From her first novel, Behind the Scenes At the Museum, to her most recent, Case Histories, Kate Atkinson's fiction can be described as attempting to rewrite and revision the family. All of her novels present us with families that have been altered or reshaped in some way, usually because of the loss of a mother or a child. Her narratives are driven by the need to account for these losses: to discover the fate of the missing family members, and in the process to uncover often unpleasant family secrets. In Atkinson's fictions, the family is revealed as a disturbing place, the site of violence, resentments and jealousies as much as love and affection. At the same time, the continued return to family plots in her novels suggests that the family, regardless of its flaws, is not an institution that either she or her protagonists can easily leave behind. Atkinson's first novel, Behind the Scenes At The Museum, like her later fiction, is both an attempt to critique and debunk received notions of family, and an exploration of familial loss and longing.
Missing Mothers and Hidden Histories in Behind the Scenes at the Museum
Comment on Newberry and Rosen
motherhood .” International Journal of Children's Rights 16 ( 2008 ): 177 – 194 . 10.1163/157181808X301773 Cairns , Kate . 2018a . “ Beyond magic carrots: Garden pedagogies and the rhetoric of effects .” Harvard Educational Review 88 ( 4 ): 516
Sin and Lovelessness in Sartre's Saint Genet
: Pantheon, 1984). 2 See Kate Kirkpatrick, ‘Sartre: An Augustinian Atheist’‚ Sartre Studies International 21, no. 1 (2015): 1–20; Kate Kirkpatrick, Sartre on Sin: Between Being and Nothingness (Oxford: Oxford University Press, 2017). 3 Iris Murdoch
Collections Care at the Laboratory of Archaeology
Views into Museum Procedures: Hope and Practice at the National Museum of the American Indian .” Pp. 72 – 80 in Peers and Brown 2003a . Roth , Kate . 2015 . “ Practices of Collaboration: Exploring Institutional Culture at the Laboratory of
Mohamed Assaf and Kate Clanchy
Five poems written by Mohamed Assaf (a young Syrian boy who currently lives in Oxford with his family and studies at Oxford Spires Academy) under the mentorship of the poet Kate Clanchy. The introduction and poems themselves offer a reflection on Mohamed’s old and new place(s) in the world, and the signifi cance of writing as a way of responding to, and resisting, “refugeedom.”
Kate Pride Brown
Together ”. Journal of Hydrology 519 : 2632 – 2641 . 10.1016/j.jhydrol.2014.05.047 Brighenti , Andrea . 2007 . “ Visibility: A Category for the Social Sciences ”. Current Sociology 55 ( 3 ): 323 – 342 . 10.1177/0011392107076079 Brown , Kate Pride
Edited by Ârash Aminian Tabrizi, Kate Kirkpatrick, and Marieke Mueller
possibilities for thinking with Sartre – today. Ârash Aminian Tabrizi Kate Kirkpatrick Marieke Mueller
This article attempts to redress the neglect of Sartre's relationship to Augustine, putting forward a reading of the early Sartre as an atheist who appropriated concepts from Augustinian theology. In particular, it is argued, Sartre owes a debt to the Augustinian doctrine of original sin. Sartre's portrait of human reality in Being and Nothingness is bleak: consciousness is lack; self-knowledge is impossible; and to turn to the human other is to face the imprisonment of an objectifying gaze. But this has recognizable antecedents in Augustine's account of the condition of human fallenness. The article, therefore, (a) demonstrates the significant similarities between Sartre's ontology of human freedom and Augustine's ontology of human sin; and (b) asks whether Sartre's project – as defined in Existentialism Is a Humanism – 'to draw the full conclusions from a consistently atheistic position' – results in a vision of the world without God, but not without sin. It is proposed that this opens the possibility for a previously unexplored theological reading of Sartre's early work.
While much attention has been paid to Angela Carter's intertextual appropriation of Shakespeare and her interrogation of the patriarchal ideology at work in his representations of familial strife, critics tend to focus on Carter's final novel, Wise Children. Shakespeare's influence on Carter's earlier novel, Nights at the Circus, has gone largely unremarked. Like Wise Children, Nights at the Circus builds a bricolage of Shakespearean allusions, but it more subtly reconsiders the ontological issues of legitimacy by returning to Shakespeare's interest in ambiguity, in deniability, in time, and in space. I argue that Nights at the Circus appropriates and shatters Shakespeare's disruptive methods concerning the materiality of time in The Winter's Tale and Hamlet. In so doing, Carter reverses time and dismembers space to criticise the masculine-made-legitimate at the expense of the feminine, which Shakespeare's temporal and spatial manipulations ultimately uphold.
Reflections on Norberto Bobbio, Anthony Giddens and the Left-Right Distinction
In a brief exchange with my mother following the British election in 1998, she told me that her bet was that ‘John Major and all the rest of them’ would now be kicking themselves for not having gone ‘New Tory’ and moved a little further to the left. The New Labour success indicated, she thought, that had they done so they could easily have stayed in power. I was not at all sure she was correct in this, but her remark interested me as reflecting both the impossibility of discoursing about politics without the left-right distinction, and one of the main reasons why its continued relevance to the European political situation is being called increasingly into question.