gaff topsail


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Synonyms for gaff topsail

a triangular fore-and-aft sail with its foot along the gaff and its luff on the topmast

References in periodicals archive ?
It is the purpose of this paper to engage these articles in a meaningful discussion of Gaff Topsails and examine a little further this important and woefully under-analyzed text.
Towards contextualizing Gaff Topsails and this reading of it, it is best first to revisit Mathews's identification of an interesting binary found in Newfoundland literature and literary criticism.
Perhaps Gaff Topsails and River Thieves can be understood as continuing the debate between Tomorrow Will Be Sunday and Random Passage on the one hand and House of Hate and The Afterlife of George Cartwright on the other: the (naively?
Whereas Fowler and Holmgren consider many aspects and sections of Gaff Topsails, Delisle's analysis is less a reading of Kavanagh's novel and more an exploration of one chapter, "The Kingdom of God.
While Delisle's concerns are important ones, it seems rather unlikely that in writing Gaff Topsails Kavanagh was preoccupied with either capturing "factual legitimacy" or perpetuating "a larger continuous narrative.
In an interview discussing Gaff Topsails, Sandra Gwyn notes how "The Kingdom of God" stands apart from the rest of the novel and asks Kavanagh why he wrote a chapter that "re-invents Newfoundland's history and geography in a sweeping, imaginative, and rather subversive way" (Gwyn).
Collins's comment on the opacity of Sweetland being connected directly to its function as a Newfoundland novel is a profound one, and it speaks much to what is "at stake" for Kavanagh in Gaff Topsails, and in "The Kingdom of God" in particular.
Cutting the "continuous thread of time" in Gaff Topsails
All three critics of Gaff Topsails make the claim that Kavanagh fashions an unbroken cultural and historical narrative that connects Tomas Croft to his descendants of the narrative present.
None of the critics considers the context in which the passage appears, yet consideration of this context must be central to the discussion of Gaff Topsails as a mythologizing or primitivizing novel.
So, too, should readers of Gaff Topsails acknowledge the existence of a reality in the narrative present that is alien to the primitive, anti-modern dream space of "The Kingdom of God.
Thus, in Gaff Topsails, as a train barrels through the night, Michael Barron, a teenager on the cusp of manhood who has this day (and presumably many days before) been building the courage to declare his heretofore unexpressed love for 16-year-old Mary Dwyer, steps with purpose into the night and towards the communal bonfire where he knows he will find the object of his affections.
If Kavanagh's purpose in Gaff Topsails is, as Delisle claims (citing Stuart Hall), to create a Newfoundland people "lost in the mists of, not 'real,' but 'mythic' time," or if it is, as Fowler and Holmgren claim, to present his contemporary characters as more fabled than factual, why does he ground them in the reality of the modern world through their knowledgeable interaction with the train (Delisle 23)?
missing in [their] lives" but by a radical caesura Kavanagh crafts between Tomas's chapter and the rest of the narrative, which, in particular, problematizes one of Delisle's major criticisms of Gaff Topsails (81).
She delivers this final blow by comparing Gaff Topsails to "Sense of Place: Loss and the Newfoundland and Labrador Spirit," a jingoistic, sentimental article contributed by Newfoundland writer and performer G.