Maud Ellmann's brief discussion of the opening sentence of "Eumaeus"--the egregious "Preparatory to anything else Mr Bloom brushed off the greater bulk of the shavings and handed Stephen the hat and ashplant
and bucked him up generally in orthodox Samaritan fashion which he very badly needed"--fails to observe the recycling of the same images from this first cunning sentence.
In "Circe," for example, a sober Bloom helps keep Stephen out of trouble and even keeps track of Stephen's hat and ashplant
(15.4278-4947, particularly 4278-85, 4511, 4732-33, 4749-50, 4808-09, 4838-41, 4920-21).
The airmen who lost their lives were Sgt James Henry Ware, 24, of Sydney, Australia; Sgt Robert Litchfield Tresidder, 26, of Coogee, Australia; Sgt William Leonard Ashplant
; Sgt Cyril Caradoe Davies; Sgt Frederick Dutton, 20, of Hoole, Cheshire; and Sgt Cyril Raymond Dickeson.
: The son of William and Mary Ashplant
, of 41, Upper Warwick Street.
(4) Diz-se historia dos vencedor (whig history em ingles) daquela maneira de fazer historia que nao se esforca para dar voz aos perdedores, aos derrotados, aos subalternos--uma historia contada a partir do ponto de vista dos grupos dominantes, Ver, a esse respeito, por exemplo, Wilson, e Ashplant
(1988) e Shuster (1995).
, Whig History and Present-Centred History, 31 HIST.
Stephen follows Bloom by exercising his "mnemotechnic," drawing a single word from his " intellectual imagination" (582) to transform his ashplant
walking stick into "Nothing" (583), which sounds like 'Nothing,' but which is actually the name of Siegfried's magic sword in Wagner's Die Walkure, a sword hidden by a god in the heart of an ash tree ("ashplant
, Graham Dawson and Michael Roper have argued that whether embodied in commemorative sites and national ritual, national war memory is constantly reforged in a complex process in which competing constituencies--individuals, families, veterans and victims as well as the agencies of the state--use whatever resources are available to push their own claims to ownership of the dominant narratives of the wartime past.
Outsize send-ups of the artist-shaman's staff or the fop's ashplant
(recalling, for example, Andre Cadere's long poles, or Joseph Beuys's staff in his performance I Like America and America Likes Me, 1974), the bars also brought to mind the parodic gesture of Armleder's Don't Do It!, 1997-2000, a work composed of a series of Flavin-like neon tubes scattered like so many pick-up sticks across the gallery floor.
, Graham Dawson, and Michael Roper (London and New York: Routledge, 2000).
Debutant striker David Ashplant
bagged the first of his hat-trick after just five minutes, poking home on the line after a Jordan Craig shot was saved.
, Graham Dawson, and Michael Roper (eds.), The Politics of War Memory and Commemoration, pp.