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By Rosa Ainley

2 Ennerdale force is a memoir of a home and the relatives that lived there; a piece of textual content and snapshot encompassing structure, social and private heritage, city making plans, images and illustration, carving an area inside of and among new sorts of memoir, cultural stories and artistic non-fiction. the home in north London, equipped throughout the extraordinary interwar wave of suburban improvement, starts off an exploration of private and non-private lives, architectural and relatives narrative, charting territory among documented proof, own and cultural reminiscence, organization and emotional reaction. 2 Ennerdale force questions the veracity accorded to files produced throughout institutional, private and non-private kin contexts. Textual analyses of pictures in relation to the home, the relatives (and its enterprise: theatre) body every one bankruptcy, producing tales and responses to the authentic and the remembered. Visits to files and to different homes record the lifestyles and/or absence of such fabric. An epilogue locates the writer, a loved one and someday narrator, within the body and gives, possibly, a last privileged look into the relatives archive.

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Extra resources for 2 Ennerdale Drive: An Unauthorised Biography

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Not (p or q) = not p and not q]’. See H. W. Miller (1946) 172 (cited by Sansone (1996) 341): ‘this is the philosophical meaning of χωρίς’, comparing Pl. Phlb. 44a10: χωρὶς τοῦ μὴ λυπεῖσθαι καὶ τοῦ χαίρειν ἡ 19 a ri s t op h an e s ’ thesmophoriazusae φύσις,17 as a wider corrective to the comic nonsense made of his words has set him up as a peddler of avant-garde theoretical concepts (E. [What I’m saying is this] ‘. . 18 Yet pitted against the argumentative powers of this interlocutor, Euripides’ allusion to such high ideas has served only to draw attention to a tragic inability to deploy them persuasively.

Among others). See p. 31 n. 11. This is based upon the extrapolation of Nails (2002) 317–18 of a dramatic date of ≥ 407. There is general consensus that Th. was performed at the Dionysia of 411 bc and Lys. was performed at the Lenaea of that year, see Austin and Olson (2004) xxxiii–xliv, esp. xli–xliv; Sommerstein (1977); cf. Revermann (2006b) 166; Rogers (1904) and now Tsakmakis (2012) argue in support of a performance date for the Th. at the Lenaea of 410 bc. 5 Here they rapidly perfected their eristic 3 4 5 Nails (2002) 136–7, 317–18.

See Euthd. 272b9 for the brothers as γέροντε; for the comparably advanced age of Euripides and his interlocutor, and for κηδεστής as ‘brother-in-law’ see my pp. 8–9 nn. 17–18. Nails (2002) 317. Euthydemus and Dionysodorus themselves are obscure, but scholarly consensus is that certainly Euthydemus and probably Dionysodorus were historical personages, see Palmer (1999) 126, esp. n. 9; see also further references to Euthydemus at Pl. Cra. 386d and Arist. SE 177b, Rh. 1401a27, and to Dionysodorus at Xen.

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