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‘Quoting the poet’
Katie Barclay

6 Storytelling: ‘quoting the poet’ LOVE BEHIND A TOMB STONE Cork Police Office. – Judy Sullivan, an antient dame, was indicted for inflicting divers blows on the body of Miss Juliet Donnelly, tearing her bonnet, and dishevelling her auburn dresses. Mr J.J. O’Brien, agent for the prosecutrix, requested the gentle Juliet to stand at the end of the table and take off her glove! Judy (casting a scornful glance at her) – Cock you up with gloves, you circumwater – little your granny thought that one of her breed would leather her skin. Juliet – Oh! Gentlemen, I

in Men on trial
Peopling the paper house
Alexa Alfer and Amy J. Edwards de Campos

criticism become most valuable when taken as part of the aggregate dialogue that not only characterises her own practice of what we have termed ‘critical storytelling’ but also informs, at its best, Byatt scholarship and indeed scholarship in general. Fiction and criticism have gone hand in hand for Byatt from the earliest days of her career as a writer. In 1965, only a year after the publication of her own

in A. S. Byatt
Susana Onega

chap 2.qxd 2/2/06 1:59 pm Page 54 2 History and storytelling One year after the publication of Oranges Are Not the Only Fruit and Boating for Beginners, Jeanette Winterson published Fit for the Future (1986), a non-fictional book on fitness for women, which, as the author herself has noted, she wrote for money and because she was extremely fit at the time. As she humorously remarked in her column in the Guardian, this book might have led her career in an utterly different direction from the one it eventually took: ‘Thankfully, this is out, and what a good

in Jeanette Winterson
Fearghus Roulston

. Storytelling, collecting and local history This sense of narrating history from experience given here is redolent of the anthropologist Henry Glassie's account of storytelling in the Fermanagh townland of Ballymenone. 48 Glassie's account suggests a way of thinking about Graeme's historical practice that extends Raphael Samuel's schema, in that Samuel focuses more on the structures that allow for an engagement with (for instance) the retro than on the ways in which what comes into the structures are

in Belfast punk and the Troubles
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Degeneration in the Holy Land and the House of Usher
Molly Robey

Poe‘s preoccupation with degeneration, decay and dissolution is revealed in ‘The Fall of the House of Usher’, not only as synonymous with the image of the arabesque, but also as dependent on contrast with the word ‘Hebrew’. A reading of the Near East as Holy Land is made possible, Roderick Usher‘s decline likened to contemporary degeneration in terms of Palestine‘s decay. Poe‘s 1837 review of John Lloyd Stephen‘s Incidents of Travel in Egypt, Arabia, Petraea, and the Holy Land exposes his interests in biblical prophecy (including its unintelligibility and yet endurance), millennialism and apocalypse. These themes are transferred to ‘Usher’ as the houses destruction is aligned with the images and structures of biblical prophecy. The storys treatments of landscape and the house itself explore notions of constructed sacred space. In the 1837 review, describing the illumination of prophecy as ‘no less remarkable’ than its fulfilment, Poe underlines a theme of revelation that is fictionalized within ‘Usher’. Prophecy as storytelling within the text provides a means of examining Poe against the historical context in which he wrote. Other ways in which Poe‘s writings reveal nineteenth-century religious structures are potentially numerous when considered against the prophecy framework.

Gothic Studies
Arjun Claire

wearying of témoignage . Different conceptions of témoignage among the various MSF operational sections, anxieties about blurring of its medical identity as well as concerns around instrumentalisation of its voice and the risk of losing operational access have all combined to remove the moral and political edge of témoignage . With limited appetite for sweeping political statements, témoignage has been recast as a storytelling trope, where carefully

Journal of Humanitarian Affairs
The Visual Politics and Narratives of Red Cross Museums in Europe and the United States, 1920s to 2010s
Sönke Kunkel

). Professional museum critics frequently registered their enthusiasm for the museum’s exhibits. As one critic put it, Givenwilson had made the museum a ‘thing of wonder’ and told ‘a story that is most effective because it appeals to the heart throughout the story-telling picture’ ( Rainey, 1926 ). The National Association of American Museums, admitting the museum in 1923, praised it as an ‘important link in museum work, because it represented the practical bond between the public

Journal of Humanitarian Affairs
Catherine Akurut

, M. ( 2019 ), ‘ Healing through Storytelling: Indigenising Social Work with Stories , The British Journal of Social Work , 49 : 6 , 1472 – 90 . Dolan , C. ( 2009 ), ‘ Nobody is Immune: Gender against Men ’, press release, 3 June , for premier of Refugee Law Project documentary , Gender against

Journal of Humanitarian Affairs
Open Access (free)
Writing about Personal Experiences of Humanitarianism
Róisín Read, Tony Redmond, and Gareth Owen

appear like a vengeful act, but really it was to aid the storytelling. To add to the ambiguity around this, I’ve also used the real names of a few people, where fictionalising them didn’t feel necessary or appropriate. RR: Were their parts of your story/experience that you couldn’t write about and/or chose not to include? And, without asking you to write them here, could you say anything about the choices you made about what not to include and why? TR: Yes, there were things I didn’t write about. I have kept confidences. I have written fairly graphically about

Journal of Humanitarian Affairs
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Critical Storytelling

This comprehensive study of A. S. Byatt's work spans virtually her entire career and offers readings of all of her works of fiction up to and including her Man-Booker-shortlisted novel The Children's Book (2009). The chapters combine an overview of Byatt's œuvre to date with close critical analysis of all her major works. The book also considers Byatt's critical writings and journalism, situating her beyond the immediate context of her fiction. The chapters argue that Byatt is not only important as a storyteller, but also as an eminent critic and public intellectual. Advancing the concept of ‘critical storytelling’ as a hallmark of Byatt's project as a writer, the chapters retrace Byatt's wide-ranging engagement with both literary and critical traditions. This results in positioning Byatt in the wider literary landscape.