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This essay intercedes in our understanding of the temporal formations that characterized New England’s Great Awakening (1730s-1740s). It takes as its case study the Connecticut farmer Nathan Cole, whose spiritual new birth scholarship has been seen as prototypical of both the instantaneity and the affect of evangelical conversion. This essay contests the predominance of these figurations of the awakenings. Offering literary criticism’s first full engagement with Cole’s archive, rather than keeping to well-known short extracts from his “Spiritual Travels,” it posits the interval as the temporal and literary form that structures Cole’s writing. The essay thus reads Cole’s narrative as something more than a lay account that testifies to evangelical feeling, arguing that his writing instead exhibits continuities with seventeenth-century habits of thought. Particularly, it traces how Cole’s writing carries into the eighteenth century Puritan labors to apprehend doctrines (such as predestination) that were, fundamentally, matters of time. In treating Cole’s text as a document of theological heft and temporal consciousness, as well as spiritual encounter, this essay also asks scholars to consider how turning toward cognitive aspects of devotion provokes our field’s understanding of genre, time, and evangelical experience.
This essay intercedes in our understanding of the temporal formations that characterized New England’s Great Awakening (1730s-1740s). It takes as its case study the Connecticut farmer Nathan Cole, whose spiritual new birth scholarship has been seen as prototypical of both the instantaneity and the affect of evangelical conversion. This essay contests the predominance of these figurations of the awakenings. Offering literary criticism’s first full engagement with Cole’s archive, rather than keeping to well-known short extracts from his “Spiritual Travels,” it posits the interval as the temporal and literary form that structures Cole’s writing. The essay thus reads Cole’s narrative as something more than a lay account that testifies to evangelical feeling, arguing that his writing instead exhibits continuities with seventeenth-century habits of thought. Particularly, it traces how Cole’s writing carries into the eighteenth century Puritan labors to apprehend doctrines (such as predestination) that were, fundamentally, matters of time. In treating Cole’s text as a document of theological heft and temporal consciousness, as well as spiritual encounter, this essay also asks scholars to consider how turning toward cognitive aspects of devotion provokes our field’s understanding of genre, time, and evangelical experience.
This essay examines Jane Austen’s occasional but potent attention to singular moments that seem to stand outside of the usual flow of time. Signaled by her use of phrases such as ‘the work of a moment’ or ‘the work of an instant’, these momentous moments gain resonance when studied against the backdrop of Austen’s nuanced attention to temporal representation in narrative and to the temporal dimensions of human experience. The essay argues that Austen’s momentous moments ultimately function as a crucial dimension of what Amit Yahav in Feeling Time designates the ‘sensibility chronotope’, a perspective that asserts primacy over chronometry and chronology. Attending to these moments in the fiction further enables us to assess Austen’s contribution to what would later become a distinctive feature of the nineteenth-century realist novel, the preoccupation with roads not taken and ‘lives unled’, as Andrew Miller argues in On Not Being Someone Else: Tales of Our Unled Lives.
In this article, I explore performances of letter writing within the archives of the London-based theatre company Clean Break, who work with justice-experienced women and women at risk. Clean Break’s archive at the Bishopsgate Institute in London contains an extensive collection of production ephemera and letters. Charting the company’s development across forty years of theatre productions, public advocacy, and work in prisons and community settings, these materials of the archive—strategic documents, annotated playscripts and rehearsal notes, production photography and correspondence—reveal the acute importance of the letter to people living on the immediate borderlands of the prison. Despite these generative resonances, however, the epistolary form is very rarely used in Clean Break’s theatre: as the archive reveals, since the company was founded by two women in HM Prison Askham Grange in 1979, stagings of letters have occurred in only a handful of instances. In this archival exploration of the epistolary in three works by Clean Break—a film broadcast by the BBC, a play staged at the Royal Court, and a circular chain-play written by women in three prisons—I investigate what lifeworlds beyond prison epistolary forms in performance propose.
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