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25647 results in Literary texts

Page 7 of 1283

  • Introduction

  • Edited by Christopher D'Addario, Matthew C. Augustine
  • Book:
    Texts and readers in the Age of Marvell
    Published by:
    Manchester University Press
    Published online:
    20 December 2025, pp 1-14

  • Summary

    This introduction presents an overview of the key concepts discussed in the subsequent chapters of this book. The book considers novel ways in which readers, both early modern and contemporary, have conceived of texts and their position in the public world of print consumption and critical practice. It addresses the potential pitfalls and opportunities of different forms of contextualisation, in the process offering provisional solutions to the difficult problem of locating emergent or ephemeral experiences in early modern texts. The book explores issues of literary relations between prominent authors of the century, either locating new echoes and thus new meanings in important texts, or else asking to revise familiar narratives of rivalries and pressures. It explores the significance of Andrew Marvell's registering Oliver Cromwell's death through an allusion to Prince Hal's remark upon realising that Falstaff lives: 'I saw him dead'.

  • 5 - Bodily object voices in Embers

  • Edited by Mariko Hori Tanaka, Yoshiki Tajiri, Michiko Tshushima
  • Book:
    Samuel Beckett and trauma
    Published by:
    Manchester University Press
    Published online:
    20 December 2025, pp 116-132

  • Summary

    Anna Sigg, in this chapter, argues that in Embers Beckett represents trauma most of all through bodily internal sea sounds. This radio play effectively ‘blinds’ its listener and places him in a mental cave. Embers focuses on Henry, who is tortured by a roaring ‘tinnitus’, an internal sea-like sound, which reminds him of the death of his father and his own mortality. This chapter illuminates the connection between Henry’s loss and the listener’s perception of the ‘tinnitus’ by drawing on Mladen Dolar’s idea of the acousmatic object voice and Jacques Lacan’s concept of objet petit a. Henry’s ‘tinnitus’, Sigg argues, is a bodily object voice manifesting an uncanny intimation of the unconscious. It expresses Henry’s mourning and his confrontation with mortality, while also generating countermelodies to the traumatic losses inside the listener’s head.

Page 7 of 1283