Abstracts for the panel “Graphic Atwood” proposed by the Margaret Atwood Society for the 2020 MLA Convention.

The article analyses the relationship between body, mind and soul in Laurence Sterne’s The Life and Opinions of Tristram Shandy, Gentleman (1759-1767). Starting from a famous “sartorial” metaphor, in the third book of the novel, according to which the body-mind relationship is akin to that of a jerkin and its lining, the article deals with the m…[Read more]

“Passions, Emotions and Cognition in the Long Eighteenth-Century Literature in England”
4th issue of journal “English Literature: Theories, Interpretations, Contexts” (Flavio Gregori, ed.).

Contents:
Michael McKeon: “Aesthetic Cognition: Feeling the Emotions of Others”;
Margaret A. Doody: “The Actor, the Mirror, the Soul and the Sylph “…[Read more]

Visualization tools can allow academics to produce their own diagrams without necessarily hiring a designer. I will walk through some examples of diagrams produced in Palladio, a digital humanities package developed in the Humanities + Design Lab at Stanford University. Palladio lends itself to qualitative studies because the visualizations that…[Read more]

Explores Maureen Folan, in Martin McDonagh’s “The Beauty Queen of Leenane,” as a psychological borderline, someone who is afraid to achieve a man she can have a relationship with, and so defaults to using him as simply another object she can use in warfare against a mother she is only yet capable of playing at being able to leave behind her.

Challenges Robinson Crusoe’s ability, in “Robinson Crusoe,” to be honest with himself about how much he was actually glad Fortune stepped into remove him out of his father’s grasp. And, as well, Gulliver’s presumption, In “Gulliver’s Travels,” that he would really have preferred Fortune had not stepped in and removed him from endless more days in…[Read more]

Compares Evelina, from Frances Burney’s “Evelina,” and Werther, from Goethe’s “Young Werther.” Argues that though they could readily be made to seem opposite to one another, as they seek company with such disparate groups of people, the difference is superficial, and their motivations, the same — namely, to make use of their associations with…[Read more]

Compares Evelina, from Frances Burney’s “Evelina,” and Werther, from Goethe’s “Young Werther.” Argues that though they could readily be made to seem opposite to one another, as they seek company with such disparate groups of people, the difference is superficial, and their motivations, the same — namely, to make use of their associations with…[Read more]

Explores a passage of Angela Carter’s “The Company of Wolves.” Delineates how Carter makes play with such things as the dialogue between the subconsciously experienced meanings of actual words ostensibly serving as only overt alphabetic components within words, to dramatize the fitfulness of the protagonist’s emergence at the finish of the story…[Read more]

Explores a passage of Angela Carter’s “The Company of Wolves.” Delineates how Carter makes play with such things as the dialogue between the subconsciously experienced meanings of actual words ostensibly serving as only overt alphabetic components within words, to dramatize the fitfulness of the protagonist’s emergence at the finish of the story…[Read more]

Daphne Marlatt’s “Healing” as a poem about re-cooperating from the infliction of a triggering, caustic word upon one’s mental composition, using efficacy, experience in knowing composure and competency, as a rebutting counter.

Argues that the way in which Marlow is presented, ensures that Joseph Conrad’s “Heart of Darkness” is vulnerable as a text that ostensibly helps justify the maintenance of separate spheres between men and women; argues that Marlow’s successful agency is more about his being craftily evasive, a man who doesn’t impose but dodges.

Exploration of how “Silas Marner” is George Eliot’s means to distinguish herself from those who are truly guilty of abandoning parental mores… ancestors, parents, themselves. An argument is made that the reason for the text is as provision for the author to temporarily relieve herself of guilt.