English http://hdl.handle.net/2262/34 2013-06-19T12:40:04Z 2013-06-19T12:40:04Z SCHREIBMAN, SUSAN EDMOND, JENNIFER http://hdl.handle.net/2262/61864 2013-03-21T16:53:23Z 2010-01-01T00:00:00Z

Title: 'European Elephants in the Room (are they the ones with the bigger or smaller ears?) Author: SCHREIBMAN, SUSAN; EDMOND, JENNIFER Editor: Jerome McGann Abstract: On 4 August 1914 Sir Edward Grey, the British Foreign Secretary, reportedly stood in front of his office window looking out onto the dawn of St James Park as the street lamps were being extinguished and famously declared: 'The Lamps are going out all over Europe. We shall not see them lit again in our lifetime'. 4 August was the day the British declared war on Germany. His eerily prophetic statement came to represent the devastation of two world wars and the horrendous interwar period that followed. Description: PUBLISHED

2010-01-01T00:00:00Z SCHREIBMAN, SUSAN http://hdl.handle.net/2262/61863 2012-01-27T14:49:44Z 2010-01-01T00:00:00Z

Title: Digital Representation and the Hyper Real Author: SCHREIBMAN, SUSAN Abstract: This article explores mimesis from two distinct but not unrelated aspects of digital technology. The first part explores the relationship between digital surrogates and their analogue counterparts; how familiar terms like object, imitation, copy, and original function in the digital realm; what is lost and gained in the transfer to the digital when the materiality of a three-dimensional object is transmuted into a two-dimensional plane; the concept of 'trusted digital objects': digital files that will live on when we, and the objects they were created from no longer exist; the notion that a digital representation may be more appropriately termed a simulacral identity, reflecting, not the object itself, but our beliefs and conventions about it. The second part of this article will explore mimesis from the viewpoint of digital representations as conscious fashionings of hyper-reality or in Wildean terms, employing the unreal and non-existent to recreate the material world in unexpected, fresh, or subversive ways. Description: PUBLISHED

2010-01-01T00:00:00Z MILLER, KATHLEEN http://hdl.handle.net/2262/61050 2011-12-01T17:08:31Z 2011-01-01T00:00:00Z

Title: Illustrations from the Wellcome Library William Winstanley's pestilential poesies in "The Christians refuge: or heavenly antidotes against the plague in this time of generall contagion to which is added the charitable physician (1665)" Author: MILLER, KATHLEEN Abstract: During the Great Plague of London (1665), William Winstanley veered from his better known roles as arbiter of success and failure in his works of biography or as a comic author under the pseudonym Poor Robin, and instead engaged with his reading audience as a plague writer in the rare book The Christians Refuge: Or Heavenly Antidotes Against the Plague in this Time of Generall Contagion to Which is Added the Charitable Physician (1665). From its extensive paratexts, including a table of mortality statistics and woodcut of king death, to its temporal and providential interpretation of the disease between the covers of a single text, The Christians Refuge is a compendium of contemporary understanding of plague. This article addresses The Christians Refuge as an expression of London’s print marketplace in a moment of transformation precipitated by the epidemic. The author considers the paratextual elements in The Christians Refuge that engage with the presiding norms in plague writing and publishing in 1665 and also explores how Winstanley’s authorship is expressed in the work. Winstanley has long been seen as a biographer or as a humour writer; attributing The Christians Refuge extends and challenges previous perceptions of his work.

2011-01-01T00:00:00Z GRENE, NICHOLAS http://hdl.handle.net/2262/41260 2010-12-10T03:02:44Z 2010-01-01T00:00:00Z

Title: Friel and his 'Sisters' Author: GRENE, NICHOLAS Abstract: This essay, occasioned by a revival of Brian Friel’s version of Chekhov’s Three Sisters at the Abbey Theatre in 2008, considers the circumstances surrounding its first production by the Field Day Theatre Company in 1981, and the motivation behind the decision to translate Chekhov’s text into a specifically Irish dialect of English. It also analyses how Friel’s plays since that date, notably the award-winning Dancing at Lughnasa (1990), have changed our perspective on the play. Description: PUBLISHED

2010-01-01T00:00:00Z