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| | "Live Burial": Melissa Hardie reviews Andrew Riemer |
 | | Riemer's position as naïf is supported in the text through the principle of accident: things happen to him almost despite himself, through forces that are given here as a parody of the conventions of romance: fortuitous happenings and ineluctable fate. |
 | | Riemer's confessions of parodic performance, from the construction of a thesis which was primarily an "illusory edifice," (94) to his amusing account of months of fruitless research in the Public Records Office, work to convey less a sense of the accidental than of the disappointed. |
 | | On the one hand, devotion to scholarship required, in Riemer's account, maintaining a sense of separation from the everyday practice of academia, and, as Riemer foreshadows, "such habits and casts of mind, which were to absorb me at first emotionally, later intellectually, came to seem indefensibly vain and irresponsible" (11). |
| www.lib.latrobe.edu.au /AHR/archive/Issue-September-1998/hardie.html (2964 words) |
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