Search results

Abstract only
Author: David Stirrup

Louise Erdrich is one of the most critically and commercially successful Native American writers. This book is a fully comprehensive treatment of her writing, analysing the textual complexities and diverse contexts of her work to date. Drawing on the critical archive relating to Erdrich's work and Native American literature, it explores the full depth and range of her authorship. Breaking Erdrich's oeuvre into several groupings – poetry, early and late fiction, memoir and children's writing – it develops individual readings of both the critical arguments and the texts themselves. The book argues that Erdrich's work has developed an increasing political acuity to the relationship between ethics and aesthetics in Native American literature, and her insistence on being read as an American writer is shown to be in constant and mutually inflecting dialogue with her Ojibwe heritage.

Tom Betteridge

the twilight of Edward’s reign in the spring of 1553, but was not published until 1570. It can be read as a summation and critique of the period 1547–1553. In particular, the textual complexity of Beware the Cat, its cynical politics and poetics, reflect the shock to the magisterial Protestant endeavour caused by the events of 1549 and the realization that in 1553 the reign of which so much had been expected was coming to an end – not with a bang but a whimper. Edward VI’s reign was an anomaly – not only because of the royal minority but also because its political

in Literature and politics in the English Reformation
Sarah C.E. Ross and Elizabeth Scott-Baumann

, enabling full comparison of the different versions that were printed in 1650 and 1678. Hester Pulter’s poems occur only in University of Leeds Library, Brotherton Collection, MS Lt q 32, which is therefore our copy-text. Katherine Philips sits at the other end of the spectrum to Pulter in terms of textual complexity: there are two printed editions of Poems (1664 and 1667), of contested degrees of authorial sanction, an early autograph manuscript (known as ‘Tutin’), and several other manuscript volumes, including the important Rosania manuscript compiled after her death

in Women poets of the English Civil War
Jonathan Bignell and Stephen Lacey

quality has broadened the range of programming it addresses, towards programmes that had been little regarded because of their apparently formulaic and generic narrative patterns and their consumption by audiences whose tastes and discrimination had been undervalued. This section contains four essays that engage in different ways with this complex of debates around authorship, aesthetic and textual complexity or experimentation, and address to popular audiences. Peter Billingham discusses the Channel 4 drama series Queer As Folk (C4 1999–2000), focusing on its

in Popular television drama
Abstract only
Andrew Smith

equally stand as an account of the textual complexities we witnessed in Arthur Machen. This type of ‘fracturing’ is a feature of the Gothic as much as it is of the Modernist text. The Gothic subject mapped here is one that is embedded in narratives about death, and this becomes re-routed into Modernism by the implicit Gothic images that so often underpin Modernist writings. 4 This is

in Gothic death 1740–1914
Lee Spinks

’s fascination with Billy’s fluid and amorphous style of existence ‘invites us to see that the world is postmodern-fluid, unpredictable and ultimately uncontrollable (Livingstone is eaten by his twisted creations) or wrongly controlled (Garrett gains power by becoming the greatest human casualty in the entire book).’ 18 While sympathetic to aspects of Cooley’s ‘postmodern’ reading, Douglas Barbour sees in the textual complexity of Billy the Kid persuasive evidence of the limits of conventional thematic criticism. Beginning from the premise that Billy the Kid is ‘one of

in Michael Ondaatje
From Burke’s Philosophical Enquiry to British Romantic art
Author: Hélène Ibata

The challenge of the sublime argues that the unprecedented visual inventiveness of the Romantic period in Britain could be seen as a response to theories of the sublime, more specifically to Edmund Burke’s Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful (1757). While it is widely accepted that the Enquiry contributed to shaping the thematics of terror that became fashionable in British art from the 1770s, this book contends that its influence was of even greater consequence, paradoxically because of Burke’s conviction that the visual arts were incapable of conveying the sublime. His argument that the sublime was beyond the reach of painting, because of the mimetic nature of visual representation, directly or indirectly incited visual artists to explore not just new themes, but also new compositional strategies and even new or undeveloped pictorial and graphic media, such as the panorama, book illustrations and capricci. More significantly, it began to call into question mimetic representational models, causing artists to reflect about the presentation of the unpresentable and the inadequacy of their endeavours, and thus drawing attention to the process of artistic production itself, rather than the finished artwork. By revisiting the links between eighteenth-century aesthetic theory and visual practices, The challenge of the sublime establishes new interdisciplinary connections which address researchers in the fields of art history, cultural studies and aesthetics.

Bachelor soldier narratives of nostalgia and the re-creation of the domestic interior
Helen Metcalfe

explore the textual complexity of emotional material culture’, this section extends the materiality of the home to recover traces of men’s interactions with a variety of emotional objects that include the tangible, sensory, concealed and transitory.31 Nostalgia: a brief history The potentially fatal repercussions of enforced separation informed the basis of Johannes Hofer’s 1688 medical thesis on the pathology and prevention of heimweh (homesickness), a condition Hofer termed ‘nostalgia’.32 The first of its kind to identify homesickness as a clinical disease, Hofer

in Martial masculinities
Abstract only
Episodic erotics and generic structures in Ventura Pons’s ‘Minimalist Trilogy’
David Scott Diffrient

above, Pons is not the only contemporary filmmaker to depart from classical narrative formulas and embrace the inter-textual as well as intra textual complexities of episode films. Over the past fifteen years, several filmmakers throughout the world have made similar interventions in plot (de)construction and character development, from Rodrigo García to Jim Jarmusch to François Girard. These and other

in Contemporary Spanish cinema and genre
Blake’s ‘sublime Labours’
Hélène Ibata

made this point more clearly, and explicitly identified a sublime experience derived from the textual complexity of the later prophecies. Vincent De Luca has thus defined Blake’s programme as ‘displacing the natural sublime object with a text’ and identified the ‘sublime event’ as taking place ‘in the actual difficulties of the reading experience’.14 De Luca’s research enhances the anti-​narrative physicality of Blake’s text, with its profuseness and semantic opacity being comparable to a ‘wall of words’ inducing in the reader a sentiment very much like the

in The challenge of the sublime