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What rough beast?
Series: Irish Society

This book explores the issue of a collective representation of Ireland after the sudden death of the 'Celtic Tiger' and introduces the aesthetic idea that runs throughout. The focus is on the idea articulated by W. B. Yeats in his famous poem 'The Second Coming'. The book also explores the symbolic order and imaginative structure, the meanings and values associated with house and home, the haunted houses of Ireland's 'ghost estates' and the fiscal and moral foundations of the collective household. It examines the sophisticated financial instruments derived from mortgage-backed securities that were a lynchpin of global financialization and the epicentre of the crash, the question of the fiscal and moral foundations of the collective household of Europe. A story about fundamental values and principles of fairness and justice is discussed, in particular, the contemporary conflict that reiterates the ancient Irish mythic story of the Tain. The book suggests correspondences between Plato's Republic and the Irish republic in the deformations and devolution of democracy into tyranny. It traces a red thread from the predicament of the ancient Athenians to contemporary Ireland in terms of the need to govern pleonexia, appetites without limits. The political and economic policies and practices of Irish development, the designation of Ireland's 'tax free zones', are also discussed. Finally, the ideal type of person who has been emerging under the auspices of the neoliberal revolution is imagined.

Kieran Keohane
Carmen Kuhling

Plato's Republic can be read as a treatise on the social pathologies of contemporary civilization in general and the contemporary state of the Irish republic in particular. In the diseased city questions of justice and the good society are undermined by the recurrence of pleonexia. Republic is Plato's political science, political economy, political psychology and political anthropology. Always latent, pleonexia emerges and becomes de-contained when laws are weakened and virtues cannot be formed. Pleonexia is amplified and intensified in the wake of crises. Pleonexic greed is therefore most decidedly not 'good', as neoliberalism proclaims it to be, but a social pathology of civilization, pathogenic to social and bodies politic, and with a corresponding idea-typical pleonexic subject. A system built predominantly upon unrestrained greed, anger, envy and pride will not, by definition, be virtuous, but degenerative, unstable and ultimately self-destructive, if not put down by its victims first.

in The domestic, moral and political economies of post-Celtic Tiger Ireland
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Gender, genre, exile

This book examines critical assessments of the woman and her work (again, that almost unavoidable conflation) from the seventeenth century to the twenty-first. The author conveys some of the creative energy of Cavendish and her work in the middle years of the seventeenth century. More importantly, though, the author wants to show how her work was politically charged, not in any immediately evident way, but in a highly complex and imaginative way. The book illustrates and expands upon the book's central hypothesis: that Cavendish used genre in her writings of the 1650s as a means of articulating her powerlessness in the face of what the author comes to define as a 'triple exile'. In this book the author has, further, identified affinities in intention and circumstances surrounding the writing of texts earlier than those of Cavendish. Her take on earlier authors' rhetorical stances facilitates her own, acutely contemporary, comment and creativity. Cavendish's treatment of genre undergoes a transformation during and because of the civil wars which, to royalist minds, spelled the end of an epic past. The book differs in its emphasis from earlier examinations of Cavendish's writings. The author returns to the 'rehabilitative' nature of recent work on Cavendish and her writings, demonstrating how her own study has participated in this process of rehabilitation. Literary canonicity was, analogously, another 'place' from which Cavendish was for centuries exiled. This book represents a redemption of the writer from, at the very least, that particular iniquitous cultural corollary to the triple exile.

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Platonic paradigms and trial by genre
Emma L. E. Rees

'could find not one true Naturall Poet, not amongst five hundred' . 16 The imagery Cavendish employs to portray 'the Moderns' is grotesque in its virulence: they are 'like a company 84 Heavens Library of Ravens, that live upon dead carckasses ... like Maggots, that have been bred in their dead flesh . . . like Hornetts, and some like Bees'.17 Cavendish's generic framework grants to statements like these an obliquity which deflects the censure they might attract if expressed in a different generic register. Her earlier witty and irreverent treatment of Plato's Republic

in Margaret Cavendish

Ralph Knevet's Supplement of the Faery Queene (1635) is a narrative and allegorical work, which weaves together a complex collection of tales and episodes, featuring knights, ladies, sorcerers, monsters, vertiginous fortresses and deadly battles – a chivalric romp in Spenser's cod medieval style. The poem shadows recent English history, and the major military and political events of the Thirty Years War. But the Supplement is also an ambitiously intertextual poem, weaving together materials from mythic, literary, historical, scientific, theological, and many other kinds of written sources. Its encyclopaedic ambitions combine with Knevet's historical focus to produce an allegorical epic poem of considerable interest and power.

This new edition of Knevet's Supplement, the first scholarly text of the poem ever published, situates it in its literary, historical, biographical, and intellectual contexts. An extensive introduction and copious critical commentary, positioned at the back of the book, will enable students and scholars alike to access Knevet's complicated and enigmatic meanings, structures, and allusions.

The New Arcadia, Second Revised Edition

The Countess of Pembroke’s Arcadia, Sir Philip Sidney’s prose romance about the pastoral exploits of the princes Musidorus and Pyrocles (aka Zelmane the amazon) remains one of the defining works of English fiction. The New Arcadia – the revised, unfinished version first published in print in 1590 – differs from its more widely known cousin the Old Arcadia, which circulated in manuscript during Sidney’s lifetime, in two major points. The first of these is its ambitious, non-chronological approach to the narrative, resulting in crucial plot details (and even the true identities of the main protagonists) being initially withheld from the reader. The second difference is in the New Arcadia’s rhetorically elaborate style, which consolidated Sidney’s reputation most skilled prose stylists of the English Renaissance. This edition of the New Arcadia is the first in 37 years and combines the text of Victor Skretkowicz’s seminal 1987 edition with a substantially expanded commentary and additional long notes on the book’s history in print and Sidney’s use of rhetorical devices.

Mark Robson

, 1984 ), 2: 1447a. 32 Plato, The Collected Dialogues, including the Letters , ed. E. Hamilton and H. Cairns (Princeton: Princeton University Press, 1961 [ 1989 ]), 596e. 33 Plato, Republic , Book X, 602b

in The sense of early modern writing
Mark Robson

The Complete Works of Aristotle, ed. J. Barnes, 2 vols (Princeton: Princeton University Press, 1984), 2, p. 2316 (1447a). Plato, The Collected Dialogues, including the Letters, eds E. Hamilton and H. Cairns (Princeton: Princeton University Press, 1961 [1989]), p. 821 (596e). Plato, Republic, X, p. 827 (602b). In a much-discussed passage, Austin writes: ‘Language’, spoken on stage, used in a poem or soliloquy, ‘is in special ways – intelligibly – used not seriously, but in ways parasitic upon its normal use – ways which fall under the doctrine of the etiolations of

in The new aestheticism
Reading and happiness in Rabelais and Montaigne
Ian Frederick Moulton

.24. 4 See, for example, the importance of education for the formation of the governing class of Plato's Republic (especially Book 3), as well as Aristotle's notion that true happiness ( eudaimonia ) consists in contemplation of ‘things noble and divine’ ( Nicomachean Ethics 10.7; 1177a). 5 ‘Tout leur consolation n’estoit que de ouyr lire quelque page dudict livre’, François Rabelais

in Positive emotions in early modern literature and culture
Hypothesis for a diptych
Lorenzo Marchese

page always mendacious. The reader is called upon to assume a critical posture, embrace the conviction that one cannot naively abandon oneself to the story – since that innocence, as the parable of the child proves (from pure and uncontaminated genius to guilty victim of his own monstrous self-consciousness), is not one of this world. Even though it is commonsensical to claim that a genuine correspondence between fiction and facts is not possible, Wallace seems to be taking this statement as his point of departure (which dates back at least to Plato's Republic

in Reading David Foster Wallace between philosophy and literature