‘Faites le mien desir’: studious persuasion and baronial desire in Jordan Fantosme's Chronicle

This article examines the remarkable ‘changes and transpositions’ of form found in Jordan Fantosme's Chronicle, an important Anglo-Norman estoire recounting the rebellion against Henry II in 1173–74. By reading these literary changes as accommodations of circumstances and persons, they can be used to locate the Chronicle in very specific historical and social contexts. Jordan, clerk of the bishop of Winchester and master of the city's grammar schools, places himself, both socially and discursively, within a community of administrative barons, who are very carefully remembered in the Chronicle as a coherent social affinity, or foedus amicitiae, both alienated from and seeking solidarity with the king. These conditions explain the Chronicle's central rhetorical impulses: to chastise the king, sometimes bitterly, and to persuade him to ‘love, cherish … and reward’ these specific barons. To achieve these rhetorical desires, Jordan draws upon the resources of contemporary literary education to imagine and perform persuasion. The Chronicle is thus a powerful illustration of John Baldwin's account of the ‘interpenetration’ of studium et regnum, institutional learning and political administration, in twelfth-century England. Because the Chronicle has in the past been understood as a panegyric, or even propaganda, for a royalist cause, this baronial reading represents a major re-assessment of its sociabilities and purposes.     

The voice of the dead king Chindasuinth: poetry,politics, and the discourse of penance in Visigothic Spain

Around ad 653, Eugenius II, bishop of Toledo, composed a first‐person poetic epitaph for the deceased Visigothic king Chindasuinth (r. 642–53) in which the monarch is made to speak with self‐deprecating candour. This paper offers a reassessment of the poem's language and rhetorical strategy by situating it within contemporary discourses surrounding royal admonition and penance. Rather than interpreting Eugenius's composition as an act of defamation, as the majority of critics have done, it reads the poem as a dignifying literary expression of atonement. This reading corresponds with other specimens of Eugenius's poetry and evidence from a developing literary culture at Chindasuinth's court.     

Creole Performance in Wonderful Adventures of Mrs. Seacole in Many Lands

Mary Seacole's autobiography has been read as a feminist performance as well as a paradigmatic Victorian travel narrative. While these assessments address important aspects of the memoir, neither affords the author's Jamaicanness significant space in its analysis. This essay addresses the silences left when Wonderful Adventures is removed from its Jamaican context, then offers a reading of it from this perspective. Grounded in histories that document nineteenth‐century Jamaican social categories, the article analyses Seacole's book using Caribbean literary perspectives that explore raced, ‘coloured’ and geographically‐located identities. The result is an interpretation of the memoir that offers insight into Jamaica's Creole population, its status and colour politics, and identity concerns. All have been expertly shaped by Seacole's rhetorical manoeuvres.     

Personal lives: narrative accounts of Irish women in the diaspora

The burst of writing about Irish women in the diaspora after the 1980s, led by Mary Lennon, Marie McAdam and Joanne O'Brien's Across the Water: Irish Women's Lives in Britain, coincided with the ‘narrative turn’ in the social sciences and literary representation. This paper uses Carol Smart's concepts of Personal Life (2007) – memory, biography, embeddedness, relationality and the imaginary – to examine a range of ways in which personal narratives have become central to our understandings of Irish women and their descendants in both written and visual representations. It interweaves disciplines, bringing together a wide range of sources including academic and public accounts in which Irish women appear both as main characters and in walk-on parts. It explores constructions of these ‘fictions’ and their connections with the biographies of authors.     

Beyond the stereotypes: Mary Lavin's Irish women

This paper discusses Mary Lavin's place within the Irish literary tradition by means of an analysis of her representations of female characters. It argues, first, that Lavin's short stories depart from the short story tradition in general and the Irish short story tradition in particular by failing to subscribe to the cultivation of the romantic outsider and focusing instead on family relations and social responsibilities. Second, Mary Lavin's marginal position in a feminist or female literary tradition is explained through her unwillingness to portray women as victims and through the absence of a clear critique of patriarchy in her work. The paper then tries to characterise the relationship between individual and society in Lavin's short fiction in a more positive way, by focusing on the notions of individual fate and personal responsibility, which turn out to be crucial to Mary Lavin's philosophy. This philosophy is first discussed explicitly in a reading of the story ‘Happiness’ and ‘The Widow's Son’ and subsequently shown to lie behind the oppositions and dilemmas in several other stories. Finally, the article demonstrates how Lavin manages to realise her Nietzschean belief in an Amor Fati in some of her most positive female characters through a clever use of imagery and point of view, without thereby succumbing to sentimentality or cliché.     

J. Casely Hayford’s Social Imaginary of “Church Universal” in William Waddy Harris the West African Reformer: The Man and His Message (1915)

A close reading of J. Casely Hayford’s tract William Waddy Harris The West African Reformer: The Man and His Message (1915) provides insight into the political considerations accounted for in writing histories of world Christianity during the colonial period. Hayford centres Africa and William Waddé Harris in a social imaginary that critiques Europe as the exclusive centre of religious reform and renewal. I argue that Hayford employs methods of analysis, rhetorical devices, and literary interlocutors that reflect his African positionality within the early colonial period. To this end, I argue that Hayford’s tract reconceives a history of world Christianity that predates the organised study of missions, ecumenics, and world religions. Without dismissing the contributions of these fields to the emergent field of World Christianity, Hayford’s colonial positionality lends him a contrasting and precarious double consciousness with which to the re-imagine a discourse of universal Christianity through and out of West Africa.     

Translations at the Court of Hákon Hákonarson: a well planned and highly selective programme

This article deals with the translations of Old French works completed at the court of Hákon Hákonarson, king of Norway. The first one was probably completed in 1226 and some 40 followed: translations of epic poems, courtly romances and lais, adventure romances and a fabliau. In all cases, we ought to speak of adaptations and not of word-for-word translations.

Together, these literary works form an outstanding corpus, elaborated mainly for didactical purposes and in order to support Hákon Hákonarson's project to build a monarchy à l'européenne. For that, some literary works were selected and – in their adaptations – some ethical and social values promoted while some others were not; and some great literary works were intentionally ignored and remained untranslated.     

Recovering the histories of women religious in England in the central Middle Ages: Wilton Abbey and Goscelin of Saint-Bertin

Building upon the efforts made by scholars over the past 20 years to enrich our understanding of the vibrancy and sophistication of the literary cultures fostered within English communities of women religious during the central Middle Ages, this article shows that these women kept their communities' histories and preserved their saints' cults through their own writing. The evidence for this is uncovered through comparative analysis of the two extant versions of the post-mortem miracles of the late Anglo-Saxon saint Edith of Wilton (c.961–c.984): the Vita et translatio Edithe, composed c.1080 by the Flemish hagiographer Goscelin of Saint-Bertin (c.1040–d. after 1107), and the early fifteenth-century Middle English Wilton Chronicle. This analysis reveals that the writer of the Chronicle depended on a collection of Edith's and other Wilton saints' miracles that was maintained by their consorors throughout the late tenth and eleventh centuries, independently of Goscelin's account.     

The English Patient and the Italian Risorgimento: Medical Tourism and the Body Politic in Giovanni Ruffini's Doctor Antonio (1855)

Doctor Antonio (1855), Giovanni Ruffini's novel of therapeutic travel, cross-cultural love and Risorgimento propaganda, pairs an English patient's quest for renewed health in Italy in the 1840s with the concurrent resurgence of the Italian nation through political action. An Italian revolutionary activist turned man of English letters, Ruffini wrote seven novels in English, of which the second, Doctor Antonio, was his greatest critical and popular success. Employing the popular Victorian practice of recuperative travel as a key plot device, and using this device to convey Italian political messages to nineteenth-century English readers, the novel offers a context-specific variation of the rhetorical tradition of representing the ‘body politic’ as a site of health, disease and medical management. This essay investigates Doctor Antonio's relation to Anglo-Italian literary, political and medical contexts in the mid-nineteenth century. More specifically, it analyses how the novel's medical plot supports Ruffini's aims of challenging negative stereotypes of Italians and advancing the cause of Italian liberalism. A reading of Lucy Davenne's illness and treatment as an allegory for the condition of the ailing, but potentially resurgent, Italian nation is developed and critically reflected upon. The intersection of medical and political frames of meaning in the text is further explored by interpreting the space and community of Lucy's convalescence as the model of an ideal society to which both English and Italians might aspire. Finally, the essay considers the novel's material impact on the development of medical tourism in northern Italy, and the political significance of this impact.     

The Newer New Life: A.S. Byatt,E. Nesbit and Socialist Subculture

This article considers the political implications of Victorian language-study for Thomas Carlyle's The French Revolution (1837) (reprinted and edited by K.J. Fielding and David Sorensen (Oxford: Oxford World's Classics, 1989)). I investigate how Carlyle responded to the scientific study of language with what he termed a ‘bodied word’, a reading of language based in the word-become-flesh or the doctrine of the Incarnation. I show how this bodied word reflects wider changes in modern conceptions of the polity in the wake of the French Revolution, in the shift from a hereditary body politic towards what critics have termed a ‘social body’ or a more broadly inclusive model that incorporates the working classes. I then offer a reading of The French Revolution to show how Carlyle's French history was crucial to the linguistic and conceptual production of this liberal notion of the social body, even as he worked both to acknowledge and contain its political agency.     

Avenging ‘Bridget’: Irish domestic servants and middle-class America in the short stories of Maeve Brennan

This article will examine the representation of Irish women servants in Maeve Brennan's short stories, first published in The New Yorker in the 1950s, and collected in The Rose Garden (2001). The Irish ‘Bridget’, the most publicly visible, if troubling, image of Irish womanhood in late nineteenth- and early twentieth-century America, has received much-needed attention from historians and social scientists in the last decade, and is a central figure in discussions of Irish women and diasporic identity in the American context. Drawing on this body of work, and focusing in detail on key stories from the collection, including ‘The Bride’, ‘The View from the Kitchen’, ‘The Anachronism’, ‘The Divine Fireplace’, and ‘The Servants’ Dance', I argue that Brennan's reimagining of the Irish Bridget can be approached as a form of feminist revisionism, as Brennan's stories enter into a charged dialogue with the history of imagining the Irish woman servant as an undesirable but necessary presence in middle-class American domestic culture. Brennan's self-reflexive reworking of this paradigm is informed by her work as a satirist for The New Yorker, and proves an effective means of writing back to this problematic history, as she takes up recognisable tropes and motifs from earlier representations of Bridget in popular and literary culture, and alters them in knowing and subversive ways.     

Marie Corelli and the Value of Literary Self-Consciouness: The Sorrows of Satan,Popular Fiction,and the Fin-de-Siècle Canon

Marie Corelli's The Sorrows of Satan (1895) presents a paradoxical test case for the practice of academic literary criticism. The best-selling work of fiction of the nineteenth century, the book was demeaned by Victorian critics and has been long ignored by criticism since. In spite of Corelli's recent mini-revival, the formally self-conscious properties of this work deserve further examination: the text insistently foregrounds the act of literary criticism and demands that the reader's attention is focussed on not only the content of the narrative but also the nature of the procedure of reading. Such a strategy allows Corelli's romance to participate safely in the kinds of literary transgressions enacted in the work of her since-canonized contemporaries such as Thomas Hardy and Oscar Wilde. The narrative mode warns against the production of the wrong kinds of readings of the narrative, inoculating its consumer against the corruption suffered by many of Sorrows's characters – and by the readers of the kinds of contemporary fiction Corelli seeks to warn against. As a consequence, The Sorrows of Satan, while exiled from the canon, shows itself to be surprisingly representative of the image of fin-de-siècle literary culture constructed by its afterlife. Like so many 1890s fictions, it is a work of art about the work of art, and dramatizes such by now familiar late-Victorian tropes as: decadence, moral relativism, debates over literary taste, realism, post-Ibsen drama, the sexual double standard, the marriage market, the New Woman, motherhood, hysteria and female pathologies, degeneration anxiety, mesmerism. The Sorrows of Satan's status as forgotten best-seller, a ‘great bad book’, asks difficult questions about the relationship between literary criticism and literary pleasure.     

The ethico-politics of homo-ness: Beckett's How It Is and Casement's Black Diaries

In recent years, Beckett studies has taken an ‘ethical turn’ as critics have given increased attention to the status of the Other and otherness in the writer's oeuvre. How It Is, a key text for these critics, was written as Beckett was reading the newly published Black Diaries of Roger Casement, a volume that contains homoerotic content long considered scandalous for the Irish republican icon and yet offers a remarkable vision of social relations structured around sameness or what Leo Bersani calls ‘homo-ness’. Reading Beckett's novel alongside Casement's diaries reveals the significance of How It Is for thinking an ethico-politics that depends neither on the ideological foundations of the nation-state nor on critical perspectives that emphasise the primacy of difference, but rather on a fundamental reorientation of sociality. In this regard, Beckett's anti-redemptive narrative may be considered a work of penetrating utopian writing, which nonetheless reminds us of the hazards of utopian thought.     

‘Each fantasy chosen begin’: the music of The Divine Comedy

This article considers the cultural and social context for the music of the Northern Irish band The Divine Comedy. It focuses on three mid-1990s albums – Liberation (1993), Promenade (1994) and Casanova (1996) – and debates the significance of this performance of alternative Ulster masculinity during the peace process. It will detail the lyrical obsession with a very particular type of imagined Anglo-Irishness during the first two of these albums, and then consider the complicated uses of the ‘Britpop’ genre in Casanova. This music is baroque, literary and written by an Anglican bishop's son, Neil Hannon, who grew up in Enniskillen during the Troubles. It will consider how Hannon cobbles together an acceptable identity through the use of literary pretentiousness and a carefully crafted pop persona.     

La prudencia de Cortés: teoría política y práctica retórica en la Historia de la conquista de México de Antonio de Solís

The Historia de la conquista de México, published by Antonio de Solís in 1684, and later extensively reissued and translated, has been praised for the ‘elegance’ and ‘sweetness’ of its style. From very early on these qualities made the Historia to be read as a prose model worthy of imitation. Different scholars have studied Solís's sources and the way he manipulated them on the one hand, and, on the other, the extent of the reliability of his account. However, very little has been said about the actual writing practices of the Historia in the context of contemporary historiographical theories, or the author's own ideas about history or politics. This paper analyzes how some of these rhetorical techniques (I particularly focus on the use of oratio figurata, sententia, and epiphoneme) gave shape to Solís's political ideas, in particular the concept of prudence.     

Social monsters and the walking dead in William of Newburgh's Historia rerum Anglicarum

William of Newburgh's Historia rerum Anglicarum (c.1198) is one of the foremost literary artefacts of the late twelfth century. Contained within Book V are four narratives that detail encounters with the walking dead (‘revenants’). This article contends that the specific placement of these narratives within the Historia encourages the reader to make a metaphysical connection between the activities of the revenant and the conduct of social malcontents. The paper analyses the medieval concept of monstrousness and the cultural context of the Historia’s creation, and argues that learned theories of disease causation underscored the base narratology of the four revenant encounters. Following an appraisal of the unrest caused by Williams FitzOsbert and Longchamp, as well as the kings of England and France, the paper concludes by evaluating the ways in which their social monstrosity was encapsulated by the destabilising and destructive tendencies of the walking corpse.     

Agamben and the Migrations of Glory

Abstract

In the American political imagination, there is a longstanding and wide-ranging discussion about the separation of church and state. Though Americans argue about whether it should be a ‘‘high wall,’’ or whether certain ‘‘breaches’’ in it might be desirable, they all take ‘‘separation’’ to describe an institutional arrangement. From Giorgio Agamben's perspective, however, ‘‘separation’’ is an image that conceals much more than it reveals about the religious character of the state and the global economy. Agamben traces ‘‘the migrations of glory’’ from church, to state, to global capitalism. For part of this task, Agamben accepts Michel Foucault's diagnostic approach to power. By one reading, certainly, governmentality has us in its grip. But now government itself is overshadowed by the power of global capitalism. While Foucault sought only to make us ‘‘a little less governed,’’ Agamben is interested in a deeper iconoclasm and a greater emancipation. According to Agamben, our less-than-free condition can be illuminated by reflection on: (1) the state of exception and the camp, which are only made possible by a form of idolatry in which the sovereign assumes to themself a power that they should not have; (2) On another of the ‘‘maps’’ drawn by Agamben, however, there is a further ‘‘migration of glory,’’ away from national sovereignty, toward postmodern global capitalism; (3) The Coming Community provides the barest sketch of Agamben's hope for a remedy, while his reading of Paul's Letter to the Romans in The Time that Remains brings a more visible kind of messianic expectation or vocation back into the discussion of political life. A concluding section discusses five sorts of questions that might be put to Agamben about the overall shape of his project.     

Ghost hands,hands of glory,and manumission in the fiction of Sheridan Le Fanu

This essay corrects a critical blindspot in the study of Anglo-Irish literature through contextualising meanings of the hand as they appeared in the fiction of Joseph Sheridan Le Fanu (1814–73). From stylised fetish object in ‘An Authentic Narrative of the Ghost of a Hand’ (1863), to symbol of the author's presence in the text in Wylder's Hand (1864), to centrepiece of a dizzying referential system in ‘The Haunted Baronet’ (1870), Le Fanu's fiction demonstrates significant indebtedness to the legend of the ‘hand of glory’. Le Fanu used this rich reference point to express the terminal insecurity of the social masters who are not free, who are in fact themselves enslaved and stupefied for reasons beyond their control. With the spectre of Catholic resurgence in mid-nineteenth-century Ireland, the impossibility of manumission from the hands that haunt functioned as a reminder of the weight of the past in Le Fanu's literary imagination.