Suchergebnisse

Why are there so many nature metaphors - clouds, rivers, streams, viruses, and bugs - in the language of the internet? Why do we adorn our screens with exotic images of forests, waterfalls, animals and beaches? In Technobiophilia: Nature and Cyberspace , Sue Thomas interrogates the prevalence online of nature-derived metaphors and imagery and comes to a surprising conclusion. The root of this trend, she believes, lies in biophilia, defined by biologist E.O. Wilson as 'the innate attraction to life and lifelike processes'. In this wide-ranging transdisciplinary study she explores the strong thr

Organised around the themes Home and Abroad, Performative Traffic, and Image, Circulation, Mobility, Victorian Traffic: Identity, Performance, Exchange variously addresses the cultural dimensions of traffic in the long Victorian period: cross-cultural experience; colonial and racial imaginaries; everyday, literary, autobiographical and professional stagings of identity; and trade in metaphors, communications, texts, images, celebrity, character types, and quilts. The concept of traffic unde...

Jean Rhys's stories 'Temps Perdi' (1967), 'I Spy the Stranger' (1966), 'A Solid House,' (1963), and 'The Insect World' (1973) do not figure in current scholarship on Second World War fiction. Versions of the first three were offered for publication in 1946. Rhys began writing 'The Insect World' in the mid-1940s. Rhys's perspective in the fiction is that of an expatriate white Creole from Dominica, an island with formative Indigenous and French and British imperial histories. Focusing on 'The Insect World', 'I Spy a Stranger', and 'Temps Perdi', I analyse Rhys's representations of temporalities of memory, ruin, loss of bearings, and hallucination and draw out the distinctive significance of the complex allusive and political reach of the fiction.

In 1815, two benevolent organizations commenced operation in Antigua, the Female Refuge Society based in English Harbour and the Distressed Females' Friend Society based in St John's. The driving force behind the establishment of the Female Refuge Society, on which the Distressed Females' Friend Society was modelled, was Anne Hart Gilbert (1768–1834), the earliest known published African-Caribbean woman writer, the agent of the Female Refuge Society. The organizations were run on principle by women and the executive committees were multi-racial. They accepted female subscribers only, but donations from women and men. For Gilbert, an affective poetics of life story and writing is crucial to the formation of an ethical community that she situates as an emerging and modernizing counter-culture to plantation slavery. Her civic ethic of caring centres on development and engagement of the 'finer sensibilities' in creating 'bands of amity and love that are the ornament and glory of our nature' (Female Refuge Society, 1822: 12). The annual reports of the Female Refuge Society had a profound impact on the direction of female anti-slavery activism in Britain. In this essay, I analyse the inscription of affect in extant letters, annual reports and published material about the work of the Female Refuge Society and Distressed Females' Friend Society. I am interested in how the women in the Creole organizations and their male supporters represent their affective relations to the objects of their benevolence and appeals for funding, and how these relations are racialized, gendered and classed in the grounding of activism. I draw out the local and British affective reception of these relations. In the field of affect studies, the essay might be compared with projects that address 'the cultural and historical contingency of emotions, and … emotions and emotion cultures as contingent technologies of subjects' (Koivunen, 2010: 19).