What Exactly Is It about Wooster’s Voice? A Response to Lawrence Dugan Sarah Säckel Published in Connotations Vol. 22.2 (2012/13) 1. Introduction Lawrence Dugan argues that Wodehouse’s Jeeves and Wooster novels differ from most of his other novels in their “baroque style” and differentiates between Wodehouse’s “baroque” and “classic” works. […]
Laws, Characters, and the Agency of the Text: An Answer to Beatrix Hesse and Lyn Pykett Philipp Erchinger Published in Connotations Vol. 22.2 (2012/13) Beatrix Hesse’s and Lyn Pykett’s equally thoughtful and thought–provoking responses to my essay on The Woman in White have made me realise that some of the […]
Milton’s Identification with the Unworthy Servant in Sonnet 19: A Response to Margaret Thickstun David V. Urban Published in Connotations Vol. 22.2 (2012/13) In her fine essay “Resisting Patience in Milton’s Sonnet 19,” Margaret Thickstun seeks to analyze Milton’s sonnet through a close textual analysis of Milton’s rhetorical strategy, also […]
Naming and Unnaming in Spenser’s Colin Clouts Come Home Againe Maurice Hunt Published in Connotations Vol. 22.2 (2012/13) Both Petrarch and Boccaccio who, according to Walter W. Greg, “founded the Renaissance eclogue, [were] keenly aware of the value of pastoral for ‘covert reference to men and the events of the […]
Language Matters: An Investigation into Cliché in The Light of Day Andrew James Published in Connotations Vol. 22.2 (2012/13) While Graham Swift’s The Light of Day (2003) was not an overwhelming success with readers and reviewers, with Germaine Greer speculating that it had been rewritten too many times and labelling […]
A Collection of Selves: Louis MacNeice’s Autumn Journal Teresa Bruś Published in Connotations Vol. 22.2 (2012/13) […] because a diary is like lacework, a net of tighter or looser links that contain more empty space than solid parts. Philippe Lejeune, On Diary 1. Salvaging of Order Louis MacNeice started writing […]
Ellipsis and Aposiopesis in “The Love Song of J. Alfred Prufrock” Edward Lobb Published in Connotations Vol. 22.2 (2012/13) On October 4, 1923, T. S. Eliot wrote to John Collier, a prospective contributor to The Criterion, about a poem Collier had submitted. “This particular type of fragmentary conversation (see p. […]
A Daughter Abandons Her Literary Mother: A. S. Byatt’s The Children’s Book and Iris Murdoch’s The Good Apprentice. A Response to June Sturrock Nick Turner Published in Connotations Vol. 22.1 (2012/13) Although there is a growing body of work on contemporary fiction, it can still take a considerable time for […]
Ruinous Fathers, Lethal Mothers: A Response to June Sturrock Lena Steveker Published in Connotations Vol. 22.1 (2012/13) In her thoughtful essay “Artists as Parents in A. S. Byatt’s The Children’s Book and Iris Murdoch’s The Good Apprentice,” June Sturrock explores how Byatt draws on Murdoch’s narrative, “intensifying and darkening it […]
Artists as Mothers: A Response to June Sturrock Louisa Hadley Published in Connotations Vol. 22.1 (2012/13) Published in 2009, A. S. Byatt’s The Children’s Book traces the relationships between the children and parents of various interconnected artistic families at the end of the nineteenth and beginning of the twentieth centuries. […]
This website uses cookies to improve your experience. We'll assume you're ok with this, but you can opt-out if you wish.AcceptRead More
Privacy & Cookies Policy
Privacy Overview
This website uses cookies to improve your experience while you navigate through the website. Out of these, the cookies that are categorized as necessary are stored on your browser as they are essential for the working of basic functionalities of the website. We also use third-party cookies that help us analyze and understand how you use this website. These cookies will be stored in your browser only with your consent. You also have the option to opt-out of these cookies. But opting out of some of these cookies may affect your browsing experience.
Necessary cookies are absolutely essential for the website to function properly. This category only includes cookies that ensures basic functionalities and security features of the website. These cookies do not store any personal information.
Any cookies that may not be particularly necessary for the website to function and is used specifically to collect user personal data via analytics, ads, other embedded contents are termed as non-necessary cookies. It is mandatory to procure user consent prior to running these cookies on your website.