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Chapter 7 . John Foxe and national consciousness W e all know what William Haller wrote about John Foxe and national consciousness in The Elect Nation, 36 years ago; and we can also rehearse the arguments deployed against his thesis by Katherine Firth, V. Norskov Olsen, and others.1 We know that Foxe was not a vulgar nationalist but a man of universal vision and ecumenical conviction, who believed himself to be living near the end of time. Reopening Haller after a few years, there is less about the elect nation than one remembered, and one suspects that ‘the
83 3 Jean Rhys and drunken consciousness (1929–1939) Damned voice in my head. Jean Rhys published four novels across the 1920s and 1930s, all of which have a central protagonist who is female, usually existing as a kept woman or prostitute who is also frequently described as drinking alcohol. In all four novels the life of the woman ends in despair.1 The style of the novels is poetic, economical, and often fragmentary, with a theme common to all of them being that of the outsider status of women. Although the novels had some critical recognition at the time
3 Finding their anger in consciousness-raising T hese early experiences became potent reasons to become a feminist activist only when shared with a small group of like-minded women. These small groups began to emerge in the late 1960s when women would meet to discuss the ways in which they felt oppressed by society. As in the USA and Europe, CR groups became the key entrée for most women who ‘joined’ the WLM in Scotland in the 1970s. Little is known about how these groups were organised and this chapter sheds light on to this process, describing the roots
1 Point of view, consciousness and interaction The study of point of view in fiction is the study of the endless possibilities of the relationship between a fiction’s story-world, including the entities within that world, and the way that story-world is presented to (in fact, and at the same time, created for) the reader or viewer. This broad definition allows us to see that accounts of point of view concern themselves with issues beyond those to do with fictional characters but also helps to explain why characters, as among the most important elements of a
Twin stories Oblivion ( 2004 ) places at its centre the interrelated problem of negative experience – be it historical trauma in ‘The Suffering Channel’, shock in ‘The Soul Is Not a Smithy’, or psychological despair, such as in ‘Good Old Neon’ – and the traumatized or harmed subject's attempt to express his or her ‘dynamics of consciousness’ (Tracey, 2009 : 177) through a shared language (Boswell, 2013 : 151–69). This problem emerges in Wallace's late work, which is ever more ominous and meditative
3 Emergence of brand consciousness There is compelling evidence that children have brand consciousness from an early age. As we will see, this fact has been confirmed by both academic and marketing industry research. While industry researchers have been interested in finding out which brands are best known and best liked among young consumers, and how brand awareness levels and preferences vary across different child age groups, academic researchers have been occupied more with finding explanations for why brand consciousness exists, the different forms it can
Chapter 1 Ecc Urban contexts, urbane consciousness and the eccentric slant of modernisms Urban contexts, urbane consciousness Retracing urban/e dimensions of the modernist novel While modernism ranges far beyond the bounds of the city, it emerges from crises concentrated in urban centres and urbane consciousness. Modernist writers converge in St. Petersburg and Rio de Janeiro, Moscow and São Paulo, as in Paris, London, Lisbon, Prague, New York and other cities whose contours filter into their fictions. These cities concentrate publication venues, a reading
sense of that word: not racism, but an element of ethnocentrism can be found in Du Bois’s position. Structure of the selected text Chapter 1 ‘Of Our Spiritual Strivings’ (7–14) 0 The crying of water (7) 1 How does it feel to be a problem? (7) 2 Shut out from their world by a vast veil (7–8) 3 Double-consciousness (8) 4 To merge his double self (9) 5 To be a co-worker in the kingdom of culture (9–10) 6–7 The disappointment with emancipation (10) 8 From
, Alicia appears increasingly full of contradictions and hesitations. She can no longer be reduced to a single cliché, such as the stereotypical image of the initial credit sequence. Whether it be a progress or a degradation, an emancipation or just another form of alienation, the series preserves ambiguity thanks to its complex exploration of the ways the character's identity, consciousness and affects are increasingly shaped by ever more present technological mediations. Who's watching Alicia? As a legal show
’. 3 Charles talked ‘as if he had books before his eyes’, but he also acted as if he had cards in his hands. We have already considered the almost academic approach of this man, isolated in his theories, detached from the men who were for him no more than unavoidable factors that had to be taken into account in his power games. In the context of the present chapter, this extract from his speech at Nancy serves to pose the question of the measure of space and of the emergence of geopolitical consciousness in this vast, constantly evolving and