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This first book-length study of Kate Atkinson’s multifaceted œuvre is a comprehensive introductory overview of her novels, play and stories. It situates Atkinson’s literary production in terms of an aesthetics of hydridity that appropriates and re-combines well-known genres (coming-of-age novel, detective fiction, historical novel) and narrative techniques. This book explores the singularity and significance of Atkinson’s complex narratives that engage the reader in contemporary issues and insight into human concerns through a study of the major aspects and themes that tie in her work (the combination of tradition and innovation, the relationship to the collective and personal past, to history and memory, all impregnated with humour and a feminist standpoint). It pursues a broadly chronological line through Atkinson’s literary career from Behind the Scenes at the Museum to Big Sky, the latest instalment in the Brodie sequence, through the celebrated Life After Life and subsequent re-imaginings of the war. Alongside the well-known novels, the book includes a discussion of her less-studied play and collection of short stories. Chapters combine the study of formal issues such as narrative structure, perspective and point of view with thematic analyses.

Open Access (free)
Judith Squires

have taken the operation of the public–private dichotomy to be essential to understanding women’s oppression. 2 Feminist critiques of the public–private distinction The feminist literature on the public–private distinction has focused primarily on critiquing the liberal formulation of the public–private distinction. These critiques fall into three broad strands, of which the first criticises the premises

in Political concepts
Brian Hanley

of feminist literature.154 The ‘Heavy Gang’ Conor Cruise O’Brien later recalled that a detective told him how they had convinced a suspect to give crucial information in the Herrema case; ‘they beat the shit out of him’.155 Allegations about such tactics were first aired in the republican and left press, then taken up by Hibernia and the Sunday World and finally by the Irish Times. Many of the revelations centred around claims that a ‘Heavy Gang’ of detectives, based at the Garda Technical Bureau, were deployed in cases involving subversion. This group routinely

in The impact of the Troubles on the Republic of Ireland, 1968–79
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Peter Barry

this kind of feminism has been rather obscured by the fact that certain popular books summarising feminist criticism (like K. K. Ruthven's Feminist Literary Studies: An Introduction and Toril Moi's Sexual/Textual Politics ) do not discuss it as a distinct category. Examples of this kind of work are: Terry Lovell's Consuming Fiction (1987), Julia Swindells's Victorian Writing and Working Women (1985), and Sea Changes: Culture and Feminism (1986) by Cora Kaplan, an American who worked in Britain for many years. Kaplan was a member of the Marxist Feminist

in Beginning theory (fourth edition)
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Peter William Evans

even more poignancy when viewed from the perspectives of the growing feminist literature of the time when the film was made. The Female Eunuch was yet to be published, but the novels of Doris Lessing, Fay Weldon, Margaret Drabble, Sylvia Plath and others touch either directly or indirectly on the abuse of women by violent men. Nancy needs to be needed, her masochistic dependence on Sikes, to be controlled, to be maltreated, is

in Carol Reed
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The widow as venerean preacher
Caitlin Flynn

ultimate danger that men might no longer be visually distinct from women, since clothing and adornment can obscure biological difference’. 21 Although the widow certainly embodies the very worst fears of husbands as portrayed in anti-feminist literature, her dress does not necessarily invoke the blurring of gender lines in the anticipated manner. Instead she co-opts distinctly masculine expressions to veer her discussion of garments in the opposite direction, as will be explored further below. Schroude has another

in The narrative grotesque in medieval Scottish poetry
Feminist aesthetics, negativity and semblance
Ewa Plonowska Ziarek

3 Ewa Plonowska Ziarek Mimesis in black and white: feminist aesthetics, negativity and semblance As Sarah Worth suggests, despite well-established feminist work in literary criticism, film theory and art history, feminist aesthetics ‘is a relatively young discipline, dating from the early 1990s’, and thus still open to contestation and new formulations.1 In this context it might seem paradoxical that one of the founding texts of feminist aesthetics, Rita Felski’s Beyond Feminist Aesthetics: Feminist Literature and Social Change, proclaims its impossibility

in The new aestheticism
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Rethinking the miners’ strike of 1984–85
Jim Phillips

Richards, in 1996, which probed pit-level strike endurance, but only briefly in relation to South Wales while looking mainly at Yorkshire and Nottinghamshire,28 and Keith Gildart’s longer history of the North Wales miners, in 2001.29 This popular movement historiography has been accompanied by feminist literature exploring one of the strike’s principal features: the role of women. Women managing a household without male earnings encountered severe strain, but there were positive experiences too. Men not working took a greater share in domestic labour and childcare, and

in Collieries, communities and the miners’ strike in Scotland, 1984–85
Marcel Stoetzle

Jane Addams. Weber’s two key publications in that period are classics of feminist literature: a historical study on Marriage, Motherhood and the Law (1907) and her collection of essays Reflections on Women and Women’s Issues (1919). During the war years both Marianne and Max seem to have been firing on all cylinders, engaging in politics and scholarship like there was no tomorrow. In 1919 Marianne Weber became the first female member of a German parliament: she represented the liberal German Democratic Party in the federal state parliament of the Republic of

in Beginning classical social theory
Hawai‘i One Summer (1987/1998)
Helena Grice

, Kingston’s evocation of sea-nature emerges as a eulogistic celebration of both place and species. Ultimately, Kingston reaches a point at the end of this lengthy description where she is able to say that ‘a new climate helps me to see nature’ ( HOS , p. 37). Many elements of the piece echo the descriptions of eco-feminist literature as described by Gretchen T. Legler above. Creatures of nature are not only anthropomorphised but named (Kingston’s son has a pet crab named ‘Linda’); the connection between humanity and nature is emphasised through

in Maxine Hong Kingston