ARTICLEhttps://www.berghahnjournals.com/view/journals/critical-survey/9/1/cs090109.xmlPoetry2020-11-11https://www.berghahnjournals.com/view/journals/critical-survey/9/1/cs090104.xmlGlyn Maxwell: Aestheticising Place-Myth - A Mode of Containment? Well-In at Welwyn2020-11-11https://www.berghahnjournals.com/view/journals/critical-survey/9/1/cs090110.xmlContributors2020-11-11https://www.berghahnjournals.com/view/journals/critical-survey/9/1/cs090101.xmlBodies of Evidence: Feminist Performance Art2020-11-11https://www.berghahnjournals.com/view/journals/critical-survey/9/1/cs090106.xmlElectronic Editions and the Needs of Readers2020-11-11https://www.berghahnjournals.com/view/journals/critical-survey/9/1/cs090103.xml'A Simple Enormous Grief': Eighteenth-Century Utopianism and Fire Down Below2020-11-11https://www.berghahnjournals.com/view/journals/critical-survey/9/1/cs090105.xmlRe-reading 'Impossibility' and 'Barbarism': Adorno and Post-Holocaust Poetics2020-11-11https://www.berghahnjournals.com/view/journals/critical-survey/9/1/cs090102.xmlBeyond the Male Romance: Repetition as Failure and Success in Apocalypse Now2020-11-11https://www.berghahnjournals.com/view/journals/critical-survey/9/1/cs090108.xmlObscuring Jude the Obscure: the Film2020-11-11https://www.berghahnjournals.com/view/journals/critical-survey/9/1/cs090107.xmlThe Postmodern Story2020-11-11