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        <title>Anglo Saxonica Feed</title>
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            <title>Anglo Saxonica Feed</title>
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            <title><![CDATA[“Invisible Borders: the Dynamics of Imagined Urban Life in China Miéville’s The City &amp; The City”]]></title>
            <link>https://reference-global.com/article/10.5334/as.239</link>
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            <pubDate>Fri, 23 Oct 2026 00:00:00 GMT</pubDate>
            <description><![CDATA[This paper explores the thematic complexity of China Miéville’s The City &amp; The City (2009), with a particular focus on the novel’s conceptualization of boundaries and the practice of ‘unseeing’. Through the lens of science fiction and dystopian narrative, Miéville constructs a unique urban landscape in which two cities, Besźel and Ul Qoma, occupy the same physical space yet are perceived as entirely separate through a culturally enforced regime of cognitive discipline. This act of unseeing, the narrative’s central novum, functions as a powerful tool of social control, highlighting the intricate interplay between perception, suppression, and surveillance within a dystopian framework.
The paper examines how Miéville employs this speculative mechanism to interrogate contemporary urban realities, where borders and divisions are often more psychological and social than material. By enforcing a cognitive separation between the cities, Miéville mirrors real-world practices of disengagement and the deliberate ignoring of social issues such as homelessness and systemic violence. Unseeing is shown to be not merely an individual choice but a collective cultural process, sustained through societal norms and the omnipresent threat of enforcement by Breach, which punishes transgressions of these invisible boundaries.
By situating unseeing within Darko Suvin’s notion of the novum (Metamorphoses of Science Fiction, 1979), this paper argues that The City &amp; The City offers a critical commentary on the politics of borders and the normalization of exclusion. The novel’s exploration of invisible borders and the fluid urban space challenges readers to reconsider their own engagement with spatial, social, and political divisions, demonstrating how cognitive borders play a central role in maintaining contemporary systems of social order.]]></description>
            <category>ARTICLE</category>
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        <item>
            <title><![CDATA[Daughter Scapegoats and Patriarchal Tyranny: The Mazzini Sisters as Sacrificial Victims in Ann Radcliffe’s A Sicilian Romance (1790)]]></title>
            <link>https://reference-global.com/article/10.5334/as.211</link>
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            <pubDate>Thu, 22 Oct 2026 00:00:00 GMT</pubDate>
            <description><![CDATA[Since the dawn of time, societies across the world have often used their most vulnerable members as scapegoats to atone for their own ancestral sins or to satisfy their limitless hunger for social and economic ambition. The Gothic, with its emphasis on the darkest shades of humankind, has frequently portrayed these sacrificial scapegoats, alongside their ‘sacrificers’. In Ann Radcliffe’s A Sicilian Romance (1790), the heroines, the Mazzini sisters Julia and Emilia, face a series of horrifying ordeals as they are used as commodities in a social contract, while they defy patriarchal authority and rebel against their cruel destinies.
This paper will analyse the family relationships within the Mazzini circle and the events leading to their collapse, ending with the archetypal departure from the family castle. Departing from René Girard’s theories on scapegoating, we will examine how the Mazzini sisters are turned into sacrificial objects, seen as an opportunity for social and economic advancement. The following paper will first consider the role of daughters as commodities during the late eighteenth century. The second part will present Girard’s scapegoating mechanism, leading to the final analysis of Julia and Emilia as fitting the scapegoating pattern, as they are sacrificed by patriarchal tyranny.]]></description>
            <category>ARTICLE</category>
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        <item>
            <title><![CDATA[Houseplants in Basildon: Urban Precarity, Class and Housing in Oisín McKenna’s Evenings and Weekends]]></title>
            <link>https://reference-global.com/article/10.5334/as.243</link>
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            <pubDate>Fri, 26 Jun 2026 00:00:00 GMT</pubDate>
            <description><![CDATA[Oisín McKenna’s Evenings and Weekends explores urban precarity within London’s housing crisis, framing class as embodied in characters’ bodies and futures. This article analyses how housing structures job insecurity, where gig work undermines bodily and emotional stability; how it shapes sexuality and space, as unstable dwellings restrict queer identity and intimacy; and how it renders the future impossible, as precarity forces characters away from metropolitan ambitions. Through evictions, damp flats, and unaffordable rents, McKenna exposes the structural inequalities in London’s post-austerity, gentrified landscape. By combining urban studies, cultural theory, and class analysis, this article situates Evenings and Weekends within ongoing debates on urban inequality, affective class, and spatial exclusion. Ultimately, the novel reveals how the city’s housing crisis is a form of class violence that determines not only where working-class residents can live but also who they are allowed to become.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Charlotte Wood’s Stone Yard Devotional and the Natural Way of Life: Trauma, Age and Quietude]]></title>
            <link>https://reference-global.com/article/10.5334/as.186</link>
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            <pubDate>Thu, 25 Jun 2026 00:00:00 GMT</pubDate>
            <description><![CDATA[This article is devoted to Charlotte Wood’s novel Stone Yard Devotional that was published in 2023 and has now been short-listed for the Booker Prize Award. It speaks about a life on the isolated Monaro planes in Australia and the necessity of solitude. It is a testimony on how unresolved trauma can manifest in our lives and how agency is found in extreme acts of courage that defy normativity. Through the perspective of a middle-aged narrator, human relationships to nature, to oneself and to others are reviewed and ageing is held as life’s productive category.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Introduction]]></title>
            <link>https://reference-global.com/article/10.5334/as.275</link>
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            <pubDate>Thu, 28 May 2026 00:00:00 GMT</pubDate>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[A Strange Lad in a Strange Land: Historical Trauma and Indigenous Resilience in The Absolutely True Diary of a Part-Time Indian (2007)]]></title>
            <link>https://reference-global.com/article/10.5334/as.210</link>
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            <pubDate>Thu, 21 May 2026 00:00:00 GMT</pubDate>
            <description><![CDATA[This article examines The Absolutely True Diary of a Part-Time Indian (2007) by Sherman Alexie through the combined lenses of postcolonialism and historical trauma theory. While postcolonial frameworks reveal how the novel negotiates cultural hybridity, displacement, and resistance within a settler-colonial context, the concept of historical trauma deepens this analysis by addressing the intergenerational psychological and communal effects of colonization of American Indian identity. The article argues that Alexie’s narrative portrays the enduring legacy of collective trauma through cycles of poverty, alcoholism, and internalized racism on the Spokane reservation, while simultaneously transforming this inherit pain into resilience, humour, and self-redefinition. By focusing on Junior’s hybrid identity and his oscillation between the reservation and the white world of Reardan, this study demonstrates how storytelling, laughter, and irony function as strategies of healing and survival. Ultimately, Alexie’s novel reframes historical trauma as both a site of remembrance and as a vehicle for reclaiming agency, foregrounding the resistance that lies within contemporary Native American experience.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Subverting Anthropocentrism: Fear, Enslavement, and Reversed Colonisation in Dracula]]></title>
            <link>https://reference-global.com/article/10.5334/as.209</link>
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            <pubDate>Tue, 19 May 2026 00:00:00 GMT</pubDate>
            <description><![CDATA[Stoker’s Dracula stands out as one of the most significant examples of English Gothic literature from the late Victorian era. Stoker’s portrayal of Dracula and vampirism foregrounds a pronounced hostility towards the Other, most visibly enacted by the novel’s human protagonists. This paper examines the antagonism of Victorian humanity towards Dracula and vampires, arguing that the roots of this hostility lie in the anthropocentric ideology that dominated nineteenth-century thought. Dracula’s non-human ontology and ecological mode of existence destabilise humankind’s assumed position at the apex of the hierarchical power structure. By seeking to expand vampirism through the enslavement of humans, Dracula threatens to overturn anthropocentric dominance. Renfield functions as a particularly unsettling figure, epitomising the enslaved human subject and embodying the master–slave dichotomy that exposes human vulnerability to non-human power. The human characters’ fear of reversed colonisation, enslavement, and the dissolution of human identity ultimately motivates the violent extermination of Dracula. Crucially, the paper concludes that Victorian anthropocentrism deliberately obscures the shared parasitic relationship that both humans and vampires maintain with their environment. While vampirism is framed as monstrous exploitation, human parasitism is naturalised and rendered morally invisible. This asymmetrical framing allows anthropocentrism to weaponise environmental parasitism as a means of retaining humans at the top of the hierarchy, while simultaneously excluding Dracula from moral consideration and ethical recognition.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[“The Essence of a Symphony is Form”: Exploring the Aesthetics of Silence and Ageing in Julian Barnes’s Fiction]]></title>
            <link>https://reference-global.com/article/10.5334/as.190</link>
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            <pubDate>Tue, 14 Apr 2026 00:00:00 GMT</pubDate>
            <description><![CDATA[This article presents a comparative analysis of the three works by Julian Barnes, namely Nothing to Be Frightened of (2008), The Sense of an Ending (2011) and Elizabeth Finch (2022), by focusing on the aesthetics of silence and its intricate connections to the experience of ageing, as well as the concepts of remembering and forgetting situated within the broader context of collective memory. Drawing inspiration from Susan Sontag’s “The Aesthetics of Silence,” it delves into the complex relationship between silence and communication as fundamental aspects of human experience. While Sontag posits that silence is something art seeks to control, the analysis proposed in this article revises her perspective, instead embracing Olsson’s argument that conceives of silence as a dynamic discursive force within literary discourse (Olsson). The discussion aims to enrich cultural dialogues surrounding silence, particularly concerning the themes of ageing, positioning it as a crucial element in the delicate interplay between memory and forgetting. Furthermore, it references Astrid Erll’s insightful view that silence acts as a counter-discourse within Memory Studies (Erll, Memory in Culture), suggesting that a deep examination of silence in Barnes’s fiction can illuminate fresh perspectives on the experience of growing older and the complexities of memory. Through this exploration, the article seeks to highlight how silence can resonate powerfully within narratives, offering a profound commentary on the human condition as it relates to collective and personal experiences of time and ageing.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Sinning for Freedom: Kierkegaard’s Influence on The Picture of Dorian Gray]]></title>
            <link>https://reference-global.com/article/10.5334/as.157</link>
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            <pubDate>Tue, 14 Apr 2026 00:00:00 GMT</pubDate>
            <description><![CDATA[In Oscar Wilde’s “The Picture of Dorian Gray,” societal constraints and existential anxieties collide, forcing characters like Dorian and Watton down tragic paths. This article explores how their struggles mirror Søren Kierkegaard’s philosophy, particularly his concepts of “first sin” and “inwardness.” Through a nuanced analysis, we delve into the characters’ anxieties stemming from past transgressions, their flawed pursuits of freedom, and the consequences of neglecting self-reflection. Dorian’s reliance on external beauty epitomizes Kierkegaard’s concept of “mental derangement,” highlighting the dangers of neglecting the inner self. Conversely, Watton’s cynical worldview exemplifies the absence of “inwardness,” leading him to manipulate Dorian and further exacerbate his anxieties. As Dorian’s portrait becomes a grotesque reflection of his choices, the narrative underscores the interconnectedness of morality, self-discovery, and freedom. This study ultimately offers a deeper understanding of Wilde’s masterpiece, revealing how Kierkegaard’s existentialism illuminates the complexities of human nature, the yearning for liberation, and the pitfalls of neglecting the inner self.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[The Representation of the All-Seeing Eye in A Clockwork Orange]]></title>
            <link>https://reference-global.com/article/10.5334/as.155</link>
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            <pubDate>Thu, 29 Jan 2026 00:00:00 GMT</pubDate>
            <description><![CDATA[As an ancient symbol, the Eye has appeared in various distant regions and carried diverse meanings for different cultures throughout history. The all-seeing eye symbol, regarded as a representative of both good and evil, is associated with the concepts of control, authority, discipline, and surveillance in the modern period. Within visual arts and literature, the all-seeing eye functions as one of the crucial symbols conveying these concepts. In this context, Anthony Burgess’s A Clockwork Orange (1962) and Stanley Kubrick’s cinematic adaptation (1971) are exclusively significant for their sophisticated portrayal of the all-seeing eye’s modern representation. Therefore, this study explores the textual and visual representations of the all-seeing eye in A Clockwork Orange, exploring its function as a symbol of ideological manipulation, surveillance, and discipline. The analysis draws on Michel Foucault’s theoretical insights on power and discipline to examine the representation of the all-seeing eye. Additionally, Roland Barthes’ semiotic approach is incorporated to provide a more comprehensive interpretation of its representation in both works.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[On the Fatality of Sentimentalism: A Note on the Perils of Literature in The Good Soldier and The Panel]]></title>
            <link>https://reference-global.com/article/10.5334/as.189</link>
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            <pubDate>Tue, 30 Dec 2025 00:00:00 GMT</pubDate>
            <description><![CDATA[In 1915, Ford Madox Ford (1873–1939) published one of his most popular novels, The Good Soldier. Its protagonist, the good soldier Edward Ashburnham, is consistently described as a sentimentalist, with his sentimentalism being portrayed as fatal. Through Edward’s sentimentalism, Ford makes a point of showing the perils of literature, particularly those associated with sentimentalism, thus contributing to the lively debate about art’s impact on one’s life. This is not the only work of this author to include a word on the impact of literature in one’s life. Literature and its influence also play a significant role in his sheer comedy, The Panel (1912), which features Henry James’s great admirer, Major Edward Foster, whose similarities to The Good Soldier’s protagonist cannot be ignored. This paper focuses on The Good Soldier and The Panel in order to analyse the impact of literature on the characters’ lives and behaviors, aiming to reach conclusions regarding the author’s stance on the debate about art’s impact on life and his aesthetic purpose. This will be done by concentrating specifically on the perils of sentimentalism as presented in both works. To achieve this, this paper will begin with a contextualization of The Good Soldier’s and The Panel’s main characters, particularly questioning their resemblances and reflecting on how they may be related to each other; this will be followed by a reflection on the importance of literature in both works, especially concerning the development of their characters and actions, with a special focus on the depiction of sentimentalism. Finally, it will be illustrated how literature—specifically sentimental literature—shaped the characters and, consequently, determined their actions. Thus, this study will conclude by questioning literature’s influence on one’s life and reflecting on the author’s position regarding art’s impact on real life and about its relevance in the scope of his own aesthetic purpose as a novelist, as demonstrated in The Good Soldier and The Panel.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Aestheticising War Noises as Literary Devices: Ford Madox Ford’s Epistolary and Essayistic Poetics of Sound(scape)s]]></title>
            <link>https://reference-global.com/article/10.5334/as.207</link>
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            <pubDate>Wed, 19 Nov 2025 00:00:00 GMT</pubDate>
            <description><![CDATA[Ford Madox Ford was in active service through almost the full extent of World War I. Between 1915 and 1929, he published several war narratives and poems in which words like Shrapnel and several war noises and silences are recurrent. The possibility of imminent death stimulated the drive to write and sometimes to dismiss or ignore danger. In 1916 and 1917, the author wrote several essays and letters, including three “notes upon [war] sounds” (Ford, Letters 73) to Joseph Conrad that could and did become useful future material for novels. This article deals with the diverse war and natural soundscapes and acoustic plots used in Ford’s fragmentary epistolary and essayistic texts (“Arms and the Mind”; “War and the Mind”) to convey the violence and traumatic dimensions of war, as well as a new way to perceive and represent life on the Front.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[“One of Those Stupendous Mornings of Human Thought”: Ford’s Cycles of Literary History]]></title>
            <link>https://reference-global.com/article/10.5334/as.214</link>
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            <pubDate>Thu, 13 Nov 2025 00:00:00 GMT</pubDate>
            <description><![CDATA[Ford Madox Ford wrote two works of literary history, The English Novel (1929) and The March of Literature (1938). The former at first proposes the difficulties of narrating the development of English fiction, but argues that such a problem is resolved when the role of French literature is introduced. Thus a bi-national literary history emerges, whereby early English fiction (Austen, Richardson) influenced French (Flaubert especially), which in turn influenced more recent stylists like Joseph Conrad and, implicitly, Ford himself. The stress in this text is on the techniques increasingly available to authors throughout periods leading up to the triumphal emergence of Modernism. But when Ford narrated the history of world literature a decade later, gone were the teleological straight lines, and gone also was the prominence awarded to Modernism and literary Impressionism. Instead, features we associate with Modernism were discovered to be pronounced in Herodotus, the Troubadours, or Edward Gibbon. Thus Ford’s last work relies on circularity and cyclicality to narrate global literary trends, mirroring imperial narratives of rise and fall rather than nationalist ones that posit a mythic origin and cannot envision any terminus. Modernism and Impressionism, then, are not so much innovations as stylistic rediscoverings, recurring manifestations rather than culturally unique moments.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[“The Egg-and-Spoon Race That Life Is:” Virtue, Integrity, and Well-Being in Ford Madox Ford’s Parade’s End]]></title>
            <link>https://reference-global.com/article/10.5334/as.193</link>
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            <pubDate>Fri, 17 Oct 2025 00:00:00 GMT</pubDate>
            <description><![CDATA[Max Saunders notes ‘the ethical intricacy and subtlety’ of Parade’s End, which he regards as ‘a massive exploration of the nature of virtue.’ ‘The theological virtues of faith, hope, and charity all make their appearance,’ he observes, to which I would add the cardinal virtues of justice, prudence, temperance, and fortitude. ‘Virtue and goodness themselves are explicitly invoked,’ he adds. ‘But Parade’s End does not flinch from the confrontation with [its characters’] weaknesses.’ Ford’s exploration of the possibilities for ethical endurance and regeneration is joined by an equal recognition of what Martha Nussbaum, calls ‘the fragility of goodness.’ Life is an ‘egg-and-spoon race,’ as Valentine notes, and virtue a thing to be ‘prized,’ in part because of how precarious and prone to fragmentation it is. As Nussbaum explains, this recognition of began to be made by ancient Greek drama in tandem with the recognition of virtue itself by ancient Greek philosophy. And as befits its status as the most humanistic of the primary schools of contemporary moral philosophy, virtue ethics has been the one most informed by dialogue with literature, with key figures like Elizabeth Anscombe, Alasdair MacIntyre, and Charles Taylor in addition to Nussbaum making frequent reference in their work to modern literature alongside modern moral philosophy.
In this essay, I extend that dialogue by placing Ford Madox Ford’s work in conversation with two crucial recent works of virtue ethics by Eric Silverman, each focused on terms vital to Parade’s End: chastity, which Ford invokes from the start, and love, which comes to predominate. In The Prudence of Love: How Possessing the Virtue of Love Benefits the Lover (2010), Silverman enumerates how love counter-acts the fragmentation, dislocation, and nostalgia Ford’s characters face. Using terms derived from Silverman’s conception of love as ‘a disposition toward relationally appropriate acts of the will consisting of disinterested desires for the good of the beloved and unity with the beloved hailed as final ends,’ I will argue that Tietjens’ and Valentine’s love for one another helps them integrate their psyches and acquire the epistemic goods of self-awareness, irony, and empathy, which foster eudaimonia or well-being, even in the midst of catastrophe. In Sexual Ethics in a Secular Age: Is There Still a Virtue of Chastity? (2021), Silverman answers ‘yes,’ explaining how the virtue helps solve problems resulting from the ‘unwise, imprudent, unjust, intemperate, or otherwise vicious expressions of sexual desire’ which are just as endemic in Tietjens’s and Valentine’s world as moral fragmentation, dislocation, and nostalgia. Using terms derived from Silverman’s conception of chastity as ‘an excellent personal disposition toward sex, sexual pleasure, and relationships that supports the flourishing of both the individual and those effected,’ I argue that both before and after they have sexual intercourse, Tietjens and Valentine are chaste in the philosophical sense and that their virtue in contrast to the violence and negligence of war and sexual vice is one reason they are forgiven for their legal infidelity and their union blessed at the close of Parade’s End.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Ford Madox Ford’s Letters, Life Writing, and Editing for a New Era]]></title>
            <link>https://reference-global.com/article/10.5334/as.197</link>
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            <pubDate>Thu, 16 Oct 2025 00:00:00 GMT</pubDate>
            <description><![CDATA[One result of early work on The Complete Works of Ford Madox Ford, contracted by Oxford University Press in 2023, this article considers the role of large-scale critical editions in modern scholarship in both general and more focused ways. What contextual and critical drivers are involved when a decision is made to publish a Complete Works and what are the decisions facing editorial teams about how best to structure and approach the task? With a particular focus on Ford’s letters the article also addresses life writing as key to conception and development of his Complete Works. It demonstrates the learnings from attending to Ford’s letters as material objects and biographical markers, both of life events and his distinct epistolary nature, along with their contribution to Ford scholarship and that of twentieth-century literary studies.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Where is the Grief-Rage? Louise Gl&uuml;ck and the Poetics of Absence]]></title>
            <link>https://reference-global.com/article/10.5334/as.167</link>
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            <pubDate>Tue, 09 Sep 2025 00:00:00 GMT</pubDate>
            <description><![CDATA[The starting place for this paper was my husband&rsquo;s diagnosis of Alzheimer&rsquo;s disease and my consequent growing awareness of the limited, negative and medicalised language with which Alzheimer&rsquo;s disease is often written and spoken about. This discourse of &lsquo;dementia&rsquo; both breeds and conceals a fear of what is assumed to be creeping unreason, breakdown and eventual dissolution. It is a language that serves, amongst other things, to distance, to keep at bay, the existential subject. By contrast, poetry has a richly expressive capability for working through, or simply sitting with, the existential conundrums posed by Alzheimer&rsquo;s disease; it has the capacity to be alongside us in our terror and ambivalence, because of its allusive and lyrical telling of transitions and borderlands, twilight zones and crossings-over, without the need to arrive at answers. This paper focuses on four of Louise Gl&uuml;ck&rsquo;s poems from Winter Recipes from the Collective in order to explore how they express and contain a vast sense of loss&mdash;of identity, of certitude, of a sense of meaning and purpose, of memory, of loved ones, of life itself&mdash;and in so doing accomplish something extraordinarily powerful and ultimately transcendent.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[&ldquo;Gardens, Age and Generation in Children&rsquo;s Picturebooks&rdquo;]]></title>
            <link>https://reference-global.com/article/10.5334/as.173</link>
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            <pubDate>Tue, 20 May 2025 00:00:00 GMT</pubDate>
            <description><![CDATA[Children&rsquo;s literature is inherently a dialogue between child and adult, or more broadly, those at different stages of the life course. Bringing age studies and studies of children&rsquo;s literature together, this article considers how children&rsquo;s literature depicts and explores age stages and intergenerationality, focusing on the role of the garden in this. In children&rsquo;s literature, the garden often functions as a meeting place for the child and the older adult, a space that is associated with, and activates assumptions about, both childhood and older age. To explore this potential, we examine three contemporary picturebooks in English that depict an intergenerational relationship between a child(ren) and a grandparent, and include a garden central to the narrative: Roxane Marie Galliez and Seng Soun Ratanavanh&rsquo;s Time for Bed, Miyuki (2017), Allan Ahlberg and Gillian Tyler&rsquo;s The Snail House (2000) and Lizzy Stewart&rsquo;s There&rsquo;s a Tiger in the Garden (2016). As our analysis demonstrates, they represent the garden as a liminal space, where the associations with childhood and older age are mobilised in ways that both reinforce and challenge age norms and stereotypes as well as the dichotomous view of age stages.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Altered Spaces of Mourning: Loss and Grief in Times of Covid-19]]></title>
            <link>https://reference-global.com/article/10.5334/as.174</link>
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            <pubDate>Wed, 14 May 2025 00:00:00 GMT</pubDate>
            <description><![CDATA[Loss and grief have often been regarded as primarily affecting our personal sense of time and duration. However, in response to the multiple losses experienced during the Covid-19 pandemic, space and mobility have been redefined. To explore this reshaping of place in response to loss, I will turn briefly to definitions of modern grief, and clarify some of the specificities of loss in response to Covid-19. I will analyse examples of literary representations of grief during the pandemic, written in the midst of it, by Jhumpa Lahiri and Arshia Sattar, showing how different experiences of loss affect spatial metaphors, opening up also places of consolation.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Aging Masculinities and Long-Term Residential Care in Jon Hassler&rsquo;s Simon&rsquo;s Night (1979)]]></title>
            <link>https://reference-global.com/article/10.5334/as.149</link>
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            <pubDate>Tue, 22 Apr 2025 00:00:00 GMT</pubDate>
            <description><![CDATA[The present article is built on the premise that aging is a gendered experience. It will add to recent scholarship in the field of aging studies, which focuses on how age plays into the formation of masculine identities. Embracing the notion that models of masculinities are accomplished in social practice, this study will analyse how the older male characters in Jon Hassler&rsquo;s 1979 novel Simon&rsquo;s Night negotiate their identities following the transition to long-term residential care. Emphasis will be placed on the efforts of the novel&rsquo;s protagonist Simon to try and counter the process of social &lsquo;degendering&rsquo;, which accompanies his aging experience. One of these strategies consists of escaping the nursing home to recover both his lost car and his lost autonomy, a decision that reflects the novel&rsquo;s compliance with positive aging theories. The article will argue that this journey of emancipation constitutes a missed opportunity: in returning to the activities and principles that defined his identity in middle age, Simon does not contemplate the possibility of incorporating age-related changes into a more fluid sense of self that disrupts the rigidity of traditional masculine ideals. On the contrary, his character arc endorses progress narratives of aging, reflecting culturally pervasive beliefs in the righteousness of activity and independence as solutions for &lsquo;aging well&rsquo;.]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Blanche Dubois Travels in Time: A Study of Blue Jasmine&nbsp;(2013)]]></title>
            <link>https://reference-global.com/article/10.5334/as.177</link>
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            <pubDate>Mon, 24 Feb 2025 00:00:00 GMT</pubDate>
            <description><![CDATA[The present study examines the influence of Tennessee Williams&rsquo;s A Streetcar Named Desire (1947) on the development of the main female protagonist&rsquo;s personality in Woody Allen&rsquo;s Blue Jasmine (2013). While Blue Jasmine loosely adapts the structural framework of Williams&rsquo;s play, the character of Jasmine Francis emerges as a contemporary reconfiguration of Blanche DuBois, offering a complex portrayal that oscillates between assertions of autonomy and moments of fragility and failure. This conflictive depiction challenges a cohesive feminist interpretation, instead presenting a character whose agency is both advanced and undermined within the narrative. Whereas Williams&rsquo;s work reinforces traditional gender paradigms, Allen&rsquo;s adaptation interrogates and selectively subverts these conventions, creating a portrayal that is simultaneously progressive and ambivalent. By juxtaposing representations of femininity across two distinct historical and cultural moments, Blue Jasmine reflects the evolution of gender discourse while exposing the enduring complexities and paradoxes of feminist struggles in a patriarchal society. This intertextual analysis accentuates the continued necessity of engaging with gender dynamics to advance the pursuit of genuine equality.]]></description>
            <category>ARTICLE</category>
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