Mark Wilson
- Published in print:
- 2006
- Published Online:
- January 2007
- ISBN:
- 9780199269259
- eISBN:
- 9780191710155
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199269259.003.0008
- Subject:
- Philosophy, Philosophy of Language
This chapter investigates the implications of these conclusions with respect to rule-following and rigor's implementation. It begins with a survey of common philosophical tensions over these topics ...
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This chapter investigates the implications of these conclusions with respect to rule-following and rigor's implementation. It begins with a survey of common philosophical tensions over these topics and recommends a seasonal sensitivity with respect to the competing demands that syntax and ‘semantic picture’ place upon a usage. The historical travails of Oliver Heaviside's operational calculus provide a vivid illustration of how reasonable standards of rigor must adapt and shift over time.Less
This chapter investigates the implications of these conclusions with respect to rule-following and rigor's implementation. It begins with a survey of common philosophical tensions over these topics and recommends a seasonal sensitivity with respect to the competing demands that syntax and ‘semantic picture’ place upon a usage. The historical travails of Oliver Heaviside's operational calculus provide a vivid illustration of how reasonable standards of rigor must adapt and shift over time.
Aviad Kleinberg
- Published in print:
- 2015
- Published Online:
- May 2016
- ISBN:
- 9780231174701
- eISBN:
- 9780231540247
- Item type:
- chapter
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231174701.003.0011
- Subject:
- Religion, Philosophy of Religion
Where the voice of God at Mount Sinai renders Maimonides speechless.
Where the voice of God at Mount Sinai renders Maimonides speechless.
Christopher Prendergast
- Published in print:
- 2013
- Published Online:
- October 2017
- ISBN:
- 9780691155203
- eISBN:
- 9781400846313
- Item type:
- chapter
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691155203.003.0003
- Subject:
- Literature, Criticism/Theory
This chapter examines the idea of literature as magic-making by focusing on Marcel Proust's use of the term “magic,” along with its cognates “enchantment” and “charm.” Proustian magic comes in all ...
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This chapter examines the idea of literature as magic-making by focusing on Marcel Proust's use of the term “magic,” along with its cognates “enchantment” and “charm.” Proustian magic comes in all shapes and sizes, but the preferred locales for conjuring the enchanted realm are dark or semidark, the domain of nightworld and shadowland. There are many such locales in the À la recherche du temps perdu, but the alchemist's place of darkness and silence par excellence is the “restful obscurity” of the bedroom, the world of sleep and dream, especially the liminal or threshold states of falling asleep and waking up, the midzone of the waking dream. The chapter also considers the ideological tenor of Proust's aesthetic, especially the posited relation in Le Temps retrouvé between art, truth, and epiphany.Less
This chapter examines the idea of literature as magic-making by focusing on Marcel Proust's use of the term “magic,” along with its cognates “enchantment” and “charm.” Proustian magic comes in all shapes and sizes, but the preferred locales for conjuring the enchanted realm are dark or semidark, the domain of nightworld and shadowland. There are many such locales in the À la recherche du temps perdu, but the alchemist's place of darkness and silence par excellence is the “restful obscurity” of the bedroom, the world of sleep and dream, especially the liminal or threshold states of falling asleep and waking up, the midzone of the waking dream. The chapter also considers the ideological tenor of Proust's aesthetic, especially the posited relation in Le Temps retrouvé between art, truth, and epiphany.
David Kurnick
- Published in print:
- 2011
- Published Online:
- October 2017
- ISBN:
- 9780691151519
- eISBN:
- 9781400840090
- Item type:
- chapter
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691151519.003.0005
- Subject:
- Literature, Criticism/Theory
This chapter examines the collective spaces invoked in James Joyce's career-long obsession with dramatic form—from the epiphanies he wrote as a teenager through his 1918 play Exiles to the closet ...
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This chapter examines the collective spaces invoked in James Joyce's career-long obsession with dramatic form—from the epiphanies he wrote as a teenager through his 1918 play Exiles to the closet drama of the Nighttown (or “Circe”) episode of Ulysses. Joyce's experiments with theatrical form constitute a running commentary on his interest in the “depths” of the psyche. The different conceptions of theatrical space embedded in the idea of epiphany lend a dual valence to this keystone of Joycean aesthetics. If, on the one hand, epiphany imagines a humiliating theater of psychic exposure, on the other it gestures toward a perverse collective space where such exposures would lose their policing force. These isolating and collectivist impulses are both visible in Joyce's play Exiles, which follows Ibsenesque naturalism in its representation of psychic motivation but allows its characters to mount a notable collective resistance to the diagnostic imperative structuring their stage existence.Less
This chapter examines the collective spaces invoked in James Joyce's career-long obsession with dramatic form—from the epiphanies he wrote as a teenager through his 1918 play Exiles to the closet drama of the Nighttown (or “Circe”) episode of Ulysses. Joyce's experiments with theatrical form constitute a running commentary on his interest in the “depths” of the psyche. The different conceptions of theatrical space embedded in the idea of epiphany lend a dual valence to this keystone of Joycean aesthetics. If, on the one hand, epiphany imagines a humiliating theater of psychic exposure, on the other it gestures toward a perverse collective space where such exposures would lose their policing force. These isolating and collectivist impulses are both visible in Joyce's play Exiles, which follows Ibsenesque naturalism in its representation of psychic motivation but allows its characters to mount a notable collective resistance to the diagnostic imperative structuring their stage existence.
Bruce Heiden
- Published in print:
- 2008
- Published Online:
- January 2009
- ISBN:
- 9780195341072
- eISBN:
- 9780199867066
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195341072.003.0008
- Subject:
- Classical Studies, Poetry and Poets: Classical, Early, and Medieval
This chapter turns to the last book of the Iliad, whose analogies of theme and positioning relate it to books 1, 8, 9, 15, and 16. Apollo's speech to the Olympians in book 24 is situated in a ...
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This chapter turns to the last book of the Iliad, whose analogies of theme and positioning relate it to books 1, 8, 9, 15, and 16. Apollo's speech to the Olympians in book 24 is situated in a trajectory of thematic development reaching back to Chryses's prayer to Apollo in book 1 and including Patroklos's appeal to Achilles in book 16. Hera's reply to Apollo in book 24 is situated in a trajectory that includes Agamemnon's reply to Chryses in book 1, Achilles' replies to the embassy in book 9, and Hera's refusal to permit Zeus to save Sarpedon in book 16. Zeus's mediation in book 24 is situated in a trajectory that Nestor's attempted reconciliation in book 1 and Zeus's agreement with Hera in book 15. Concluding observations liken the effect of the thematic suggestions to that of an epiphany.Less
This chapter turns to the last book of the Iliad, whose analogies of theme and positioning relate it to books 1, 8, 9, 15, and 16. Apollo's speech to the Olympians in book 24 is situated in a trajectory of thematic development reaching back to Chryses's prayer to Apollo in book 1 and including Patroklos's appeal to Achilles in book 16. Hera's reply to Apollo in book 24 is situated in a trajectory that includes Agamemnon's reply to Chryses in book 1, Achilles' replies to the embassy in book 9, and Hera's refusal to permit Zeus to save Sarpedon in book 16. Zeus's mediation in book 24 is situated in a trajectory that Nestor's attempted reconciliation in book 1 and Zeus's agreement with Hera in book 15. Concluding observations liken the effect of the thematic suggestions to that of an epiphany.
Mary Orr
- Published in print:
- 2008
- Published Online:
- January 2009
- ISBN:
- 9780199258581
- eISBN:
- 9780191718083
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199258581.003.0008
- Subject:
- Literature, World Literature, 19th-century and Victorian Literature
This final chapter reconsiders the famous set‐pieces of the ‘Sphinx and the Chimera’ and the ‘être la matière’ epiphany closing the text by close attention to real ‘monsters’ of Antoine's imagination ...
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This final chapter reconsiders the famous set‐pieces of the ‘Sphinx and the Chimera’ and the ‘être la matière’ epiphany closing the text by close attention to real ‘monsters’ of Antoine's imagination now that the Devil and Hilarion have left him to his solitary human condition. By arguing that Antoine equates to a Cuvier pitched against Saint‐Hilaire (and his theories of teratology) in the famous ‘querelle des analogues’ of 1832, the chapter investigates for the first time how the two famous sections above and the ‘parade of the monsters’ mesh with Cuvier's wide‐ranging contributions to comparative anatomy and palaeontology. The chapter thus identifies and reconstructs ‘real’ imaginary monsters (fossils), and adds science intertexts—Humboldt's Cosmos for example—to Flaubert's famous library for the first time. Further contemporary scientist interlocutors aptly replace Saint‐Hilaire and Laplace as the final (reference) matter of the chapter, the contributions of the Pouchets to theories of spontaneous generation and micropalaeontology.Less
This final chapter reconsiders the famous set‐pieces of the ‘Sphinx and the Chimera’ and the ‘être la matière’ epiphany closing the text by close attention to real ‘monsters’ of Antoine's imagination now that the Devil and Hilarion have left him to his solitary human condition. By arguing that Antoine equates to a Cuvier pitched against Saint‐Hilaire (and his theories of teratology) in the famous ‘querelle des analogues’ of 1832, the chapter investigates for the first time how the two famous sections above and the ‘parade of the monsters’ mesh with Cuvier's wide‐ranging contributions to comparative anatomy and palaeontology. The chapter thus identifies and reconstructs ‘real’ imaginary monsters (fossils), and adds science intertexts—Humboldt's Cosmos for example—to Flaubert's famous library for the first time. Further contemporary scientist interlocutors aptly replace Saint‐Hilaire and Laplace as the final (reference) matter of the chapter, the contributions of the Pouchets to theories of spontaneous generation and micropalaeontology.
Monica Filimon
- Published in print:
- 2017
- Published Online:
- September 2017
- ISBN:
- 9780252040764
- eISBN:
- 9780252099205
- Item type:
- book
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252040764.001.0001
- Subject:
- Film, Television and Radio, Film
The rise of the New Romanian Cinema in a postcommunist country without a particularly vigorous film tradition has puzzled critics and audiences alike. Its roots have been traced to Cristi Puiu’s ...
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The rise of the New Romanian Cinema in a postcommunist country without a particularly vigorous film tradition has puzzled critics and audiences alike. Its roots have been traced to Cristi Puiu’s rebellion against his compatriots’ outdated assumption that cinema is an instrument of propaganda, denunciation, or entertainment. A detailed analysis of Puiu’s work, this book underscores the gradual evolution of his approach to cinema as a form of silent witnessing and a means of personal investigation and revelation. Each chapter revolves around one film, exploring the historical, cultural, and biographical circumstances that have inspired it, its thematic and aesthetic texture, and the director’s dynamic artistic philosophy. Working through the past, the emergence of the precariat classes and the perils they face, the troubled relationship between fathers and sons, or the question of authorship are important narrative threads. The book’s central argument is that Puiu’s preference for observational cinema derives both from his personal experience as a historical subject and from his deep conviction that the image on screen can trigger viewers’ epiphany of a sacred dimension of earthly existence. Cinema is a form of testimony/confession that can underscore people’s strong bonds to each other. The only condition is that the camera should remain faithful to the observed reality and reveal its own subjectivity.Less
The rise of the New Romanian Cinema in a postcommunist country without a particularly vigorous film tradition has puzzled critics and audiences alike. Its roots have been traced to Cristi Puiu’s rebellion against his compatriots’ outdated assumption that cinema is an instrument of propaganda, denunciation, or entertainment. A detailed analysis of Puiu’s work, this book underscores the gradual evolution of his approach to cinema as a form of silent witnessing and a means of personal investigation and revelation. Each chapter revolves around one film, exploring the historical, cultural, and biographical circumstances that have inspired it, its thematic and aesthetic texture, and the director’s dynamic artistic philosophy. Working through the past, the emergence of the precariat classes and the perils they face, the troubled relationship between fathers and sons, or the question of authorship are important narrative threads. The book’s central argument is that Puiu’s preference for observational cinema derives both from his personal experience as a historical subject and from his deep conviction that the image on screen can trigger viewers’ epiphany of a sacred dimension of earthly existence. Cinema is a form of testimony/confession that can underscore people’s strong bonds to each other. The only condition is that the camera should remain faithful to the observed reality and reveal its own subjectivity.
Gordon Kipling
- Published in print:
- 1998
- Published Online:
- October 2011
- ISBN:
- 9780198117612
- eISBN:
- 9780191671012
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198117612.003.0004
- Subject:
- Literature, Early and Medieval Literature
On the Continent, material gifts were not, as a rule, presented as an episode in the triumph procession itself, but they nevertheless formed an essential part of the larger celebrations of the ...
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On the Continent, material gifts were not, as a rule, presented as an episode in the triumph procession itself, but they nevertheless formed an essential part of the larger celebrations of the monarch's ‘joyous advent’ into each city. Because civic triumphs usually marked the sovereign's first coming to his people, the adventus ceremony necessarily symbolized the formal inauguration of the relationship between sovereign and people. The citizens' presentation of a gift to their sovereign necessarily assumes a particularly solemn ritual significance on such an occasion. This first offering of a gift constitutes a primal act of homage — an epiphany — like that of the Magi. Just as the Magi bestowed gifts on the Christ-child to symbolize their faith in, and their willing submission to, the christus of God, so the gifts of citizens on the occasion of their sovereign's adventus symbolizes both their fealty and their willing submission to ‘the Prince of God among us’.Less
On the Continent, material gifts were not, as a rule, presented as an episode in the triumph procession itself, but they nevertheless formed an essential part of the larger celebrations of the monarch's ‘joyous advent’ into each city. Because civic triumphs usually marked the sovereign's first coming to his people, the adventus ceremony necessarily symbolized the formal inauguration of the relationship between sovereign and people. The citizens' presentation of a gift to their sovereign necessarily assumes a particularly solemn ritual significance on such an occasion. This first offering of a gift constitutes a primal act of homage — an epiphany — like that of the Magi. Just as the Magi bestowed gifts on the Christ-child to symbolize their faith in, and their willing submission to, the christus of God, so the gifts of citizens on the occasion of their sovereign's adventus symbolizes both their fealty and their willing submission to ‘the Prince of God among us’.
Jan N. Bremmer and Andrew Erskine
- Published in print:
- 2010
- Published Online:
- September 2012
- ISBN:
- 9780748637980
- eISBN:
- 9780748670758
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748637980.003.0016
- Subject:
- Classical Studies, Ancient Religions
This chapter investigates the concept of ‘god’ in early historiography, particularly Herodotus, with reference to his contemporary intellectual environment. Though building on a large body of work, ...
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This chapter investigates the concept of ‘god’ in early historiography, particularly Herodotus, with reference to his contemporary intellectual environment. Though building on a large body of work, some quite recent, on ‘religion’ in Herodotus’, it seeks to go further by linking the concept of god or the divine to the concept of history at the most fundamental level, comparing and contrasting other genres and traditions. It considers forms of divine intervention, indirect (omens, miracles, dreams, oracles) and direct (epiphany). The case is made for Herodotus as a revolutionary in his thinking about gods, or at least participating fully in a contemporary revolution, as opposed to the usual picture of him as a rather conventional purveyor of religious commonplaces.Less
This chapter investigates the concept of ‘god’ in early historiography, particularly Herodotus, with reference to his contemporary intellectual environment. Though building on a large body of work, some quite recent, on ‘religion’ in Herodotus’, it seeks to go further by linking the concept of god or the divine to the concept of history at the most fundamental level, comparing and contrasting other genres and traditions. It considers forms of divine intervention, indirect (omens, miracles, dreams, oracles) and direct (epiphany). The case is made for Herodotus as a revolutionary in his thinking about gods, or at least participating fully in a contemporary revolution, as opposed to the usual picture of him as a rather conventional purveyor of religious commonplaces.
Jan N. Bremmer and Andrew Erskine
- Published in print:
- 2010
- Published Online:
- September 2012
- ISBN:
- 9780748637980
- eISBN:
- 9780748670758
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748637980.003.0005
- Subject:
- Classical Studies, Ancient Religions
Richard Buxton discuss five examples of narratives which relate in some way to divine metamorphosis, whether as animals or humans, for the purpose of presenting themselves to mortals. The narratives ...
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Richard Buxton discuss five examples of narratives which relate in some way to divine metamorphosis, whether as animals or humans, for the purpose of presenting themselves to mortals. The narratives studied are the following: Athena’s encounter with Telemachos in the Odyssey, Apollo in the Hymn to Apollo, Thetis’ relationship with Achilles, Dionysos in the Bacchae and Zeus’ serial metamorphoses in pursuit of his erotic ambitions. After drawing conclusions about each of these metamorphoses and epiphanies, Buxton concludes by considering what light this material might shed on the old problem of how far Greek religion was essentially anthropomorphic.Less
Richard Buxton discuss five examples of narratives which relate in some way to divine metamorphosis, whether as animals or humans, for the purpose of presenting themselves to mortals. The narratives studied are the following: Athena’s encounter with Telemachos in the Odyssey, Apollo in the Hymn to Apollo, Thetis’ relationship with Achilles, Dionysos in the Bacchae and Zeus’ serial metamorphoses in pursuit of his erotic ambitions. After drawing conclusions about each of these metamorphoses and epiphanies, Buxton concludes by considering what light this material might shed on the old problem of how far Greek religion was essentially anthropomorphic.
Jan N. Bremmer and Andrew Erskine
- Published in print:
- 2010
- Published Online:
- September 2012
- ISBN:
- 9780748637980
- eISBN:
- 9780748670758
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748637980.003.0007
- Subject:
- Classical Studies, Ancient Religions
The paper treats the visualization of epiphany and theoxeny in ancient Greek art with particular reference to votive reliefs, such as those dedicated to Asklepios, Aphrodite, Herakles and the ...
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The paper treats the visualization of epiphany and theoxeny in ancient Greek art with particular reference to votive reliefs, such as those dedicated to Asklepios, Aphrodite, Herakles and the Dioskouroi. It discusses some images showing the direct encounter with the divine, most of them from the fifth and fourth century BC. It points out their significant characteristics and analyzes them, showing that different concepts of gods are reflected in different modes of epiphany.Less
The paper treats the visualization of epiphany and theoxeny in ancient Greek art with particular reference to votive reliefs, such as those dedicated to Asklepios, Aphrodite, Herakles and the Dioskouroi. It discusses some images showing the direct encounter with the divine, most of them from the fifth and fourth century BC. It points out their significant characteristics and analyzes them, showing that different concepts of gods are reflected in different modes of epiphany.
Carolyn Higbie
- Published in print:
- 2013
- Published Online:
- January 2010
- ISBN:
- 9780199241910
- eISBN:
- 9780191714351
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199241910.001.0001
- Subject:
- Classical Studies, Ancient Religions
Carolyn Higbie uses an inscription of the 1st century BC from Lindos to study the ancient Greeks and their past. The inscription contains two inventories. The first catalogues some forty objects ...
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Carolyn Higbie uses an inscription of the 1st century BC from Lindos to study the ancient Greeks and their past. The inscription contains two inventories. The first catalogues some forty objects given to Athena Lindia by figures from the mythological past (including Heracles, Helen, and Menelaus) and the historical past (including Alexander the Great and Hellenistic figures). The second catalogues three epiphanies of Athena Lindia to the townspeople when they were in need of her assistance. By drawing on anthropological approaches as well as archaeological and literary evidence, this book explores what was important to the Greeks about their past, how they reconstructed it, and how they made use of it in their present.Less
Carolyn Higbie uses an inscription of the 1st century BC from Lindos to study the ancient Greeks and their past. The inscription contains two inventories. The first catalogues some forty objects given to Athena Lindia by figures from the mythological past (including Heracles, Helen, and Menelaus) and the historical past (including Alexander the Great and Hellenistic figures). The second catalogues three epiphanies of Athena Lindia to the townspeople when they were in need of her assistance. By drawing on anthropological approaches as well as archaeological and literary evidence, this book explores what was important to the Greeks about their past, how they reconstructed it, and how they made use of it in their present.
David Young
- Published in print:
- 1992
- Published Online:
- October 2011
- ISBN:
- 9780198263395
- eISBN:
- 9780191682520
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198263395.003.0010
- Subject:
- Religion, History of Christianity, Theology
This chapter discusses the prevailing thought of Maurice on the doctrine of atonement. Maurice's theology of atonement was founded on the dynamics of relationships wherein man is always united with ...
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This chapter discusses the prevailing thought of Maurice on the doctrine of atonement. Maurice's theology of atonement was founded on the dynamics of relationships wherein man is always united with Christ, who is the head of humanity, which makes man in fellowship with God. In Maurice's view, the life and death of Christ reveals the truth that God is always with and for man. Maurice's thinking on the atonement is inextricably bound up with his perception that it is God's will that humanity in Christ should be in union with himself — a reconciliation through Christ's sacrifice of himself is the ground of divine human fellowship. For Maurice, the sheer grace precedes man's response and enkindles love within him. Man's response to God's epiphany of love is not Pelagian. Maurice believes man could not have responded unless God had first acted in love towards man.Less
This chapter discusses the prevailing thought of Maurice on the doctrine of atonement. Maurice's theology of atonement was founded on the dynamics of relationships wherein man is always united with Christ, who is the head of humanity, which makes man in fellowship with God. In Maurice's view, the life and death of Christ reveals the truth that God is always with and for man. Maurice's thinking on the atonement is inextricably bound up with his perception that it is God's will that humanity in Christ should be in union with himself — a reconciliation through Christ's sacrifice of himself is the ground of divine human fellowship. For Maurice, the sheer grace precedes man's response and enkindles love within him. Man's response to God's epiphany of love is not Pelagian. Maurice believes man could not have responded unless God had first acted in love towards man.
George Williamson
- Published in print:
- 2007
- Published Online:
- February 2010
- ISBN:
- 9780199237913
- eISBN:
- 9780191716713
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199237913.003.0009
- Subject:
- Classical Studies, Ancient Religions
This chapter examines the temple-visiting habits of C. Licinius Mucianus, a Roman governor in the age of Vespasian, and a writer of Republican history. It considers the functions and status of ...
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This chapter examines the temple-visiting habits of C. Licinius Mucianus, a Roman governor in the age of Vespasian, and a writer of Republican history. It considers the functions and status of votives on display in sanctuaries, and asks what sort of response was evoked by the viewer who belonged to a polytheistic world in which belief was not really an appropriate criterion of religiosity, or indeed made an explicit matter of choice. The chapter argues that Mucianus's response — despite his not being a pilgrim in the official state sense — was more than an aesthetic sense of wonder, but rather a different sort of belief in the efficacy and reality of divine epiphany, as demonstrated both through miraculous happenings at certain sanctuaries, and also by the votives on display in others.Less
This chapter examines the temple-visiting habits of C. Licinius Mucianus, a Roman governor in the age of Vespasian, and a writer of Republican history. It considers the functions and status of votives on display in sanctuaries, and asks what sort of response was evoked by the viewer who belonged to a polytheistic world in which belief was not really an appropriate criterion of religiosity, or indeed made an explicit matter of choice. The chapter argues that Mucianus's response — despite his not being a pilgrim in the official state sense — was more than an aesthetic sense of wonder, but rather a different sort of belief in the efficacy and reality of divine epiphany, as demonstrated both through miraculous happenings at certain sanctuaries, and also by the votives on display in others.
Scarlett Baron
- Published in print:
- 2011
- Published Online:
- January 2012
- ISBN:
- 9780199693788
- eISBN:
- 9780191732157
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199693788.003.0002
- Subject:
- Literature, 20th-century Literature and Modernism, European Literature
Chapter 1 identifies and analyzes traces of Flaubert in Joyce’s early writing – the critical essays written between 1899 and 1902; entries in the Paris and Pola ‘Commonplace Book’ that Joyce kept in ...
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Chapter 1 identifies and analyzes traces of Flaubert in Joyce’s early writing – the critical essays written between 1899 and 1902; entries in the Paris and Pola ‘Commonplace Book’ that Joyce kept in 1902–3 and then 1903–4; the short snippets of dramatic or narrative writing, collected between 1900 and 1903, to which he referred as ‘epiphanies’; and Stephen Hero. Contrary to W. B. Yeats’s assertion that Flaubert’s works were difficult to obtain in early twentieth-century Dublin, this chapter establishes that a number of Flaubert’s books were available to Joyce at the National Library of Ireland at that time, and, even more significantly, that Joyce purchased his own copies of both Madame Bovary and L’éducation sentimentale, in original French editions, as early as 1901. Even at this early stage, Flaubertian echoes adumbrate the importance of Joyce’s intertextual relationship to his French precursor in later works.Less
Chapter 1 identifies and analyzes traces of Flaubert in Joyce’s early writing – the critical essays written between 1899 and 1902; entries in the Paris and Pola ‘Commonplace Book’ that Joyce kept in 1902–3 and then 1903–4; the short snippets of dramatic or narrative writing, collected between 1900 and 1903, to which he referred as ‘epiphanies’; and Stephen Hero. Contrary to W. B. Yeats’s assertion that Flaubert’s works were difficult to obtain in early twentieth-century Dublin, this chapter establishes that a number of Flaubert’s books were available to Joyce at the National Library of Ireland at that time, and, even more significantly, that Joyce purchased his own copies of both Madame Bovary and L’éducation sentimentale, in original French editions, as early as 1901. Even at this early stage, Flaubertian echoes adumbrate the importance of Joyce’s intertextual relationship to his French precursor in later works.
Florence L. Walzl
- Published in print:
- 2011
- Published Online:
- September 2011
- ISBN:
- 9780813035291
- eISBN:
- 9780813038483
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813035291.003.0002
- Subject:
- Literature, 20th-century Literature and Modernism
The chapter focuses on the importance of the word epiphany so frequently used by James Joyce in his short stories. The basic meaning of epiphany in Greek as έπιφάνεια is appearance or manifestation, ...
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The chapter focuses on the importance of the word epiphany so frequently used by James Joyce in his short stories. The basic meaning of epiphany in Greek as έπιφάνεια is appearance or manifestation, and this word is related to a verb meaning to display or show forth and in the passive and middle voice to shine forth. The cyclic pattern of seasons in the Church year and its planes of symbolic meanings and correspondences are the two prominent aspects of liturgy which appear to have affected Joyce's writing greatly. In Dubliners, the narratives resemble the liturgical epiphanies. The Epiphany sequence influenced Joyce's concept of the literary epiphany and as a result his short story technique. Joyce's use of God, Bible, and saint analogies (or inversions) in his characterizations are a result of his awareness of the liturgical types.Less
The chapter focuses on the importance of the word epiphany so frequently used by James Joyce in his short stories. The basic meaning of epiphany in Greek as έπιφάνεια is appearance or manifestation, and this word is related to a verb meaning to display or show forth and in the passive and middle voice to shine forth. The cyclic pattern of seasons in the Church year and its planes of symbolic meanings and correspondences are the two prominent aspects of liturgy which appear to have affected Joyce's writing greatly. In Dubliners, the narratives resemble the liturgical epiphanies. The Epiphany sequence influenced Joyce's concept of the literary epiphany and as a result his short story technique. Joyce's use of God, Bible, and saint analogies (or inversions) in his characterizations are a result of his awareness of the liturgical types.
Keith Garebian
- Published in print:
- 2011
- Published Online:
- May 2011
- ISBN:
- 9780199732494
- eISBN:
- 9780199894482
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199732494.003.0003
- Subject:
- Music, Popular
Because of an epiphany he experienced in Moscow's Taganka Theater, Harold Prince was able to find his central metaphor that was appropriate not only to German society in the Third Reich but to ...
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Because of an epiphany he experienced in Moscow's Taganka Theater, Harold Prince was able to find his central metaphor that was appropriate not only to German society in the Third Reich but to America in the sixties as well. This chapter explains how Prince was able to achieve the physical look of his musical through the lighting design of Jean Rosenthal and the set design of Boris Aronson. Rosenthal's clever lighting demarcated two worlds: the real world (the cabaret scenes and the book scenes), and the limbo area (the mind). The Emcee's material was divided between scenes in the cabaret and metaphorical numbers representing changes in the German mind. Aronson extended Prince's central metaphor by a mirror tilted over the stage to reflect both the performers and the audience. This was the greatest visual coup because it forced audiences to interrogate their own relationship to the play's political and moral significance.Less
Because of an epiphany he experienced in Moscow's Taganka Theater, Harold Prince was able to find his central metaphor that was appropriate not only to German society in the Third Reich but to America in the sixties as well. This chapter explains how Prince was able to achieve the physical look of his musical through the lighting design of Jean Rosenthal and the set design of Boris Aronson. Rosenthal's clever lighting demarcated two worlds: the real world (the cabaret scenes and the book scenes), and the limbo area (the mind). The Emcee's material was divided between scenes in the cabaret and metaphorical numbers representing changes in the German mind. Aronson extended Prince's central metaphor by a mirror tilted over the stage to reflect both the performers and the audience. This was the greatest visual coup because it forced audiences to interrogate their own relationship to the play's political and moral significance.
Liesl Olson
- Published in print:
- 2009
- Published Online:
- May 2009
- ISBN:
- 9780195368123
- eISBN:
- 9780199867639
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195368123.001.0001
- Subject:
- Literature, 20th-century Literature and Modernism
The book overturns conventional accounts of the modernist period as primarily drawn toward the new, the transcendent, and the extraordinary. The book shows how modernist writers were preoccupied, ...
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The book overturns conventional accounts of the modernist period as primarily drawn toward the new, the transcendent, and the extraordinary. The book shows how modernist writers were preoccupied, instead, with the unselfconscious actions of everyday life, even in times of political crisis and war. Experiences like walking to work, eating a sandwich, or mending a dress were often resistant to shock, and these daily activities presented a counter-force to the aesthetic of heightened affect with which the period is often associated. The book examines works by Joyce, Woolf, Stein, Stevens, Proust, Beckett, and Auden alongside the ideas of philosophers such as Henri Bergson and William James. The book shows how these writers responded to the difficulty of representing the ordinary without defamilarizing it or making it transcendent. The book also connects this problem to earlier modes of literary realism on both sides of the Atlantic, and situates modernism’s preoccupation with ordinary experience within the major historical events of the period, especially the two world wars. Ultimately, the book reveals the non-transformative power of the ordinary as one of modernism’s most compelling attributes: day-to-day experience comes to stand not as an impediment to the creative life, but as a satisfaction with the material rather than the spiritual, the local rather than the exotic, the constant rather than the unknown, and the democratic rather than the privileged.Less
The book overturns conventional accounts of the modernist period as primarily drawn toward the new, the transcendent, and the extraordinary. The book shows how modernist writers were preoccupied, instead, with the unselfconscious actions of everyday life, even in times of political crisis and war. Experiences like walking to work, eating a sandwich, or mending a dress were often resistant to shock, and these daily activities presented a counter-force to the aesthetic of heightened affect with which the period is often associated. The book examines works by Joyce, Woolf, Stein, Stevens, Proust, Beckett, and Auden alongside the ideas of philosophers such as Henri Bergson and William James. The book shows how these writers responded to the difficulty of representing the ordinary without defamilarizing it or making it transcendent. The book also connects this problem to earlier modes of literary realism on both sides of the Atlantic, and situates modernism’s preoccupation with ordinary experience within the major historical events of the period, especially the two world wars. Ultimately, the book reveals the non-transformative power of the ordinary as one of modernism’s most compelling attributes: day-to-day experience comes to stand not as an impediment to the creative life, but as a satisfaction with the material rather than the spiritual, the local rather than the exotic, the constant rather than the unknown, and the democratic rather than the privileged.
Liesl Olson
- Published in print:
- 2009
- Published Online:
- May 2009
- ISBN:
- 9780195368123
- eISBN:
- 9780199867639
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195368123.003.0002
- Subject:
- Literature, 20th-century Literature and Modernism
This chapter examines James Joyce’s depiction of ordinary experience, beginning with his youthful hero-worship of Henrik Ibsen. Inspired by Ibsen’s poetics of the everyday, Joyce’s ...
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This chapter examines James Joyce’s depiction of ordinary experience, beginning with his youthful hero-worship of Henrik Ibsen. Inspired by Ibsen’s poetics of the everyday, Joyce’s early writings attempt to represent life “as we see it before our eyes,” as evinced by the fragments known as “Epiphanies” and extended in later writings even as Joyce leaves his theory of epiphany behind. Epiphanies are linked with a desire to aestheticize experience, one of Stephen Dedalus’s dominant tendencies, but this desire is dangerous largely because it extracts the individual from a context of community and civic commitment. Alternatively, the depiction of banal, daily routines in Ulysses demonstrates how Joyce’s everyday does not evade historical conditions. Ulysses is also attentive to the limitations of the everyday, acknowledging the inability to trace and catalogue every fact of an individual’s life. The lists in Ulysses aim to record the variety of ordinary things that flood experience, while gleefully acknowledging realism’s defeat. The list introduces a more modest ordinary style than the epiphany: the equality of the list works against the desire to read and interpret particular moments (in a life and in a novel) as more or less important.Less
This chapter examines James Joyce’s depiction of ordinary experience, beginning with his youthful hero-worship of Henrik Ibsen. Inspired by Ibsen’s poetics of the everyday, Joyce’s early writings attempt to represent life “as we see it before our eyes,” as evinced by the fragments known as “Epiphanies” and extended in later writings even as Joyce leaves his theory of epiphany behind. Epiphanies are linked with a desire to aestheticize experience, one of Stephen Dedalus’s dominant tendencies, but this desire is dangerous largely because it extracts the individual from a context of community and civic commitment. Alternatively, the depiction of banal, daily routines in Ulysses demonstrates how Joyce’s everyday does not evade historical conditions. Ulysses is also attentive to the limitations of the everyday, acknowledging the inability to trace and catalogue every fact of an individual’s life. The lists in Ulysses aim to record the variety of ordinary things that flood experience, while gleefully acknowledging realism’s defeat. The list introduces a more modest ordinary style than the epiphany: the equality of the list works against the desire to read and interpret particular moments (in a life and in a novel) as more or less important.
Andrew Ford
- Published in print:
- 2011
- Published Online:
- January 2012
- ISBN:
- 9780199733293
- eISBN:
- 9780199918539
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199733293.003.0007
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval, Ancient Greek, Roman, and Early Christian Philosophy
The song to Hermias now takes center stage again, this time using its literary background to highlight the multiple generic stances adopted by the speaker. The song’s opening verses are examined in ...
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The song to Hermias now takes center stage again, this time using its literary background to highlight the multiple generic stances adopted by the speaker. The song’s opening verses are examined in light of the rhetorical categories of ethos—the speaker’s character as projected by the poem—and pathos—the effects on the audience. A poem by Sappho and an Attic skolion are studied to show that Aristotle blended hymnic form with an old poetic game in which singers discoursed on what is “the finest thing” in life. This heritage suggests that the song’s ethos and pathos have much in common with contemporary protreptic literature. The traditional quality of such a poetic posture and the possibilities it offered for creative expansion and variation are brought out by comparing a very similar discourse on virtue in Sophocles’ Philoctetes.Less
The song to Hermias now takes center stage again, this time using its literary background to highlight the multiple generic stances adopted by the speaker. The song’s opening verses are examined in light of the rhetorical categories of ethos—the speaker’s character as projected by the poem—and pathos—the effects on the audience. A poem by Sappho and an Attic skolion are studied to show that Aristotle blended hymnic form with an old poetic game in which singers discoursed on what is “the finest thing” in life. This heritage suggests that the song’s ethos and pathos have much in common with contemporary protreptic literature. The traditional quality of such a poetic posture and the possibilities it offered for creative expansion and variation are brought out by comparing a very similar discourse on virtue in Sophocles’ Philoctetes.
