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The Non-Secular Pilgrimage

Walking and Looking in Ken Cockburn and Alec Finlay’s The Road North

Alice Tarbuck and Simone Kotva

, … between word and experience, meaning and being’. 13 Similarly, Cockburn and Finlay adopt Bashō’s poetic techniques in order to inhabit a space between word and experience, meaning that their accounts of walking are neither purely analytic or descriptive

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C.W.R.D. Moseley

storytelling/narratorial levels, or different implied audiences, even within the same tale. 3 Just so the Man of Law can be sniffy about the poems by his own author he has ‘read’ – but that author is also a fictional character in the same narrative space

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Karma Sami

the “Arab Hamlet play” a recognizable sub-genre’ (xv). This volume moves through space from Morocco to Iraq and through time from 1976 to 2006. The geographical expanse reminds us of the colourful map of the Arab world painted on made-in-China pencil

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Landscapes and Races in Early Twentieth-Century Peru

The Travels of José Uriel García and Aurelio Miró Quesada Sosa

Rupert J. M. Medd

aficionados alike, and its overall direction was to assist the government in their attempts to modernize and attract investors. The ensuing debates and circulation of travel narratives opened up theoretical spaces from which to talk back to and put distance

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The Continent Behind

Alienation and the American Scene in George William Curtis’s Lotus-Eating: A Summer Book

James Weaver

-shrouded Catskills as a homelike space, the purported domestic space of the Mountain House actually becomes a wild, unnerving territory. In his characterization of the hotel’s accommodations, Curtis implicitly positions himself against the dominant sentiment of the

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George Johnston’s Tibetan Interlude

Myth and Reality in Shangri-La

Paul Genoni and Tanya Dalziell

associations. Even if some accounts pointed to the shortcomings of seclusion, poverty, and a stifling monastic culture, the West remained receptive to a myth that Tibet’s unique spirituality found a natural home in the vast, mysterious and numinous spaces of

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Elizabeth Mazzola

faery queen’s form imprinted in the grass in Book 1 of The Faerie Queene , their uncomprehending gazes supplying a blank space or hole around which Spenser’s vision must take shape and continue. Both his gaze and that of Britomart are taken apart and

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Bilal Tawfiq Hamamra

context, makes a claim about the status of the translated text’. 14 In the light of Trill’s argument, Lumley’s translation of Iphigenia at Aulis can be seen as a creative means of establishing authorial identity and opening up a subjective space for

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Sine Dolore

Relative Painlessness in Shakespeare’s Laughter at War

Daniel Derrin

to do is draw on and develop one particular aspect of the discourse of laughter within the Aristotelian tradition in the sixteenth century, an aspect which is particularly relevant to laughter in the context of war. It is the idea that a comic space

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‘At the Mercy of the German Eagle’

Images of London in Dissolution in the Novels of William Le Queux

Antony Taylor

in the open spaces of the nation’. 15 Many of these ideas are given a high-profile voice in Le Queux's fiction about London in crisis and ‘at the mercy of the German eagle’. 16 For writers charting the decline of Britain's ability to defend herself