanding nationalist use of the Famine narrative as an argument for separation from England and therefore the wider European community.6 Indeed, the social and cultural observations of these contemporary novels become even more important as cultural critics continue to wrestle with the implications of postcoloniality in Ireland. Joseph Cleary rightly maintains that ‘[t]oo often reduced on all sides to a drama between nationalism and its critics, the real novelty of [postcolonial Irish studies] may well lie elsewhere … From

in Haunted historiographies
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The Catholic other in Horace Walpole and Charles Maturin

against the Church establishment he asserts a Calvinism which is doctrinally closer to the ‘Brethren’ he affects to despise. One might characterize Maturin’s difficult position by saying that he was politically, socially and religiously at odds with both the Catholic and Non-Conformist communities in Dublin, while being disaffected from the Anglo-Irish elite who, on the whole, supported the Act of Union

in European Gothic
Five minutes to midnight and All’s Well

course, by a self-appointed wall-flower at the comic cotillion. As Jaques’ case confirms, such a sense of tragic subjectivity remains intrinsically individualizing, an expression of amputation from the social body. By contrast, the social bonds and structures typical of comic play-worlds, whatever resistance they may initially oppose to individual initiative – the pursuit of

in French reflections in the Shakespearean tragic