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“... were a ‘deadly’ compound of ‘credulity, superstition and fanaticism’. Robert Burton’s visions of religious madness as a satanic pandemic, a commonplace in Tudor and Stuart England, seemed increasingly incomprehensible to those ‘rational’ 18th-century Christians unconvinced of direct divine (let alone diabolic) intervention in ...”

“... poetry today’ – should have told John Haffenden in an interview for Viewpoints that he found Robert Frost’s fable of imagined unlived lives, ‘The Road Not Taken’, exemplary. If Fenton’s distinction between the narrative kinds is just, so is the note of regret and rebellion that he strikes in the phrase ‘deliberately excluded from ...”

“... of a long sequence of visitors, seeking some authenticity or purity not to be found elsewhere. Robert Flaherty’s film Man of Aran (1932) was a ‘decisive moment in the formulation of the Aran myth’, and the writings of Aran natives like Liam O’Flaherty and the Irish-language poet, the late Mairtin O’Diereain, have added further nuances and ...”

“... the wrong door, and gone to church instead of the movies. ‘It’s like a morality car wash,’ Robert De Niro says in voice-over, adding that Las Vegas is to Americans what Lourdes is to Europeans: a place where you look for miracles to take your pains and blemishes away. You dream of healing and you leave lots of money behind. Scorsese’s Casino is full ...”

“... of a town? Can you dedicate a book to a dot – two dots – on the map? The poet and academic Robert Crawford has a soft spot for nice spots and he dedicated his 1990 collection, A Scottish Assembly, ‘to Scotland’. Some countries and some cities – like some people – openly insist on being loved, and some of them behave as underdogs, which only ...”

“... covered with a blue sheet, and a notice on a wreath of chrysanthemums announces that Reg Stone passed peacefully away on Boxing Day and that his cortège will be passing through the market at three o’clock. Until I read the card I’d never known his last name. Reg’s stall was a feature of the market long before I moved here in 1961. Then he had ...”

“... mountain, they seemed to be exclusively hunter-gatherers who knew nothing of agriculture and used stone tools to dig for wild yams. In keeping with the Edenic simplicity of their long hair and near-nudity, they were credited with having no knowledge of war or aggressiveness. At the time – pretty much the hippy high noon of flower-power and anti-Vietnam ...”

“... He has created​ more than any artist after Picasso,’ Jasper Johns said of Robert Rauschenberg, his one-time partner, and the Rauschenberg retrospective now at Tate Modern (until 2 April) fully attests to the sheer abundance of his six-decade career (he died in 2008). There are impressive inventions here, such as his extravagant combinations of painting, collage and sculpture, as well as mixed experiments, such as his rambunctious forays into new media technologies, but there is a lot of recycling and wheel-spinning too ...”

“... or representing of war, but the waging of war by means of publicity and representation. Oliver Stone’s JFK is the perfect cinematic coda to such a year. I want to compare two melodramatic scenarios that captured the imagination of American spectators in 1991, and to analyse the impact of these representations on public discourse. The Kennedy ...”

“... century). On an outcrop above the soft ground fringed with yellow irises stood the shell of a stone house, gables still chimneyed, the lintels of door and windows still in place: ‘the MacCormicks’ house, the one good stone house on Pabbay’, according to Chrissie’s husband Niall. Below it lay the ...”

“... first published in 1971 by R.C. Latham and W. Matthews (designated thus on the cover, but becoming Robert Latham and William Matthews on the title-page). If some books are classifiable as blockbusters, these 11 stout volumes are more of a Thames barrage. The last two of them, the Companion and Index, were the sole responsibility of ...”

“... create effects that remain miraculous however closely you look, makes sunlight dapple the stone with tiny shadows of ivy. Peter Van Lerberghe, a lesser artist, catches a lesser, but no doubt more common, scene of Tintern by moonlight aswarm with tourists climbing over it with torches to make the right dramatic shadows before ticking a now hackneyed ...”

“... Diocletian’s Palace, which leads into the basement halls. The smack of sulphur, hot air and cold stone is sharp on the nose. Underfoot is damp. The vaults echo with canned folk music, tourists, some wearing togas and plastic laurel wreaths, and stalls loaded with coral, turquoise, ‘I Croatia’ baseball hats and very bad prints of Rod Stewart. The visitor ...”

“... prosperous shores nostalgic tourists would return to visit ‘the gray ruin and the mouldering stone’ of England. Her essay ‘On the Pleasure to be extracted front Objects of Terror’ analysed the Gothic mode as just that. It was a kind of reductio for literary purposes of Burke’s notion of the sublime as the manifestation in nature of wonder, awe ...”

“... 14th century; the Van Eycks had forebears and colleagues involved in this production line, such as Robert Campin, who also embraced oil paint. Captivated by pictorial exports from Siena, Flemings were now keen to commission works that stood halfway between the public arrays of stone-carved saints and the little pictures in ...”