scholarly journals Class antagonism and the limits of utopia in Matthew Lewis and Robert Owen

2021 ◽  
pp. 1-13
Author(s):  
Roberto del Valle Alcalá
Keyword(s):  
2021 ◽  
Keyword(s):  
The West ◽  

Portrait of the West Indian novelist Matthew Lewis


2020 ◽  
Author(s):  
Rory O'Hara Murray ◽  
Matthew Lewis

<p>Scotland has ambitious decarbonisation and climate change objectives, such as generating 100% of gross annual electricity consumption from renewable sources by 2020. Tidal stream energy is a renewable and predictable source of energy that converts the kinetic energy within tidal currents, into electricity, using a hydrokinetic device such as a horizontal axis turbine. However, economically viable tidal stream development is currently confined to areas of exceptionally high current speeds, and this can severely limit the choice of area. If the speed threshold required for an economically viable tidal site can be lowered then the number of potential sites could increase dramatically.</p><p>It is well known that macro-algae (e.g. kelp) grow in perspective tidal energy sites, as they requiring similar water depths and current speeds. Furthermore, kelp is known to grow in dense patches, reaching from the sea-floor to the ocean surface, and can modify tidal current speeds. Indeed, observations have shown that “kelp forests” can locally reduce current speeds by a third (Jackson and Winant, 1983). This local reduction in current speed will cause an increase in speed elsewhere, in order to conserve mass. Therefore, we hypothesise that by adding a kelp forest in the vicinity of a tidal channel, the current speed and tidal stream resource could be increased sufficiently for the site to become economical.</p><p>A three dimensional finite volume hydrodynamic model has been used to model an idealised tidal channel. The drag imposed by kelp was theoretically calculated and represented in the model as a sub grid scale momentum sink. The changes to the current speed resulting from this bio-optimisation of the tidal channel were investigated and show that the current speed in the centre of the channel can be increased. Kelp were then added to a previously developed hydrodynamic model of the Pentland Firth and Orkney Waters to investigate how such bio-optimisation could influence an area currently being considered for substantial tidal stream development. The changes on both the areas of suitable tidal stream development and the power yield are investigated.</p><p><strong>Acknowledgements</strong></p><p>Matthew Lewis wishes to thank Aaron Owen and Ade Fewings at SuperComputingWales, and Fearghal O'Donncha at IBM-research Ireland for fruitful discussions, and the METRIC grant, EP/R034664/1.</p><p><strong>References</strong></p><p>Jackson, G. A. and Winant, C. D. (1983). Effect of a kelp forest on coastal currents. Continental Shelf Research, 2(1), pp.75-80.</p>


PMLA ◽  
1999 ◽  
Vol 114 (5) ◽  
pp. 1043-1054 ◽  
Author(s):  
Michael Gamer

Recent accounts of genre have asserted that all texts participate in multiple genres and that genre works as a kind of contract between writers and readers. In the legal history of eighteenth-century British prosecutions for obscene libel and the reception history of gothic fiction at the turn of the nineteenth century, however, the model of genre as contract breaks down. At the end of the eighteenth century, several texts we now call gothic faced threatened prosecution under existing obscene libel laws. The reception histories of the fiction of Matthew Lewis, Charlotte Dacre, and Charles Robert Maturin demonstrate that public denouncements and threatened prosecution forced gothic texts, even as they theoretically participated in at least one genre, to belong to a legal category (obscenity) for which their writers never intended them.


Abusões ◽  
2020 ◽  
Vol 12 (12) ◽  
Author(s):  
João Pedro Bellas

Este trabalho tem como principal objetivo refletir sobre uma possível aproximação entre o gótico e a distopia a partir de um estudo do romance 1984, de George Orwell. Apesar das diversas dificuldades existentes em qualquer tentativa de definição de ambos como gêneros discursivos, pretendo delimitar algumas características formais recorrentes tanto em narrativas góticas como naquelas tomadas como distópicas. Com isso em vista, buscarei explorar mais profundamente um elemento específico, a saber, o sublime. No Gótico setecentista, esse conceito estético foi amplamente mobilizado por autores como Matthew Lewis e, principalmente, Ann Radcliffe, tanto como um elemento formal para a construção do enredo – especialmente em descrições do espaço narrativo – quanto como um efeito de recepção que se buscava suscitar no leitor. Portanto, pretendo verificar se o sublime é um elemento constitutivo de 1984 para, a partir dele, analisar se é possível descrever o romance de Orwell como uma obra de influxos góticos.


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