The Trials and Tribulations of the revenants: Narrative Techniques and the Fragmented Hero in Mary Shelley and Théophile Gautier Elena Anastasaki Published in Connotations Vol. 16.1-3 (2006/07) Reanimation, as a fantastic subject, can be found in myth and literature of all times. But towards the end of the eighteenth century […]
Echo Restored: A Reading of George Herbert’s “Heaven”45) Inge Leimberg Published in Connotations Vol. 16.1-3 (2006/07) The history of this talk began with Matthias Bauer telling me, some time ago, about a lecture of his on the discovery of childhood in English seventeenth−century literature. The question that most intrigued him […]
Resurrection as Blasphemy in Canto 5 of Edmund Spenser’s “The Legend of Holiness” Åke Bergvall Published in Connotations Vol. 16.1-3 (2006/07) ” … and so, who are you, after all? —I am part of the power which forever wills evil and forever works good.” (Goethe’s Faust, as used as epigraph […]
“OOOO that Eliot-Joycean Rag”97): A Fantasia98) upon Reading English Music Susan Ang Published in Connotations Vol. 15.1-3 (2005/06) Fathers, Sons and Vegetation Myth In “The Relics of Learning,” his review of Peter Ackroyd’s English Music, James Buchan institutes a comparison between Ackroyd and a hypothetical postmodernist architect, who, asked to […]
Anti-novel as Ethics: Lindsey Collen’s The Rape of Sita112) Eileen Williams-Wanquet Published in Connotations Vol. 15.1-3 (2005/06) When The Rape of Sita came out in 1993 it was immediately attacked by a group of fundamentalists and by the State.130) The main objection, from people who had not even read the […]
Mamet’s Self-Parody: A Response to Maurice Charney David Mason Published in Connotations Vol. 15.1-3 (2005/06) In his article, Maurice Charney asserts that, whatever else David Mamet may be doing in his plays—and in Oleanna and Boston Marriage, specifically—he parodies himself. That is, Mamet’s work is persistently self−referential: at every of […]
Stylistic Self-Consciousness Versus Parody in David Mamet: A Response to Maurice Charney Verna A. Foster Published in Connotations Vol. 15.1-3 (2005/06) Defining parody as “a form of imitation for satirical purposes,” Maurice Charney in his essay “Parody—and Self−Parody in David Mamet” notes that it is an “acute, stylistic self−consciousness” such […]
How to Listen to Mamet: A Response to Maurice Charney Douglas Bruster Published in Connotations Vol. 15.1-3 (2005/06) At the end of his reading of Boston Marriage, Maurice Charney asks: “Is Mamet parodying himself?” (87). It’s a good question, in part because it’s more than a rhetorical one—as the uncertainty […]
Waugh’s Conrad and Victorian Gothic: A Reply to Martin Stannard and John Howard Wilson Edward Lobb Published in Connotations Vol. 15.1-3 (2005/06) I am delighted that my article on Waugh, Conrad and Eliot has prompted such detailed, erudite, and thoughtful responses from Martin Stannard, Waugh’s biographer, and John Howard Wilson, […]
A Modest Letter in Response to The Great Gatsby, Bakhtin’s Carnival, and Professor Bevilacqua Tony Magistrale Published in Connotations Vol. 15.1-3 (2005/06)
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