Victorian Jesus: J.R. Seeley, Religion, and the Cultural Significance of Anonymity

The Electric is a multi-protagonist novel charting the radiating effects of a death on three generations of a family in East Sussex. The accompanying critical commentary analyses the impact of interdisciplinary research on the creative process, showing how the novel engages with and reflects narrative disruption – a common theme of research in the fields of British Sign Language, cinemagoing, and remembered trauma.

The novel is comprised of two interwoven time-frames. Through the middle part of the twentieth century, Daisy, unhappy in her marriage to an ambitious policeman, takes solace in cinema, and a correspondence with a former soldier from Canada. In the late 1990s, Linda, Daisy’s daughter, and Lucas, her deaf grandson, are still struggling to reconcile themselves to Daisy’s death, which had occurred a decade before. The two narrative strands circle each other, around the traumatic ‘gap’ caused by Daisy’s death. This structure, with its absences, repetitions, and disconnections, reflects the narrative disjunctures faced by the characters.

Each chapter of the critical commentary deals with a separate element which disrupts the novel’s narrative and characters, namely: the effects on memory of relearning a forgotten language; the impact of cinemagoing history on the shape of the novel; and the attempt to articulate remembered trauma. It describes the search for an apt form for these representational challenges. The commentary is also preoccupied with how interdisciplinary research – in such areas as language loss, psychoanalysis, ethnography, and oral history – can shape the content, form, and methodology of a novel. 

The novel’s original contribution lies in its representation of dormant memories awakened by Lucas’ relearning of a manual language, and in its structure – which is based on the ‘rolling programmes’ of the mid-twentieth century picturehouses. As a whole, the thesis expresses a way of thinking about the relationship between novelistic form and interdisciplinary reading.

The Electric : a novel and critical commentary investigating narrative disruption in sign language, cinemagoing, and trauma

Primarily focusing on Steiner’s Real Presences (1989) and Caputo’s Radical Hermeneutics: Repetition, Deconstruction, and the Hermeneutic Project (1987), the present article wishes to come to an understanding of the relationship between Steiner’s hermeneutics of transcendence and John Caputo’s radical hermeneutics. Faced with the XXth century inhumanity, Steiner seems to be embracing the most radical move in hermeneutics, and he does so by wagering on transcendence, in which the meaning of meaning peacefully rests on the arms of God, thus rejecting the negative semiotics of Derrida. However, when looked upon by the demanding eye of radical hermeneutics put forth by Caputo, Steinerian hermeneutics soon reveals itself in alliance with a metaphysics of presence and a philosophical thought which holds back the free play of difference. Whereas Steiner seeks ‘the meaning of Meaning’, John Caputo, one of America’s most respected and controversial continental thinkers, has been both braced and terrified by Friedrich Nietzsche’s demand to take the truth straight up, forgoing the need to have it ‘attenuated, veiled, sweetened, blunted and falsified,’ readily confessing that we have not been handpicked to be Being’s or God’s mouthpiece, that it is always necessary to get a reading, even if (and precisely because) the reading is there is no Reading, no final game-ending Meaning, no decisive and sweeping Story that wraps things up. Even if the secret is, there is no Secret. ‘We do not know who we are - that is who we are.’.

From the Meaning of Meaning to Radical Hermeneutics

/pdf/traduire-une-pluralite-de-discours-this-side-jordan-de-4ywhfj0xwu.pdf

Traduire une pluralité de discours : 'This Side Jordan' de Margaret Laurence

This thesis follows the British publisher Macmillan & Co. as it set up its first international branch office in New York, from 1869 to the 1891. It outlines how Macmillan’s New York Agency functioned in a distant market, at a time when international copyright law did not exist. I investigate how the Agency navigated political, social, and economic challenges as it sought to become the first successful branch offices of a British publisher on American soil. First, I establish how Macmillan & Co. traded on a transatlantic level during the 1850s and 1860s, and ask why Alexander Macmillan, made the decision to open the branch office in 1867. Second, I reconstruct the opening of the Agency in 1869, its first few years in business, and the hardships, challenges, and successes it endured in order to become economically profitable to the mother-company. Lastly, I evaluate how the relationship between the Agency and the London office shifted once a new generation of business management came of age in the early 1890s, and as international copyright laws came into effect between American and Great Britain. This is the first ever in-depth look at how a British publisher agency operated on American soil. It offers new insights into how the transatlantic trade operated, as well as shows how international businesses operated within new markets lacking international laws. 1. Candidate’s declarations: I, Elizabeth DeBlock, hereby certify that this thesis, which is approximately 39,902 words in length, has been written by me, and that it is the record of work carried out by me, or principally by myself in collaboration with others as acknowledged, and that it has not been submitted in any previous application for a higher degree. I was admitted as a research student in September, 2015 and as a candidate for the degree of Master of Philosophy in September, 2017; the higher study for which this is a record was carried out in the University of St Andrews between 2015 and 2017. Date: 26 September 2017 Signature of candidate: 2. Supervisor’s declaration: I hereby certify that the candidate has fulfilled the conditions of the Resolution and Regulations appropriate for the degree of Master of Philosophy in the University of St Andrews and that the candidate is qualified to submit this thesis in application for that degree. Date: 26 September 2017 Signature of supervisor: 3. Permission for publication: In submitting this thesis to the University of St Andrews I understand that I am giving permission for it to be made available for use in accordance with the regulations of the University Library for the time being in force, subject to any copyright vested in the work not being affected thereby. I also understand that the title and the abstract will be published, and that a copy of the work may be made and supplied to any bona fide library or research worker, that my thesis will be electronically accessible for personal or research use unless exempt by award of an embargo as requested below, and that the library has the right to migrate my thesis into new electronic forms as required to ensure continued access to the thesis. I have obtained any third-party copyright permissions that may be required in order to allow such access and migration, or have requested the appropriate embargo below. The following is an agreed request by candidate and supervisor regarding the publication of this thesis: PRINTED COPY No embargo on print copy ELECTRONIC COPY No embargo on electronic copy ABSTRACT AND TITLE EMBARGOES I agree to the title and abstract being published Date: 26 September 2017 Signature of candidate: Signature of supervisor:

Macmillan & Co. in New York : transatlantic publishing in the late nineteenth Century

Over a period of forty years, from 1947 to 1986, Margaret Laurence and Adele Wiseman wrote to each other constantly. The topics they wrote about were as wide-ranging as their interests and experiences, and their correspondence encompassed many of the varied events of their lives. Laurence's letters - of which far more are extant than Wisman's - reveal much about the impact of her years in Africa, motherhood, her anxieties and insecurities, and her developement as a writer. Wiseman, whose literary success came early in her career, provided a sympathetic ear and constant encouragement to Laurence. The editors' selection has been directed by an interest in these women as friends and writers. Their experiences in the publishing world offer an engaging perspective on literary apprenticeship, rejection, and success. The letters reveal the important roles both women played in the buoyant cultural nationalism of the 1960s and 1970s. This valuable collection of previously unpublished primary material will be essential to scholars working on Canadian literature and of great interest to the general reading. The introduction contextualizes the correspondence and the annotations to the letters help to clarify the text. The Laurence-Wiseman letters offer a fascinating glimpse into the lives and friendship of two remarkable women whose personal correspondence was written with verve, compassion, and wit.

Selected letters of Margaret Laurence and Adele Wiseman

Illustrations Acknowledgments Abbreviations Introduction 1 The Rise of Macmillan 1905-1921: Frank Wise 2 The Triumphant Second Reign 1921-1940: Hugh Smithurst Eayrs 3 Interregnum 1940-1946: Ellen Elliott 4 The Resplendent Reign 1946-1969: John Morgan Gray 5 The Final Reign 1969-1976: Hugh Pyper Kane 6 Editorial Coda 1974-1986: Douglas Maitland Gibson Notes Selected Bibliography Illustration Credits Index

The literary legacy of the Macmillan Company of Canada : making books and mapping culture

Studies in Book and print Culture

This essay examines the deliberate role undertaken by the Macmillan Company of Canada tc develop a contemporary Canadian literature. It focusses on the period from 1921 to 1973, wher first Hugh Eayrs and later John Gray were presidents of the company. Under the direction ol Eayrs, Macmillan established itself as a publisher with a culture and interest separate from it! parent and affiliate houses in London and New York. Eayrs built a roster of important writers including Stephen Leacock, Mazo de la Roche, Frederick Philip Grove, E.J. Pratt, Grey Owl and Money Callaghan, and helped establish an audience for Canadian novels and poetry. Afte Eayrs's death, Gray continued to publish Canadian writers, among them novelists Huge MacLennan, Robertson Davies, W.O. Mitchell and Adele Wiseman. Both Eayrs and Gray were visionaries who shared a deep commitment to fostering the literature of Canada, which the often published in difficult circumstances and at considerable financial risk. Cet article examine le role intentionnel adopts par Macmillan Company of Canada afin d'etablisune litterature contemporaine au Canada. L'article porte sur les annees 1921 a 1973 lorsque tour d'abord Hugh Eayrs puffs John Gray etaient presidents de l'entreprise. Sous la direction de M. Eayrs, Macmillan s'est etabli comme une maison d'edition ayant une culture et des interets differents de ses maisons mere et affiliee de Londres et New York. Eayrs a encourage son groupe d'ecrivains importants comprenait Stephen Leacock, Mazo de la Roche, Frederick Philip Grove E.J. Pratt, Grey Owl et Morley Callaghan qui ont aide A former une appreciation pour la poesie et les romans canadiens. Apres le deces de Eayrs, John Gray a continue A publier des ecrivains canadiens, dont les romanciers Hugh MacLennan, Robertson Davies, W.O. Mitchell et Adele Wiseman. Eayrs et Gray etaient tous les deux des visionnaires qui etaient tres devoues a la promotion de la litterature canadienne qu'ils ont publiee - souvent dans des circonstances difficiles et en prenant des risques financiers consWiables. The Macmillan Company of Canada, along with Ryerson Press and McClelland & Stewart, has been described as "one of the foremost Canadian publishers of the twentieth century" (Spadoni, "Bibliography" 38). Macmillan was instrumental in developing Canadian letters and in shaping the culture of Canada. Literary historian Bruce Whiteman confirms that "Macmillan was willing to support at an early stage, both morally and financially, authors who were eventually to play key roles in modern Canadian literature" ("Archive" v). This essay examines the deliberate role undertaken by Macmillan to develop a contemporary Canadian literature. It focusses on the period from 1921 to 1973, when first Hugh Smithurst Eayrs and later John Morgan Gray were presidents of the company. Under the direction of Eayrs, Macmillan established itself as a publisher with a culture and interest separate from its parent and affiliate houses in London and New York. Eayrs, so encouraging of Canadian writers, fostered Macmillan's "enviable reputation for publishing Canadian books" (Whiteman, "Early" 70). His roster of important writers included Stephen Leacock, Mazo de la Roche, Frederick Philip Grove, EJ. Pratt, Grey Owl and Morley Callaghan, and helped establish an audience for Canadian novels and poetry. After Eayrs's death, Gray continued to publish Canadian writers, among them novelists Hugh MacLennan, Robertson Davies, W.O. Mitchell and Adele Wiseman. Throughout his tenure as president of the company, Gray was, in fact, "one of the most highly regarded publishers in Canada" (Whiteman, "Archive" vii). Both Eayrs and Gray were visionaries who shared a deep commitment to fostering Canadian literature, which they often published in difficult circumstances and at considerable financial risk. The Macmillan Company of Canada fonds - housed at the William Ready Division of Archives and Research Collections, McMaster University Library - is a vast and rich treasure trove of archival documents available for scholarly use. …

Ruth Panofsky

Papers

Selected letters of Margaret Laurence and Adele Wiseman

The literary legacy of the Macmillan Company of Canada : making books and mapping culture

Studies in Book and print Culture

Barometers of Change: Presidents Hugh Eayrs and John Gray of the Macmillan Company of Canada