Max Saunders
- Published in print:
- 2010
- Published Online:
- May 2010
- ISBN:
- 9780199579761
- eISBN:
- 9780191722882
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199579761.003.0010
- Subject:
- Literature, 19th-century Literature and Romanticism, 20th-century Literature and Modernism
This chapter suggests a new reading of one of Pound's most contested works in terms of the contexts provided in Part I. In particular, Pound's parody of aestheticism is compared to Beerbohm's in ...
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This chapter suggests a new reading of one of Pound's most contested works in terms of the contexts provided in Part I. In particular, Pound's parody of aestheticism is compared to Beerbohm's in Seven Men. The critical tradition has been excessively preoccupied with trying to identify the speakers and ‘originals’ of each section of Mauberley. It argues that, seen in relation to the growing interest in portrait collections, composite portraiture, the disturbances in auto/biography, and imaginary art‐works, this poem sequence can be read as a parody of the forms of literary memoir, through which Pound also explores autobiography.Less
This chapter suggests a new reading of one of Pound's most contested works in terms of the contexts provided in Part I. In particular, Pound's parody of aestheticism is compared to Beerbohm's in Seven Men. The critical tradition has been excessively preoccupied with trying to identify the speakers and ‘originals’ of each section of Mauberley. It argues that, seen in relation to the growing interest in portrait collections, composite portraiture, the disturbances in auto/biography, and imaginary art‐works, this poem sequence can be read as a parody of the forms of literary memoir, through which Pound also explores autobiography.
Max Saunders
- Published in print:
- 2010
- Published Online:
- May 2010
- ISBN:
- 9780199579761
- eISBN:
- 9780191722882
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199579761.003.0011
- Subject:
- Literature, 19th-century Literature and Romanticism, 20th-century Literature and Modernism
This chapter asks whether the kind of reading offered in the previous chapter disarms the possibility of modernist satire, deflecting our attention from criticism to autobiography. It discusses two ...
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This chapter asks whether the kind of reading offered in the previous chapter disarms the possibility of modernist satire, deflecting our attention from criticism to autobiography. It discusses two less equivocally satirical modernists by way of counter‐arguments to this objection. Wyndham Lewis's Time and Western Man contains some of the most forceful modernist attacks on the auto/biographic; yet Lewis offers the book as itself a kind of intellectual self‐portrait. Conversely, Richard Aldington's Soft Answers is read as a portrait‐collection, adopting modernist parodies of auto/biography in order to satirize modernists such as Eliot and Pound. It argues that (as in the case of Pound, and according to the argument introduced in the Preface) not only can satire be auto/biography, but auto/biography can also be satire. Indeed, Pound was shown in Chapter 9 to be writing both in verse; and in the Chapter 11 Woolf is shown to do both in prose. The chapter concludes with a discussion of how the First World War transformed the crisis in life ‐ writing.Less
This chapter asks whether the kind of reading offered in the previous chapter disarms the possibility of modernist satire, deflecting our attention from criticism to autobiography. It discusses two less equivocally satirical modernists by way of counter‐arguments to this objection. Wyndham Lewis's Time and Western Man contains some of the most forceful modernist attacks on the auto/biographic; yet Lewis offers the book as itself a kind of intellectual self‐portrait. Conversely, Richard Aldington's Soft Answers is read as a portrait‐collection, adopting modernist parodies of auto/biography in order to satirize modernists such as Eliot and Pound. It argues that (as in the case of Pound, and according to the argument introduced in the Preface) not only can satire be auto/biography, but auto/biography can also be satire. Indeed, Pound was shown in Chapter 9 to be writing both in verse; and in the Chapter 11 Woolf is shown to do both in prose. The chapter concludes with a discussion of how the First World War transformed the crisis in life ‐ writing.
Steven Tolliday
- Published in print:
- 2004
- Published Online:
- September 2007
- ISBN:
- 9780199269044
- eISBN:
- 9780191717123
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199269044.003.0003
- Subject:
- Business and Management, International Business
Recent analyses of the dynamics of Europe's long boom after the Second World War have generally accorded a leading role to the transfer of American technology and organizational practices within a ...
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Recent analyses of the dynamics of Europe's long boom after the Second World War have generally accorded a leading role to the transfer of American technology and organizational practices within a broad process of ‘catch-up and convergence’. Within this process, American multinational companies are generally seen as central actors of diffusing technology and management practices. This chapter examines the core elements of strategy, organization, technology, and product policy. It stresses the role of continuity and long-run dynamics in the transfer process (rather than seeing ‘Americanization’ as an epiphenomenon of post-war reconstruction). It focuses primarily on inside the firm rather than on the discourses of agencies and observers about the transfer and dissemination of broad elements and processes.Less
Recent analyses of the dynamics of Europe's long boom after the Second World War have generally accorded a leading role to the transfer of American technology and organizational practices within a broad process of ‘catch-up and convergence’. Within this process, American multinational companies are generally seen as central actors of diffusing technology and management practices. This chapter examines the core elements of strategy, organization, technology, and product policy. It stresses the role of continuity and long-run dynamics in the transfer process (rather than seeing ‘Americanization’ as an epiphenomenon of post-war reconstruction). It focuses primarily on inside the firm rather than on the discourses of agencies and observers about the transfer and dissemination of broad elements and processes.
Max Saunders
- Published in print:
- 2010
- Published Online:
- May 2010
- ISBN:
- 9780199579761
- eISBN:
- 9780191722882
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199579761.003.0006
- Subject:
- Literature, 19th-century Literature and Romanticism, 20th-century Literature and Modernism
This chapter examines the converse displacement to that considered in Chapters 3 and Chapter 4, looking instead at cases where fiction‐writers colonize the forms of life‐writing, producing a variety ...
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This chapter examines the converse displacement to that considered in Chapters 3 and Chapter 4, looking instead at cases where fiction‐writers colonize the forms of life‐writing, producing a variety of fake diaries, journals, biographies, and autobiographies. It takes a different approach to most of the other chapters, consisting of brief accounts of many works rather than sustained readings of a few. A taxonomy of modern engagements with life‐writing is proposed. The chapter moves on to discuss Galton's notion of ‘composite portraiture’ as a way of thinking about the surprisingly pervasive form of the portrait‐collection. The main examples are from Ford, Stefan Zweig, George Eliot, Hesketh Pearson, Gertrude Stein, Max Beerbohm and Arthur Symons; Isherwood and Joyce's Dubliners also figure. Where Chapters 3 and Chapter 4 focused on books with a single central subjectivity, this chapter looks at texts of multiple subjectivities. It concludes with a discussion of the argument that multiple works — an entire oeuvre — should be read as autobiography.Less
This chapter examines the converse displacement to that considered in Chapters 3 and Chapter 4, looking instead at cases where fiction‐writers colonize the forms of life‐writing, producing a variety of fake diaries, journals, biographies, and autobiographies. It takes a different approach to most of the other chapters, consisting of brief accounts of many works rather than sustained readings of a few. A taxonomy of modern engagements with life‐writing is proposed. The chapter moves on to discuss Galton's notion of ‘composite portraiture’ as a way of thinking about the surprisingly pervasive form of the portrait‐collection. The main examples are from Ford, Stefan Zweig, George Eliot, Hesketh Pearson, Gertrude Stein, Max Beerbohm and Arthur Symons; Isherwood and Joyce's Dubliners also figure. Where Chapters 3 and Chapter 4 focused on books with a single central subjectivity, this chapter looks at texts of multiple subjectivities. It concludes with a discussion of the argument that multiple works — an entire oeuvre — should be read as autobiography.
Max Saunders
- Published in print:
- 2010
- Published Online:
- May 2010
- ISBN:
- 9780199579761
- eISBN:
- 9780191722882
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199579761.003.0007
- Subject:
- Literature, 19th-century Literature and Romanticism, 20th-century Literature and Modernism
This shorter chapter is really a coda to the first half of the book, arguing that an alternative contemporary response to the disturbance in life‐writing is represented by the impressionist ...
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This shorter chapter is really a coda to the first half of the book, arguing that an alternative contemporary response to the disturbance in life‐writing is represented by the impressionist autobiographies of the novelists Henry James, Joseph Conrad, and Ford Madox Ford. It discusses the recent rehabilitation of the concept of literary impressionism in theoretical studies of fiction. While its discussion of the impression looks back to the studies of Pater, Ruskin, and Proust, it also looks forward to the modernists discussed in Part II.Less
This shorter chapter is really a coda to the first half of the book, arguing that an alternative contemporary response to the disturbance in life‐writing is represented by the impressionist autobiographies of the novelists Henry James, Joseph Conrad, and Ford Madox Ford. It discusses the recent rehabilitation of the concept of literary impressionism in theoretical studies of fiction. While its discussion of the impression looks back to the studies of Pater, Ruskin, and Proust, it also looks forward to the modernists discussed in Part II.
Sara Haslam
- Published in print:
- 2009
- Published Online:
- July 2012
- ISBN:
- 9780719060557
- eISBN:
- 9781781700099
- Item type:
- book
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719060557.001.0001
- Subject:
- Literature, 20th-century Literature and Modernism
This book is about Ford Madox Ford, a hero of the modernist literary revolution. Ford is a fascinating and fundamental figure of the time; not only because, as a friend and critic of Ezra Pound and ...
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This book is about Ford Madox Ford, a hero of the modernist literary revolution. Ford is a fascinating and fundamental figure of the time; not only because, as a friend and critic of Ezra Pound and Joseph Conrad, editor of the English Review and author of The Good Soldier, he shaped the development of literary modernism. But, as the grandson of Ford Madox Brown and son of a German music critic, he also manifested formative links with mainland European culture and the visual arts. In Ford there is the chance to explore continuity in artistic life at the turn of the last century, as well as the more commonly identified pattern of crisis in the time. The argument throughout the book is that modernism possesses more than one face. Setting Ford in his cultural and historical context, the opening chapter debates the concept of fragmentation in modernism; later chapters discuss the notion of the personal narrative, and war writing. Ford's literary technique is studied comparatively and plot summaries of his major books (The Good Soldier and Parade's End) are provided, as is a brief biography.Less
This book is about Ford Madox Ford, a hero of the modernist literary revolution. Ford is a fascinating and fundamental figure of the time; not only because, as a friend and critic of Ezra Pound and Joseph Conrad, editor of the English Review and author of The Good Soldier, he shaped the development of literary modernism. But, as the grandson of Ford Madox Brown and son of a German music critic, he also manifested formative links with mainland European culture and the visual arts. In Ford there is the chance to explore continuity in artistic life at the turn of the last century, as well as the more commonly identified pattern of crisis in the time. The argument throughout the book is that modernism possesses more than one face. Setting Ford in his cultural and historical context, the opening chapter debates the concept of fragmentation in modernism; later chapters discuss the notion of the personal narrative, and war writing. Ford's literary technique is studied comparatively and plot summaries of his major books (The Good Soldier and Parade's End) are provided, as is a brief biography.
Lesel Dawson
- Published in print:
- 2008
- Published Online:
- January 2009
- ISBN:
- 9780199266128
- eISBN:
- 9780191708688
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199266128.001.0001
- Subject:
- Literature, 16th-century and Renaissance Literature, Women's Literature
The discourse of love, which is subjective, private, and instinctive, is also culturally constructed, public, and learned; it emphasizes the way in which the expression of reflexive feelings is bound ...
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The discourse of love, which is subjective, private, and instinctive, is also culturally constructed, public, and learned; it emphasizes the way in which the expression of reflexive feelings is bound up in wider historical narratives about bodies and interiority. In early modern medical texts, intense unfulfilled erotic desire is held to be a real and virulent disease: it is classified as a species of melancholy, with physical aetiologies and cures. This book analyses literary representations of lovesickness in relation to medical ideas about desire and wider questions about gender and identity, exploring the different ways that desire is believed to take root in the body, how gender roles are encoded and contested in courtship, and the psychic pains and pleasures of frustrated passion. It considers the relationship between women's lovesickness and other female maladies (such as hysteria and green sickness), and asks whether women can suffer from intellectual forms of melancholy generally thought to be exclusively male. It also examines the ways in which Neoplatonism offers an alternative construction of love to that found in natural philosophy, inverting much of the medical advice for what is held to be healthy in romantic love and promoting a different hierarchical relationship between the sexes. Finally, this study considers how anxieties concerning love's ability to emasculate the male lover emerge indirectly in remedies for lovesickness, illuminating ideas about masculinity as well as some of the psychic contradictions of erotic desire. Authors considered include: Shakespeare, Beaumont and Fletcher, Thomas Middleton, John Ford, and William Davenant.Less
The discourse of love, which is subjective, private, and instinctive, is also culturally constructed, public, and learned; it emphasizes the way in which the expression of reflexive feelings is bound up in wider historical narratives about bodies and interiority. In early modern medical texts, intense unfulfilled erotic desire is held to be a real and virulent disease: it is classified as a species of melancholy, with physical aetiologies and cures. This book analyses literary representations of lovesickness in relation to medical ideas about desire and wider questions about gender and identity, exploring the different ways that desire is believed to take root in the body, how gender roles are encoded and contested in courtship, and the psychic pains and pleasures of frustrated passion. It considers the relationship between women's lovesickness and other female maladies (such as hysteria and green sickness), and asks whether women can suffer from intellectual forms of melancholy generally thought to be exclusively male. It also examines the ways in which Neoplatonism offers an alternative construction of love to that found in natural philosophy, inverting much of the medical advice for what is held to be healthy in romantic love and promoting a different hierarchical relationship between the sexes. Finally, this study considers how anxieties concerning love's ability to emasculate the male lover emerge indirectly in remedies for lovesickness, illuminating ideas about masculinity as well as some of the psychic contradictions of erotic desire. Authors considered include: Shakespeare, Beaumont and Fletcher, Thomas Middleton, John Ford, and William Davenant.
Daniel K. Williams
- Published in print:
- 2010
- Published Online:
- September 2010
- ISBN:
- 9780195340846
- eISBN:
- 9780199867141
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195340846.003.0006
- Subject:
- Religion, Religion and Society
Even without encouragement from Republican politicians, Christian activists in the mid-1970s launched campaigns against cultural liberalism, uniting evangelicals with conservative Catholics and ...
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Even without encouragement from Republican politicians, Christian activists in the mid-1970s launched campaigns against cultural liberalism, uniting evangelicals with conservative Catholics and reshaping the Republican Party. In the early 1970s, Phyllis Schlafly, a Catholic, led evangelical women in a successful campaign against the Equal Rights Amendment. Evangelicals’ opposition to feminism and the sexual revolution also prompted them to join Catholics in speaking out against abortion. During the presidential election of 1976, cultural conservatives forced Gerald Ford to move to the right on abortion and challenged Jimmy Carter after his controversial interview with Playboy. Though an organized Religious Right had not yet developed, evangelicals were discovering their power to influence national politics.Less
Even without encouragement from Republican politicians, Christian activists in the mid-1970s launched campaigns against cultural liberalism, uniting evangelicals with conservative Catholics and reshaping the Republican Party. In the early 1970s, Phyllis Schlafly, a Catholic, led evangelical women in a successful campaign against the Equal Rights Amendment. Evangelicals’ opposition to feminism and the sexual revolution also prompted them to join Catholics in speaking out against abortion. During the presidential election of 1976, cultural conservatives forced Gerald Ford to move to the right on abortion and challenged Jimmy Carter after his controversial interview with Playboy. Though an organized Religious Right had not yet developed, evangelicals were discovering their power to influence national politics.
Christopher GoGwilt
- Published in print:
- 2010
- Published Online:
- January 2011
- ISBN:
- 9780199751624
- eISBN:
- 9780199866199
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199751624.003.0003
- Subject:
- Literature, 19th-century and Victorian Literature, 20th-century Literature and Modernism
Chapter 3 studies the formation of English modernism around the founding of Ford Madox Ford's two reviews, The English Review in 1908 and the transatlantic review in 1924, tracing the relation ...
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Chapter 3 studies the formation of English modernism around the founding of Ford Madox Ford's two reviews, The English Review in 1908 and the transatlantic review in 1924, tracing the relation between Ford's consecration of Conrad as pioneering modernist and his promotion of Jean Rhys as part of a new modernist avant-garde. Framed by discussion of Rhys's citation of a passage from Conrad's Almayer's Folly in the novel After Leaving Mr. Mackenzie, the chapter examines Ford's critical emphasis on the linguistic effect of individual English words in excerpted passages of Conradian prose. Rhys's own economy of description sheds light on the celebrated Conradian search for the mot juste, revealing a problematic priority of cultural identity in the linguistic and literary formation of early twentieth-century English modernism.Less
Chapter 3 studies the formation of English modernism around the founding of Ford Madox Ford's two reviews, The English Review in 1908 and the transatlantic review in 1924, tracing the relation between Ford's consecration of Conrad as pioneering modernist and his promotion of Jean Rhys as part of a new modernist avant-garde. Framed by discussion of Rhys's citation of a passage from Conrad's Almayer's Folly in the novel After Leaving Mr. Mackenzie, the chapter examines Ford's critical emphasis on the linguistic effect of individual English words in excerpted passages of Conradian prose. Rhys's own economy of description sheds light on the celebrated Conradian search for the mot juste, revealing a problematic priority of cultural identity in the linguistic and literary formation of early twentieth-century English modernism.
Maurice Peress
- Published in print:
- 2004
- Published Online:
- May 2008
- ISBN:
- 9780195098228
- eISBN:
- 9780199869817
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195098228.003.0019
- Subject:
- Music, History, Western
This final chapter takes a walk through what once was Dvorák's New York neighborhood. It discusses the unsuccessful battle to save the Dvorák House where Dvorák lived from 1892-5. The heightened ...
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This final chapter takes a walk through what once was Dvorák's New York neighborhood. It discusses the unsuccessful battle to save the Dvorák House where Dvorák lived from 1892-5. The heightened awareness he brought to the bountiful riches of African American music that helped inspire the Composer-Collector generation — James Weldon Johnson, James Rosamond Johnson, W. C. Handy, Ernest Hogan, and Will Marion Cook — are detailed. It discusses the search for and emergence of a “New African-American Orchestra”, Ford Dabney's theater “roof-top” bands, Hogan and Cook's “Memphis Students Band”, Europe's “Clef Club”, and Cook's “Southern Synchopaters” orchestra, preparing the way for Duke Ellington, “a world-class composer, who stands alone as the foremost American genius who remained loyal to the improvisational, tonal, and rhythmic endowments of African American music”. His universe was an “orchestra” of brilliant jazz artists, one he never found wanting. With a light but firm tether, he drew and followed them along a trail of discovery, leaving glorious artifacts in his path.Less
This final chapter takes a walk through what once was Dvorák's New York neighborhood. It discusses the unsuccessful battle to save the Dvorák House where Dvorák lived from 1892-5. The heightened awareness he brought to the bountiful riches of African American music that helped inspire the Composer-Collector generation — James Weldon Johnson, James Rosamond Johnson, W. C. Handy, Ernest Hogan, and Will Marion Cook — are detailed. It discusses the search for and emergence of a “New African-American Orchestra”, Ford Dabney's theater “roof-top” bands, Hogan and Cook's “Memphis Students Band”, Europe's “Clef Club”, and Cook's “Southern Synchopaters” orchestra, preparing the way for Duke Ellington, “a world-class composer, who stands alone as the foremost American genius who remained loyal to the improvisational, tonal, and rhythmic endowments of African American music”. His universe was an “orchestra” of brilliant jazz artists, one he never found wanting. With a light but firm tether, he drew and followed them along a trail of discovery, leaving glorious artifacts in his path.
Patrick Deer
- Published in print:
- 2009
- Published Online:
- May 2009
- ISBN:
- 9780199239887
- eISBN:
- 9780191716782
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199239887.003.0002
- Subject:
- Literature, Film, Media, and Cultural Studies, 20th-century and Contemporary Literature
Contrasting the fractured point of view of combatant writers like Siegfried Sassoon, Wilfred Owen, Isaac Rosenberg, and Ford Madox Ford to the heroic prospects projected by official War Artists like ...
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Contrasting the fractured point of view of combatant writers like Siegfried Sassoon, Wilfred Owen, Isaac Rosenberg, and Ford Madox Ford to the heroic prospects projected by official War Artists like Muirhead Bone and war poets like Rupert Brooke, this chapter argues that most urgent task confronting the military authorities was to bridge the gulf between the commanding strategic perspective and the collapses of vision in the trench labyrinth of the Western Front. It explores how despite its notorious failures the war machine used propaganda, censorship, military discipline, camouflage and other new technologies to recapture the oversight of battle, turning the imperial sovereign gaze on the minds and bodies of the mass army in the trenches. Despite antimodernism on the home front, the military authorities covertly cannibalized modernist culture in their struggle to modernize. But the camouflaged modernism of Rosenberg, Vera Brittain, or Ford's Parade's End demonstrates a more sceptical response to the dominant perspective of war.Less
Contrasting the fractured point of view of combatant writers like Siegfried Sassoon, Wilfred Owen, Isaac Rosenberg, and Ford Madox Ford to the heroic prospects projected by official War Artists like Muirhead Bone and war poets like Rupert Brooke, this chapter argues that most urgent task confronting the military authorities was to bridge the gulf between the commanding strategic perspective and the collapses of vision in the trench labyrinth of the Western Front. It explores how despite its notorious failures the war machine used propaganda, censorship, military discipline, camouflage and other new technologies to recapture the oversight of battle, turning the imperial sovereign gaze on the minds and bodies of the mass army in the trenches. Despite antimodernism on the home front, the military authorities covertly cannibalized modernist culture in their struggle to modernize. But the camouflaged modernism of Rosenberg, Vera Brittain, or Ford's Parade's End demonstrates a more sceptical response to the dominant perspective of war.
Lesel Dawson
- Published in print:
- 2008
- Published Online:
- January 2009
- ISBN:
- 9780199266128
- eISBN:
- 9780191708688
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199266128.003.0004
- Subject:
- Literature, 16th-century and Renaissance Literature, Women's Literature
It is often claimed that whereas male lovesickness is classified as a form of melancholy—a malady associated with creativity, interiority, and intellect—the female version is considered a disorder of ...
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It is often claimed that whereas male lovesickness is classified as a form of melancholy—a malady associated with creativity, interiority, and intellect—the female version is considered a disorder of the womb. This chapter challenges this model, arguing that female lovesickness is a species of melancholy which can be depicted, not only as a passionate illness which degenerates into madness, but also as a spiritual and cerebral affliction. It offers examples of early modern Englishwomen who fashioned themselves as melancholy in their diaries, portraits, and letters, and outlines the many ways that melancholy and lovesick women appear in literature. In Beaumont and Fletcher's The Maid's Tragedy and Ford's The Broken Heart, the lovesick woman's vocabulary of devotion paradoxically facilitates the expression of otherwise impermissible emotions, such as anger and sexual frustration. Revenge is achieved through self-punishment, in which masochism acts as a displaced form of aggression.Less
It is often claimed that whereas male lovesickness is classified as a form of melancholy—a malady associated with creativity, interiority, and intellect—the female version is considered a disorder of the womb. This chapter challenges this model, arguing that female lovesickness is a species of melancholy which can be depicted, not only as a passionate illness which degenerates into madness, but also as a spiritual and cerebral affliction. It offers examples of early modern Englishwomen who fashioned themselves as melancholy in their diaries, portraits, and letters, and outlines the many ways that melancholy and lovesick women appear in literature. In Beaumont and Fletcher's The Maid's Tragedy and Ford's The Broken Heart, the lovesick woman's vocabulary of devotion paradoxically facilitates the expression of otherwise impermissible emotions, such as anger and sexual frustration. Revenge is achieved through self-punishment, in which masochism acts as a displaced form of aggression.
Lesel Dawson
- Published in print:
- 2008
- Published Online:
- January 2009
- ISBN:
- 9780199266128
- eISBN:
- 9780191708688
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199266128.003.0005
- Subject:
- Literature, 16th-century and Renaissance Literature, Women's Literature
This chapter explores the ways in which the discourse of Platonic love and erotic melancholy advance different ideas about sexuality within amorous relationships and promote incompatible gender power ...
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This chapter explores the ways in which the discourse of Platonic love and erotic melancholy advance different ideas about sexuality within amorous relationships and promote incompatible gender power hierarchies. It begins with a discussion of the construction of love according to Neoplatonisms, before turning to an examination of two plays written during the Caroline period, when the cult of Platonic love was at its height. In ᾽Tis Pity She's a Whore, Ford depicts Giovanni's incestuous love for his sister as a type of Platonic mirroring which is also a form of narcissism. Alternatively, in The Platonic Lovers Davenant uses the hazardous physical symptoms of lovesickness to challenge the Neoplatonic construction of love, promoting a notion of heterosexual desire that is physiological and sexual, rather than abstract and spiritual.Less
This chapter explores the ways in which the discourse of Platonic love and erotic melancholy advance different ideas about sexuality within amorous relationships and promote incompatible gender power hierarchies. It begins with a discussion of the construction of love according to Neoplatonisms, before turning to an examination of two plays written during the Caroline period, when the cult of Platonic love was at its height. In ᾽Tis Pity She's a Whore, Ford depicts Giovanni's incestuous love for his sister as a type of Platonic mirroring which is also a form of narcissism. Alternatively, in The Platonic Lovers Davenant uses the hazardous physical symptoms of lovesickness to challenge the Neoplatonic construction of love, promoting a notion of heterosexual desire that is physiological and sexual, rather than abstract and spiritual.
Vaclav Smil
- Published in print:
- 2005
- Published Online:
- July 2005
- ISBN:
- 9780195168747
- eISBN:
- 9780199835522
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/0195168747.003.0003
- Subject:
- Economics and Finance, Economic History
Invention and commercialization of automotive internal combustion engines was a multistranded process that began during the 1880s in Germany with design by Benz, Daimler and Maybach, and then ...
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Invention and commercialization of automotive internal combustion engines was a multistranded process that began during the 1880s in Germany with design by Benz, Daimler and Maybach, and then received critical contributions from France, the UK, and the United States. Otto-cycle gasoline engines became the dominant prime movers in passenger cars as well as in the first airplanes, while diesel engines were initially limited to heavy-duty maritime and railroad applications. Line assembly introduced by Henry Ford provided a long-lasting solution to the mass manufacturing. The car industry eventually became the leading sector of modern economies and car culture has had a profound effect on many facets of modern life.Less
Invention and commercialization of automotive internal combustion engines was a multistranded process that began during the 1880s in Germany with design by Benz, Daimler and Maybach, and then received critical contributions from France, the UK, and the United States. Otto-cycle gasoline engines became the dominant prime movers in passenger cars as well as in the first airplanes, while diesel engines were initially limited to heavy-duty maritime and railroad applications. Line assembly introduced by Henry Ford provided a long-lasting solution to the mass manufacturing. The car industry eventually became the leading sector of modern economies and car culture has had a profound effect on many facets of modern life.
Ashley Chantler and Rob Hawkes (eds)
- Published in print:
- 2015
- Published Online:
- May 2016
- ISBN:
- 9780748694266
- eISBN:
- 9781474412391
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748694266.001.0001
- Subject:
- Literature, Criticism/Theory
War and the Mind: Ford Madox Ford’s Parade’s End, Modernism, and Psychology is a long-overdue examination of Ford’s First World War modernist masterpiece from the point of view of psychology and the ...
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War and the Mind: Ford Madox Ford’s Parade’s End, Modernism, and Psychology is a long-overdue examination of Ford’s First World War modernist masterpiece from the point of view of psychology and the effects of the war on the minds of those who fought and those at home. It adds to writing about First World War writers, war trauma and trauma theory, modernism, and literary Impressionism, and contributes to the burgeoning field of medical humanities by reconsidering Parade’s End in terms of the various mental and psychological disorders represented within its pages. War and the Mind is the first multi-authored study of Parade’s End that focuses on the psychological effects of the war, both upon Ford himself and upon his novel: its characters, its themes, and its form. The volume comprises ten chapters by experts on Ford, modernism, the First World War, and psychology. Issues discussed include Ford’s pioneering analysis of war trauma, trauma theory, shell shock, memory and repression, insomnia, empathy, therapy, literary Impressionism, and literary style. Other writers discussed include Conrad, Deleuze and Guattari, Foucault, Freud, William James, W. H. R. Rivers, Sassoon, May Sinclair, and Rebecca West.Less
War and the Mind: Ford Madox Ford’s Parade’s End, Modernism, and Psychology is a long-overdue examination of Ford’s First World War modernist masterpiece from the point of view of psychology and the effects of the war on the minds of those who fought and those at home. It adds to writing about First World War writers, war trauma and trauma theory, modernism, and literary Impressionism, and contributes to the burgeoning field of medical humanities by reconsidering Parade’s End in terms of the various mental and psychological disorders represented within its pages. War and the Mind is the first multi-authored study of Parade’s End that focuses on the psychological effects of the war, both upon Ford himself and upon his novel: its characters, its themes, and its form. The volume comprises ten chapters by experts on Ford, modernism, the First World War, and psychology. Issues discussed include Ford’s pioneering analysis of war trauma, trauma theory, shell shock, memory and repression, insomnia, empathy, therapy, literary Impressionism, and literary style. Other writers discussed include Conrad, Deleuze and Guattari, Foucault, Freud, William James, W. H. R. Rivers, Sassoon, May Sinclair, and Rebecca West.
W. Kip Viscusi
- Published in print:
- 1998
- Published Online:
- November 2003
- ISBN:
- 9780198293637
- eISBN:
- 9780191596995
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/0198293631.003.0007
- Subject:
- Economics and Finance, Microeconomics
The estimates of the value of life provide a basis for assessing the appropriate level of safety but not for providing compensation to victims. The proper use of value‐of‐life estimates is ...
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The estimates of the value of life provide a basis for assessing the appropriate level of safety but not for providing compensation to victims. The proper use of value‐of‐life estimates is illustrated using the Ford Pinto as a case study. Tort liability for risks imposes substantial costs, particularly for mass toxic torts. Calculations of the social costs of cigarette smoking indicate that smokers on balance pay their own way but do generate substantial health cost externalities. Workers’ compensation plays an effective role as social insurance both in providing compensation to victims as well as creating substantial incentives for safety.Less
The estimates of the value of life provide a basis for assessing the appropriate level of safety but not for providing compensation to victims. The proper use of value‐of‐life estimates is illustrated using the Ford Pinto as a case study. Tort liability for risks imposes substantial costs, particularly for mass toxic torts. Calculations of the social costs of cigarette smoking indicate that smokers on balance pay their own way but do generate substantial health cost externalities. Workers’ compensation plays an effective role as social insurance both in providing compensation to victims as well as creating substantial incentives for safety.
Benjamin Coriat
- Published in print:
- 2001
- Published Online:
- November 2003
- ISBN:
- 9780199248544
- eISBN:
- 9780191596155
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/0199248540.003.0009
- Subject:
- Economics and Finance, Microeconomics
The chapter is concerned with the differences between Japanese automobile manufacturers and American manufacturers, with the focus largely on the period between the 1950s and 1960s, and the late ...
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The chapter is concerned with the differences between Japanese automobile manufacturers and American manufacturers, with the focus largely on the period between the 1950s and 1960s, and the late 1980s and early 1990s. Toyota is taken as an archetypal Japanese automotive producer, while the Ford Motor Company is chosen as archetypal American automotive manufacturer. The chapter concentrates on the differences in their own right insofar as they reveal two different organizational archetypes and also tries to shed the light upon the concept of ‘routines’ through the examination of these differences. The author emphasizes that prevailing routines, in addition to serving to organize work and problem‐solving patterns, reflect the governance structures, modes of control, and compromises regarding competing interests, that prevail in an organization.Less
The chapter is concerned with the differences between Japanese automobile manufacturers and American manufacturers, with the focus largely on the period between the 1950s and 1960s, and the late 1980s and early 1990s. Toyota is taken as an archetypal Japanese automotive producer, while the Ford Motor Company is chosen as archetypal American automotive manufacturer. The chapter concentrates on the differences in their own right insofar as they reveal two different organizational archetypes and also tries to shed the light upon the concept of ‘routines’ through the examination of these differences. The author emphasizes that prevailing routines, in addition to serving to organize work and problem‐solving patterns, reflect the governance structures, modes of control, and compromises regarding competing interests, that prevail in an organization.
Eve Sorum
- Published in print:
- 2015
- Published Online:
- May 2016
- ISBN:
- 9780748694266
- eISBN:
- 9781474412391
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748694266.003.0004
- Subject:
- Literature, Criticism/Theory
This chapter brings early-twentieth-century theories of empathy into dialogue with Ford’s No More Parades and A Man Could Stand Up –. Probing the idea of literary abstraction and rereading art ...
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This chapter brings early-twentieth-century theories of empathy into dialogue with Ford’s No More Parades and A Man Could Stand Up –. Probing the idea of literary abstraction and rereading art historian Wilhelm Worringer’s Abstraction and Empathy (1908) through Gilles Deleuze and Felix Guattari’s later responses to Worringer, Eve Sorum argues that Ford’s abstract and distorted literary forms actually enable a shift into other perspectives. Ford’s experimental narratives urge us to question the systems by which we normally try to engage other perspectives, suggesting that these systems are forms of mental short-hand that fail when faced with trying to comprehend mass trauma. Ultimately, we can only stand in someone else’s shoes in this war world if we understand how dangerous the very act of standing up in one’s own shoes may be.Less
This chapter brings early-twentieth-century theories of empathy into dialogue with Ford’s No More Parades and A Man Could Stand Up –. Probing the idea of literary abstraction and rereading art historian Wilhelm Worringer’s Abstraction and Empathy (1908) through Gilles Deleuze and Felix Guattari’s later responses to Worringer, Eve Sorum argues that Ford’s abstract and distorted literary forms actually enable a shift into other perspectives. Ford’s experimental narratives urge us to question the systems by which we normally try to engage other perspectives, suggesting that these systems are forms of mental short-hand that fail when faced with trying to comprehend mass trauma. Ultimately, we can only stand in someone else’s shoes in this war world if we understand how dangerous the very act of standing up in one’s own shoes may be.
Charlotte Jones
- Published in print:
- 2015
- Published Online:
- May 2016
- ISBN:
- 9780748694266
- eISBN:
- 9781474412391
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748694266.003.0009
- Subject:
- Literature, Criticism/Theory
This chapter examines Ford’s Parade’s End in comparison to Rebecca’s West’s earlier novella, The Return of the Soldier, exploring the different ways in which their respective protagonists ‘work ...
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This chapter examines Ford’s Parade’s End in comparison to Rebecca’s West’s earlier novella, The Return of the Soldier, exploring the different ways in which their respective protagonists ‘work through’ the psychological and emotional legacy of war. Opening with an initial survey of contemporary responses to the newly-emergent condition ‘shell shock’ – medical definitions, military classifications and the emerging field of psychoanalysis as theorised by Freud and W. H. R. Rivers – the chapter goes on to discuss Ford and West’s engagement with these discourses in their fiction as both attempt to imagine the possibilities for the reintegration of the mind after the return from war. It concludes by exploring the ways in which this paradigm of psychological trauma contributes to the authors’ literary modernism.Less
This chapter examines Ford’s Parade’s End in comparison to Rebecca’s West’s earlier novella, The Return of the Soldier, exploring the different ways in which their respective protagonists ‘work through’ the psychological and emotional legacy of war. Opening with an initial survey of contemporary responses to the newly-emergent condition ‘shell shock’ – medical definitions, military classifications and the emerging field of psychoanalysis as theorised by Freud and W. H. R. Rivers – the chapter goes on to discuss Ford and West’s engagement with these discourses in their fiction as both attempt to imagine the possibilities for the reintegration of the mind after the return from war. It concludes by exploring the ways in which this paradigm of psychological trauma contributes to the authors’ literary modernism.
Leslie de Bont
- Published in print:
- 2015
- Published Online:
- May 2016
- ISBN:
- 9780748694266
- eISBN:
- 9781474412391
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748694266.003.0010
- Subject:
- Literature, Criticism/Theory
This chapter discusses the complex representations of war heroism in Ford Madox Ford’s Parade’s End and in May Sinclair’s four war novels: Tasker Jevons: The Real Story (1916), The Tree of Heaven ...
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This chapter discusses the complex representations of war heroism in Ford Madox Ford’s Parade’s End and in May Sinclair’s four war novels: Tasker Jevons: The Real Story (1916), The Tree of Heaven (1917), The Romantic (1920), and Anne Severn and the Fieldings (1922). It argues that Ford and Sinclair, albeit differently, helped forge a new type of literary war heroism through their specific use of Freudian psychoanalysis. With Ford and Sinclair, heroism is transferred from the expected war records to the many intellectual and psychological battles fought by the soldiers’ minds. The antecedents, thoughts, feelings, impressions, and unconscious mind of the soldiers are the main focus of Ford and Sinclair’s construction of war heroism. This chapter argues that the experience of fragmentation, the struggle for continuity through culture, and the impossibility of a return to civilian life are three of the key dynamics in Ford and Sinclair’s portrayal of their modernist heroes.Less
This chapter discusses the complex representations of war heroism in Ford Madox Ford’s Parade’s End and in May Sinclair’s four war novels: Tasker Jevons: The Real Story (1916), The Tree of Heaven (1917), The Romantic (1920), and Anne Severn and the Fieldings (1922). It argues that Ford and Sinclair, albeit differently, helped forge a new type of literary war heroism through their specific use of Freudian psychoanalysis. With Ford and Sinclair, heroism is transferred from the expected war records to the many intellectual and psychological battles fought by the soldiers’ minds. The antecedents, thoughts, feelings, impressions, and unconscious mind of the soldiers are the main focus of Ford and Sinclair’s construction of war heroism. This chapter argues that the experience of fragmentation, the struggle for continuity through culture, and the impossibility of a return to civilian life are three of the key dynamics in Ford and Sinclair’s portrayal of their modernist heroes.
