Peter Brooks
- Published in print:
- 2011
- Published Online:
- October 2017
- ISBN:
- 9780691151588
- eISBN:
- 9781400839698
- Item type:
- chapter
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691151588.003.0004
- Subject:
- Literature, Criticism/Theory
This chapter examines the case of an impostor. Within the general plot of disguise and misprision there may be a special place for the impostor, the willful trickster who would have others believe he ...
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This chapter examines the case of an impostor. Within the general plot of disguise and misprision there may be a special place for the impostor, the willful trickster who would have others believe he or she is another. The version of the impostor most familiar in the popular imagination may be the spy, especially the double agent. The spy offers a version of one's worst fears about the instability of one's self, one's proteanism as a certain hollowness. Meanwhile, psychoanalyst Helene Deutsch became interested in what she called “as-if” personalities who only tentatively inhabit one identity. Ultimately, imposture allows one to live out a life according to one's fantasies without attributing this life to one's self, since one knows one's “true” identity is not up to the fantasy.Less
This chapter examines the case of an impostor. Within the general plot of disguise and misprision there may be a special place for the impostor, the willful trickster who would have others believe he or she is another. The version of the impostor most familiar in the popular imagination may be the spy, especially the double agent. The spy offers a version of one's worst fears about the instability of one's self, one's proteanism as a certain hollowness. Meanwhile, psychoanalyst Helene Deutsch became interested in what she called “as-if” personalities who only tentatively inhabit one identity. Ultimately, imposture allows one to live out a life according to one's fantasies without attributing this life to one's self, since one knows one's “true” identity is not up to the fantasy.
Jessica Waldoff
- Published in print:
- 2006
- Published Online:
- May 2008
- ISBN:
- 9780195151978
- eISBN:
- 9780199870387
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195151978.003.0003
- Subject:
- Music, Opera
This chapter opens with a review of critical thinking about recognition in literary genres, beginning with Aristotle. This historical context is indispensable, though, as Terence Cave suggests, an ...
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This chapter opens with a review of critical thinking about recognition in literary genres, beginning with Aristotle. This historical context is indispensable, though, as Terence Cave suggests, an understanding of recognition can be limited neither to Aristotle nor to its role in the literatures he knew and favored. An overview of recognition in Mozart's operas follows, focusing on topics of special interest: the recognition of identity and its status in Mozart's day (as opposed to Aristotle's), the role of disguise and its revelation, the quest for self-discovery, and the conventions of ending (including the relationship between dénouement and lieto fine). Scenes receiving critical consideration and musical analysis include the recognition scene of father and son in Idomeneo, the ending of Die Entführung aus dem Serail, and Pamina's attempted suicide in Die Zauberflöte.Less
This chapter opens with a review of critical thinking about recognition in literary genres, beginning with Aristotle. This historical context is indispensable, though, as Terence Cave suggests, an understanding of recognition can be limited neither to Aristotle nor to its role in the literatures he knew and favored. An overview of recognition in Mozart's operas follows, focusing on topics of special interest: the recognition of identity and its status in Mozart's day (as opposed to Aristotle's), the role of disguise and its revelation, the quest for self-discovery, and the conventions of ending (including the relationship between dénouement and lieto fine). Scenes receiving critical consideration and musical analysis include the recognition scene of father and son in Idomeneo, the ending of Die Entführung aus dem Serail, and Pamina's attempted suicide in Die Zauberflöte.
Jessica Waldoff
- Published in print:
- 2006
- Published Online:
- May 2008
- ISBN:
- 9780195151978
- eISBN:
- 9780199870387
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195151978.003.0006
- Subject:
- Music, Opera
This chapter shows how critical thinking about recognition makes it possible to reframe the questions that have dominated the reception of this opera. Is Don Giovanni a hero or a villain? Is the ...
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This chapter shows how critical thinking about recognition makes it possible to reframe the questions that have dominated the reception of this opera. Is Don Giovanni a hero or a villain? Is the opera a comedy or a tragedy? Does the conclusion dramatize moral triumph or heroic defiance? At the climax of the opera, the moral truth towards which its recognition scenes have been pointing comes into conflict with the titanic defiance of its protagonist: recognition is denied. This ending creates a disjunction between dénouement (Don Giovanni's damnation) and lieto fine (the other characters' recognition of the moral of his tale). Critical thinking about recognition makes it possible to understand the problems surrounding the ending — including the performance tradition of omitting the scena ultima and lieto fine to conclude the opera with fire and brimstone — in a new way.Less
This chapter shows how critical thinking about recognition makes it possible to reframe the questions that have dominated the reception of this opera. Is Don Giovanni a hero or a villain? Is the opera a comedy or a tragedy? Does the conclusion dramatize moral triumph or heroic defiance? At the climax of the opera, the moral truth towards which its recognition scenes have been pointing comes into conflict with the titanic defiance of its protagonist: recognition is denied. This ending creates a disjunction between dénouement (Don Giovanni's damnation) and lieto fine (the other characters' recognition of the moral of his tale). Critical thinking about recognition makes it possible to understand the problems surrounding the ending — including the performance tradition of omitting the scena ultima and lieto fine to conclude the opera with fire and brimstone — in a new way.
Alan C. L. Yu
- Published in print:
- 2007
- Published Online:
- September 2007
- ISBN:
- 9780199279388
- eISBN:
- 9780191707346
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199279388.003.0006
- Subject:
- Linguistics, Phonetics / Phonology
This chapter explores some of the ramifications of the phonological subcategorization approach to infixation. It examines the possibility of the so-called ‘genuine’ infixation. It then takes a brief ...
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This chapter explores some of the ramifications of the phonological subcategorization approach to infixation. It examines the possibility of the so-called ‘genuine’ infixation. It then takes a brief foray into the realm of infixal ludlings and endoclisis. Finally, it explores further the ramifications of adopting a phonological subcategorization approach to infixation.Less
This chapter explores some of the ramifications of the phonological subcategorization approach to infixation. It examines the possibility of the so-called ‘genuine’ infixation. It then takes a brief foray into the realm of infixal ludlings and endoclisis. Finally, it explores further the ramifications of adopting a phonological subcategorization approach to infixation.
Peter Hinds
- Published in print:
- 2010
- Published Online:
- January 2012
- ISBN:
- 9780197264430
- eISBN:
- 9780191733994
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197264430.003.0012
- Subject:
- Literature, 17th-century and Restoration Literature
This concluding chapter discusses the realizations and attempts that were made in the previous chapters. It focuses on Roger L'Estrange, who was preoccupied with authority and used metaphors to ...
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This concluding chapter discusses the realizations and attempts that were made in the previous chapters. It focuses on Roger L'Estrange, who was preoccupied with authority and used metaphors to describe disguise and opacity. He was a prolific writer of pamphlets and periodicals, and was also fully alive to the manipulations and distortions of political discourse. Roger L'Estrange is also shown to have professed moderation, but he was found to be frequently guilty of zeal and running to extremes. The representation of Catholics is revealed to have been crucial for the credit of the plot.Less
This concluding chapter discusses the realizations and attempts that were made in the previous chapters. It focuses on Roger L'Estrange, who was preoccupied with authority and used metaphors to describe disguise and opacity. He was a prolific writer of pamphlets and periodicals, and was also fully alive to the manipulations and distortions of political discourse. Roger L'Estrange is also shown to have professed moderation, but he was found to be frequently guilty of zeal and running to extremes. The representation of Catholics is revealed to have been crucial for the credit of the plot.
Priya Satia
- Published in print:
- 2008
- Published Online:
- May 2008
- ISBN:
- 9780195331417
- eISBN:
- 9780199868070
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195331417.003.0004
- Subject:
- History, British and Irish Early Modern History
This chapter describes how agents' experiences on the ground in the Middle East strengthened their antiempirical disposition. In particular, their orientalist vision cast the region as a land of ...
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This chapter describes how agents' experiences on the ground in the Middle East strengthened their antiempirical disposition. In particular, their orientalist vision cast the region as a land of lying natives and ineffable and unmappable topography. Their invention of an intuitive intelligence epistemology, supported by an impressionistic reporting style, at once solved their practical difficulties and fulfilled their spiritual longings and literary aspirations. As intuitive experts, key intelligence agents gained a reputation for genius and superheroic qualities, they took charge of affairs in the region during the war, and their intelligence style was concretized as a set of official tactics. The intuitive mode was also being espoused at home by novelists and other artists experimenting with new ways of knowing. The agents' literary output was part of this genre.Less
This chapter describes how agents' experiences on the ground in the Middle East strengthened their antiempirical disposition. In particular, their orientalist vision cast the region as a land of lying natives and ineffable and unmappable topography. Their invention of an intuitive intelligence epistemology, supported by an impressionistic reporting style, at once solved their practical difficulties and fulfilled their spiritual longings and literary aspirations. As intuitive experts, key intelligence agents gained a reputation for genius and superheroic qualities, they took charge of affairs in the region during the war, and their intelligence style was concretized as a set of official tactics. The intuitive mode was also being espoused at home by novelists and other artists experimenting with new ways of knowing. The agents' literary output was part of this genre.
Emmanuela Bakola
- Published in print:
- 2009
- Published Online:
- February 2010
- ISBN:
- 9780199569359
- eISBN:
- 9780191722332
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199569359.003.0006
- Subject:
- Classical Studies, Poetry and Poets: Classical, Early, and Medieval
Chapter 5 explores dramaturgical and stagecraft aspects of Cratinus' comedies. First it discusses the construction and use of dramatic space in Odysseis, Plutoi, Nemesis, and Seriphioi, especially ...
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Chapter 5 explores dramaturgical and stagecraft aspects of Cratinus' comedies. First it discusses the construction and use of dramatic space in Odysseis, Plutoi, Nemesis, and Seriphioi, especially in the opening scenes. It also explores Cratinus' dramatization of the literary topos of the storm, his large stage props, machinery and change of scenes. In Dionysalexandros it discusses the role of costume and disguise, arguing that it constitutes a major aspect of the comedy's enagagement with Dionysiac initiation ritual. Finally, by looking at Pytine and Dionysalexandros it explores how Cratinus' use of imagery and personification was realized in performance and shaped the stage action.Less
Chapter 5 explores dramaturgical and stagecraft aspects of Cratinus' comedies. First it discusses the construction and use of dramatic space in Odysseis, Plutoi, Nemesis, and Seriphioi, especially in the opening scenes. It also explores Cratinus' dramatization of the literary topos of the storm, his large stage props, machinery and change of scenes. In Dionysalexandros it discusses the role of costume and disguise, arguing that it constitutes a major aspect of the comedy's enagagement with Dionysiac initiation ritual. Finally, by looking at Pytine and Dionysalexandros it explores how Cratinus' use of imagery and personification was realized in performance and shaped the stage action.
Stuart Carroll
- Published in print:
- 2006
- Published Online:
- January 2010
- ISBN:
- 9780199290451
- eISBN:
- 9780191710490
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199290451.003.0006
- Subject:
- History, European Early Modern History
Counsel is one of the most important, least understood, and most elusive elements of politics in early modern France. Table talk in all households revolved around plots and schemes designed to ...
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Counsel is one of the most important, least understood, and most elusive elements of politics in early modern France. Table talk in all households revolved around plots and schemes designed to further the lineage at the expense of one's neighbour. Plots were disguised as fair duels or chance encounters. Behind much of the surviving evidence of face-to-face killing in this period lies the hidden history of calculation and conspiracy. One of the best documented vengeance killings of the 17th century involving two feuding families provides a good opportunity to explore the dynamics of family decision making and group solidarity. This chapter also discusses ambush and surprise attacks, use of disguise and concealment to commit crime, and escape of those who committed the crime.Less
Counsel is one of the most important, least understood, and most elusive elements of politics in early modern France. Table talk in all households revolved around plots and schemes designed to further the lineage at the expense of one's neighbour. Plots were disguised as fair duels or chance encounters. Behind much of the surviving evidence of face-to-face killing in this period lies the hidden history of calculation and conspiracy. One of the best documented vengeance killings of the 17th century involving two feuding families provides a good opportunity to explore the dynamics of family decision making and group solidarity. This chapter also discusses ambush and surprise attacks, use of disguise and concealment to commit crime, and escape of those who committed the crime.
W. S. Graham
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780199657001
- eISBN:
- 9780191742194
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199657001.003.0003
- Subject:
- Literature, Poetry, 20th-century and Contemporary Literature
This chapter turns to Graham's wittily and often rudely plain-speaking addresses, charting instances where you must remain alert to what is ‘fashionable enough’, and not passively follow in the ...
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This chapter turns to Graham's wittily and often rudely plain-speaking addresses, charting instances where you must remain alert to what is ‘fashionable enough’, and not passively follow in the footsteps of literary masters. Insistent upon one's need to be in touch with the age's tastes, and to resist being merely, glibly, ‘in fashion’, these addresses explore both the politics and playfulness of fashion, dressing-up, style and stylishness. Bringing disguise into contact with its more negative associations too (fraudulence, ideological manipulation, exposure and betrayal), you is used to expose the strategic negotiations between England and Scotland over the Union. Attention focuses on Graham's oblique addresses to Bonnie Prince Charlie, in whom the tropes of literal and figurative disguise culminate.W. S. GrahamLess
This chapter turns to Graham's wittily and often rudely plain-speaking addresses, charting instances where you must remain alert to what is ‘fashionable enough’, and not passively follow in the footsteps of literary masters. Insistent upon one's need to be in touch with the age's tastes, and to resist being merely, glibly, ‘in fashion’, these addresses explore both the politics and playfulness of fashion, dressing-up, style and stylishness. Bringing disguise into contact with its more negative associations too (fraudulence, ideological manipulation, exposure and betrayal), you is used to expose the strategic negotiations between England and Scotland over the Union. Attention focuses on Graham's oblique addresses to Bonnie Prince Charlie, in whom the tropes of literal and figurative disguise culminate.W. S. Graham
Dúnlaith Bird
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780199644162
- eISBN:
- 9780199949984
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199644162.003.0005
- Subject:
- Literature, European Literature
Cross-dressing in women’s travel writing of the nineteenth and twentieth centuries can be seen as a carnivalesque affair, featuring bearded ladies and flamboyant Queens. Using the performative gender ...
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Cross-dressing in women’s travel writing of the nineteenth and twentieth centuries can be seen as a carnivalesque affair, featuring bearded ladies and flamboyant Queens. Using the performative gender theories of Judith Butler and Marjorie Garber, this chapter questions the extent to which such theatrical cross-dressing allows European women travel writers to transgress social boundaries in their home and host countries. The first section of this chapter considers Jane Dieulafoy’s painstaking construction of textual legitimacy for her cross-dressing, which both invokes and abjures the legacy of bearded Queens by displacing it along Oriental cultural fault lines. It then examines the tensions that emerge in Isabella Bird’s travelogues as a result of the author’s determination to convincingly perform femininity in the Orient for her British audience. The final section explores Isabelle Eberhardt’s more radical constructions of linguistic and physical gender vagabondage in Algeria and Tunisia, and the restrictive social mechanisms they provoke.Less
Cross-dressing in women’s travel writing of the nineteenth and twentieth centuries can be seen as a carnivalesque affair, featuring bearded ladies and flamboyant Queens. Using the performative gender theories of Judith Butler and Marjorie Garber, this chapter questions the extent to which such theatrical cross-dressing allows European women travel writers to transgress social boundaries in their home and host countries. The first section of this chapter considers Jane Dieulafoy’s painstaking construction of textual legitimacy for her cross-dressing, which both invokes and abjures the legacy of bearded Queens by displacing it along Oriental cultural fault lines. It then examines the tensions that emerge in Isabella Bird’s travelogues as a result of the author’s determination to convincingly perform femininity in the Orient for her British audience. The final section explores Isabelle Eberhardt’s more radical constructions of linguistic and physical gender vagabondage in Algeria and Tunisia, and the restrictive social mechanisms they provoke.
Margaret Topping
- Published in print:
- 2000
- Published Online:
- October 2011
- ISBN:
- 9780198160083
- eISBN:
- 9780191673771
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198160083.003.0004
- Subject:
- Literature, European Literature
By infusing his work with deliberate incongruity and conscious oscillation between metaphorical contractions and expansions, Proust has transcended narrow preconceptions and humdrum perspectives. In ...
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By infusing his work with deliberate incongruity and conscious oscillation between metaphorical contractions and expansions, Proust has transcended narrow preconceptions and humdrum perspectives. In a highly suggestive network of Christian and mythological figures of speech, he has dramatized this denial of black-and-white distinctions. The introduction showed how Proust has extended and transformed both the long-established anticlerical tradition in France. The most compelling evidence of this bold and original reinvention of sources was explored in Chapters 1 and 2. Duality and disguise were identified as the motifs which bind together the grand associative fabric of Christian and mythological figures of speech in the novel. Chapter 3 introduced the image of A la recherche as made up of interwoven layers which were originally developed in a variety of media, including the literary texts other than A la recherche and the monumental collection of personal correspondence.Less
By infusing his work with deliberate incongruity and conscious oscillation between metaphorical contractions and expansions, Proust has transcended narrow preconceptions and humdrum perspectives. In a highly suggestive network of Christian and mythological figures of speech, he has dramatized this denial of black-and-white distinctions. The introduction showed how Proust has extended and transformed both the long-established anticlerical tradition in France. The most compelling evidence of this bold and original reinvention of sources was explored in Chapters 1 and 2. Duality and disguise were identified as the motifs which bind together the grand associative fabric of Christian and mythological figures of speech in the novel. Chapter 3 introduced the image of A la recherche as made up of interwoven layers which were originally developed in a variety of media, including the literary texts other than A la recherche and the monumental collection of personal correspondence.
Ronald Hutton
- Published in print:
- 1996
- Published Online:
- October 2011
- ISBN:
- 9780198205708
- eISBN:
- 9780191676758
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198205708.003.0009
- Subject:
- History, British and Irish Medieval History, British and Irish Early Modern History
From one end of nineteenth-century Britain to another there were districts in which young people, and sometimes adults, used fancy dress as a means both to personal enjoyment and to profit. In the ...
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From one end of nineteenth-century Britain to another there were districts in which young people, and sometimes adults, used fancy dress as a means both to personal enjoyment and to profit. In the Shetland Isles, the ‘skeklers’ or ‘gulicks’ were abroad during the evenings of the Twelve Days; youths dressed in straw costumes with conical hats, handkerchiefs covering their faces. Once admitted to a home, the skeklers would dance and be rewarded with refreshments and a little money. Festival disguise may in places have been an expression of merry-making, but was generally, by the nineteenth century, another part of the considerable number of ritualized means of making money or earning hospitality at midwinter. That this was always so is suggested by the number of payments to ‘mummers’ in early modern household accounts. Into the same pattern fits one of the most curious, and celebrated, of Christmastide ‘ritual reversals’: the hunting, killing, and display of wrens.Less
From one end of nineteenth-century Britain to another there were districts in which young people, and sometimes adults, used fancy dress as a means both to personal enjoyment and to profit. In the Shetland Isles, the ‘skeklers’ or ‘gulicks’ were abroad during the evenings of the Twelve Days; youths dressed in straw costumes with conical hats, handkerchiefs covering their faces. Once admitted to a home, the skeklers would dance and be rewarded with refreshments and a little money. Festival disguise may in places have been an expression of merry-making, but was generally, by the nineteenth century, another part of the considerable number of ritualized means of making money or earning hospitality at midwinter. That this was always so is suggested by the number of payments to ‘mummers’ in early modern household accounts. Into the same pattern fits one of the most curious, and celebrated, of Christmastide ‘ritual reversals’: the hunting, killing, and display of wrens.
Barrie Gunter
- Published in print:
- 2015
- Published Online:
- May 2016
- ISBN:
- 9780719097874
- eISBN:
- 9781526104359
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719097874.003.0004
- Subject:
- Society and Culture, Media Studies
This chapter builds on the previous chapter and places more emphasis on the concept of the ‘brand’ and how children become aware of it. We know that as children pass through different stages of ...
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This chapter builds on the previous chapter and places more emphasis on the concept of the ‘brand’ and how children become aware of it. We know that as children pass through different stages of psychological development, their abilities to understand the world in increasingly complex ways evolves. How does this knowledge of child developmental psychology translate into a model for enabling us to comprehend children's growing awareness of brands? Research is examined that shows the extent of brand awareness at different ages and how this can be linked back to what we might expect given a child's level of cognitive or social development. It also introduces the new phenomena or subtle or disguised forms of advertising such as product placement and the use of branded social media sites or virtual environments. How do these different forms of marketing affect children?Less
This chapter builds on the previous chapter and places more emphasis on the concept of the ‘brand’ and how children become aware of it. We know that as children pass through different stages of psychological development, their abilities to understand the world in increasingly complex ways evolves. How does this knowledge of child developmental psychology translate into a model for enabling us to comprehend children's growing awareness of brands? Research is examined that shows the extent of brand awareness at different ages and how this can be linked back to what we might expect given a child's level of cognitive or social development. It also introduces the new phenomena or subtle or disguised forms of advertising such as product placement and the use of branded social media sites or virtual environments. How do these different forms of marketing affect children?
Brian Hamnett
- Published in print:
- 2011
- Published Online:
- January 2012
- ISBN:
- 9780199695041
- eISBN:
- 9780191732164
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199695041.003.0005
- Subject:
- Literature, European Literature, 19th-century and Victorian Literature
Walter Scott did not invent the historical novel, yet his Scottish novels showed the possibilities inherent in this type of fiction. Well-versed in earlier French fiction, German historical drama, ...
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Walter Scott did not invent the historical novel, yet his Scottish novels showed the possibilities inherent in this type of fiction. Well-versed in earlier French fiction, German historical drama, and English fiction of the eighteenth century, Scott brought romance back into the novel and did not shrink from adapting Gothic elements to his plots. Like his German forebears, he focused on rebels, outlaw bands, and lost causes. Historical characters almost never played the principal role in the action. John Galt’s portrayal of religious fanaticism in ‘Ringan Gilhaize’ outpaced even Scott’s ‘Old Mortality’. The latter’s exploration of the theme of national identity—Scotland after the Union with England and under the Protestant Succession—appealed to continental-European writers and readers concerned with national unification, as in Germany or Italy. The medieval novels ‘Ivanhoe’ and ‘Quentin Durward’ appealed greatly to French readers less concerned with the national problem. Scott had many continental translators and imitators, but reaction set in from the 1830s and his work rapidly lost popularity and esteem—perhaps regrettably.Less
Walter Scott did not invent the historical novel, yet his Scottish novels showed the possibilities inherent in this type of fiction. Well-versed in earlier French fiction, German historical drama, and English fiction of the eighteenth century, Scott brought romance back into the novel and did not shrink from adapting Gothic elements to his plots. Like his German forebears, he focused on rebels, outlaw bands, and lost causes. Historical characters almost never played the principal role in the action. John Galt’s portrayal of religious fanaticism in ‘Ringan Gilhaize’ outpaced even Scott’s ‘Old Mortality’. The latter’s exploration of the theme of national identity—Scotland after the Union with England and under the Protestant Succession—appealed to continental-European writers and readers concerned with national unification, as in Germany or Italy. The medieval novels ‘Ivanhoe’ and ‘Quentin Durward’ appealed greatly to French readers less concerned with the national problem. Scott had many continental translators and imitators, but reaction set in from the 1830s and his work rapidly lost popularity and esteem—perhaps regrettably.
PETER C. OLIVER
- Published in print:
- 2005
- Published Online:
- January 2010
- ISBN:
- 9780198268956
- eISBN:
- 9780191713200
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198268956.003.0011
- Subject:
- Law, Constitutional and Administrative Law
This chapter begins with a detailed discussion of the attempts by constitutional commentators in Australia, Canada, and New Zealand to explain the fundamental changes that occurred in 1982 and 1986. ...
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This chapter begins with a detailed discussion of the attempts by constitutional commentators in Australia, Canada, and New Zealand to explain the fundamental changes that occurred in 1982 and 1986. While a great deal of descriptive writing was published at this time, this chapter focuses on those writers who attempted to explore more carefully the legal, political, and social forces that were at play.Less
This chapter begins with a detailed discussion of the attempts by constitutional commentators in Australia, Canada, and New Zealand to explain the fundamental changes that occurred in 1982 and 1986. While a great deal of descriptive writing was published at this time, this chapter focuses on those writers who attempted to explore more carefully the legal, political, and social forces that were at play.
James H. Johnson
- Published in print:
- 2011
- Published Online:
- March 2012
- ISBN:
- 9780520267718
- eISBN:
- 9780520948624
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520267718.003.0002
- Subject:
- History, European Modern History
The carnival season in Venice began unofficially on December 26, when the theaters reopened after a ten-day break for Christmas. This day signaled an influx of tourists, whose numbers grew during the ...
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The carnival season in Venice began unofficially on December 26, when the theaters reopened after a ten-day break for Christmas. This day signaled an influx of tourists, whose numbers grew during the following two months. The government decreed the official beginning of each carnival season, which varied from year to year. During this period, carnival turned Venice into a stage and turned everyone into a performer. This chapter narrates the story of the Venice carnival. It particularly focused on the violence, the high hilarity, and the solemn ceremony that characterized the Venice carnival. The Venetian carnival was a time outside of time. It was a time when common mores and morals were suspended and identities put in flux. For connoisseurs, the Venetian carnival was a time when the society’s artificial rules gave way to the truths of nature. For the disapproving, it furnished a ready narrative for the Republic’s decline and fall: moral decay weakened foundations and the state would eventually collapse. And for those seeking political meaning in acts of transgression, the carnival granted ample evidence for equality in the moment of disguise.Less
The carnival season in Venice began unofficially on December 26, when the theaters reopened after a ten-day break for Christmas. This day signaled an influx of tourists, whose numbers grew during the following two months. The government decreed the official beginning of each carnival season, which varied from year to year. During this period, carnival turned Venice into a stage and turned everyone into a performer. This chapter narrates the story of the Venice carnival. It particularly focused on the violence, the high hilarity, and the solemn ceremony that characterized the Venice carnival. The Venetian carnival was a time outside of time. It was a time when common mores and morals were suspended and identities put in flux. For connoisseurs, the Venetian carnival was a time when the society’s artificial rules gave way to the truths of nature. For the disapproving, it furnished a ready narrative for the Republic’s decline and fall: moral decay weakened foundations and the state would eventually collapse. And for those seeking political meaning in acts of transgression, the carnival granted ample evidence for equality in the moment of disguise.
James H. Johnson
- Published in print:
- 2011
- Published Online:
- March 2012
- ISBN:
- 9780520267718
- eISBN:
- 9780520948624
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520267718.003.0007
- Subject:
- History, European Modern History
This chapter discusses the practice of donning masks in Venice. In the eighteenth century masks were the norm in Venice, and they were worn beyond the carnival season for occasions that were far from ...
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This chapter discusses the practice of donning masks in Venice. In the eighteenth century masks were the norm in Venice, and they were worn beyond the carnival season for occasions that were far from festive. Against the common notion held by visitors that masks were associated with carnival and that Venetians celebrated carnival for six months a year, the masks were a relatively common sight in Venice for other reasons. While the masks served as a form of deceit and disguise Venetians intended the mask as not a form of deceit or a disguise, rather the act of donning a mask was a tradition heavily engraved in Venetian culture. Aside from at the carnival, Venetians donned masks on other occasions. Nobles for instance wore masks when they receive foreign diplomats, when they attend a marriage of one of the doge’s children, or when they witnessed the installation of church. They also observed the wearing of masks on special dates in history and when greeting masked heads of state traveling incognito. The masks also served as vehicles of crime. The mask, tabàro, and baùta were godsend to smugglers, card sharks, and thieves. In addition, masks also accorded reverence and equality.Less
This chapter discusses the practice of donning masks in Venice. In the eighteenth century masks were the norm in Venice, and they were worn beyond the carnival season for occasions that were far from festive. Against the common notion held by visitors that masks were associated with carnival and that Venetians celebrated carnival for six months a year, the masks were a relatively common sight in Venice for other reasons. While the masks served as a form of deceit and disguise Venetians intended the mask as not a form of deceit or a disguise, rather the act of donning a mask was a tradition heavily engraved in Venetian culture. Aside from at the carnival, Venetians donned masks on other occasions. Nobles for instance wore masks when they receive foreign diplomats, when they attend a marriage of one of the doge’s children, or when they witnessed the installation of church. They also observed the wearing of masks on special dates in history and when greeting masked heads of state traveling incognito. The masks also served as vehicles of crime. The mask, tabàro, and baùta were godsend to smugglers, card sharks, and thieves. In addition, masks also accorded reverence and equality.
Joshua Glasgow
- Published in print:
- 2020
- Published Online:
- September 2020
- ISBN:
- 9780190074302
- eISBN:
- 9780190074333
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190074302.003.0009
- Subject:
- Philosophy, General
This chapter examines the possibility that we might find positive value in death if we are grateful for the life of which death is a part. But can we be grateful for bad things? There are blessings ...
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This chapter examines the possibility that we might find positive value in death if we are grateful for the life of which death is a part. But can we be grateful for bad things? There are blessings in disguise, where we are grateful for a good result of some bad event. However, in these cases we’d rather have the good result without the bad event. And if we try to find these hidden values in death, we run into the problem that the usual ways in which death has good side-effects—it can cause us to reevaluate our priorities and live life fully—are elusive, unstable, and diminishing.Less
This chapter examines the possibility that we might find positive value in death if we are grateful for the life of which death is a part. But can we be grateful for bad things? There are blessings in disguise, where we are grateful for a good result of some bad event. However, in these cases we’d rather have the good result without the bad event. And if we try to find these hidden values in death, we run into the problem that the usual ways in which death has good side-effects—it can cause us to reevaluate our priorities and live life fully—are elusive, unstable, and diminishing.
Douglas Allchin
- Published in print:
- 2017
- Published Online:
- November 2020
- ISBN:
- 9780190490362
- eISBN:
- 9780197559659
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190490362.003.0022
- Subject:
- Education, Teaching of a Specific Subject
Deception abounds in nature. Some species are first-rate con artists. Anglerfish with appendages that mimic squiggling morsels to lure unsuspecting prey. ...
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Deception abounds in nature. Some species are first-rate con artists. Anglerfish with appendages that mimic squiggling morsels to lure unsuspecting prey. Carnivorous pitcher plants that emit the aroma of rotting flesh and attract flies to their doom. Orchids that resemble female wasps, decoys for male wasp pollinators. Cuttlefish whose color and pattern change with the background as a disguise against predators. Deceptive patterns, smells, or sounds in organisms wonderfully reflect the adaptive response to opportunity. So, too, in human culture? Humans can take advantage of cultural conditions and deceive others to promote their own interests. So if science receives cultural authority, it should surprise no one that those seeking power or profit might try to mimic it. Indeed, the more authority we give to science, the greater the likelihood of science impostors—and the more sophisticated their deceptive tactics. Cultural anthropologist Chris Toumey likens the process to a magician’s illusions. Imitators “conjure” science, he says, “from cheap symbols and ersatz images.” It is an apt and vivid label. We could just as easily call them science con artists (Figure 15.1). Liars. Cheats. Predictable opportunists who seek our confidence using a semblance of science. Many proponents of science endeavor to inform citizens and consumers so that they do not succumb to such wiles. The typical posture, too easily adopted I think, is that simple knowledge of the scientific method or of how to evaluate scientific evidence will suffice. By learning about what defines science and what pseudoscience, one supposedly is empowered to debunk the charades. Yet one may well question this sacred bovine. A sampling of recent historical cases may indicate how prevalent science con artists are in modern society. They are far more significant than commonly assumed. Science and what counts as science publicly can diverge sharply (essay 13). Specific skills may help one sort experts from nonexperts (essay 14). But con artists use various psychological stratagems to gain trust by bypassing questions of expertise.
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Deception abounds in nature. Some species are first-rate con artists. Anglerfish with appendages that mimic squiggling morsels to lure unsuspecting prey. Carnivorous pitcher plants that emit the aroma of rotting flesh and attract flies to their doom. Orchids that resemble female wasps, decoys for male wasp pollinators. Cuttlefish whose color and pattern change with the background as a disguise against predators. Deceptive patterns, smells, or sounds in organisms wonderfully reflect the adaptive response to opportunity. So, too, in human culture? Humans can take advantage of cultural conditions and deceive others to promote their own interests. So if science receives cultural authority, it should surprise no one that those seeking power or profit might try to mimic it. Indeed, the more authority we give to science, the greater the likelihood of science impostors—and the more sophisticated their deceptive tactics. Cultural anthropologist Chris Toumey likens the process to a magician’s illusions. Imitators “conjure” science, he says, “from cheap symbols and ersatz images.” It is an apt and vivid label. We could just as easily call them science con artists (Figure 15.1). Liars. Cheats. Predictable opportunists who seek our confidence using a semblance of science. Many proponents of science endeavor to inform citizens and consumers so that they do not succumb to such wiles. The typical posture, too easily adopted I think, is that simple knowledge of the scientific method or of how to evaluate scientific evidence will suffice. By learning about what defines science and what pseudoscience, one supposedly is empowered to debunk the charades. Yet one may well question this sacred bovine. A sampling of recent historical cases may indicate how prevalent science con artists are in modern society. They are far more significant than commonly assumed. Science and what counts as science publicly can diverge sharply (essay 13). Specific skills may help one sort experts from nonexperts (essay 14). But con artists use various psychological stratagems to gain trust by bypassing questions of expertise.
Simon Palfrey
- Published in print:
- 2014
- Published Online:
- January 2015
- ISBN:
- 9780226150642
- eISBN:
- 9780226150789
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226150789.003.0007
- Subject:
- Literature, 16th-century and Renaissance Literature
A sequence of 70 aphorisms—or contingent assertions—each pressing at the question of what Tom is, and more broadly theatrical ontology. He is the thing itself, a disguise, Edgar’s repressed desires ...
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A sequence of 70 aphorisms—or contingent assertions—each pressing at the question of what Tom is, and more broadly theatrical ontology. He is the thing itself, a disguise, Edgar’s repressed desires or hidden truth, an act, living theater, the fact of life, or of life’s impossibility, or its cruelty; a living death, or living as dying; an embodiment of tragedy; an origin replayed, original sin, the lives unlived, a creature under erasure, a life in scenes, as true or untrue as any other theatrical figure. Tom is living King Lear.Less
A sequence of 70 aphorisms—or contingent assertions—each pressing at the question of what Tom is, and more broadly theatrical ontology. He is the thing itself, a disguise, Edgar’s repressed desires or hidden truth, an act, living theater, the fact of life, or of life’s impossibility, or its cruelty; a living death, or living as dying; an embodiment of tragedy; an origin replayed, original sin, the lives unlived, a creature under erasure, a life in scenes, as true or untrue as any other theatrical figure. Tom is living King Lear.
