R. Allen Lott
- Published in print:
- 2003
- Published Online:
- May 2008
- ISBN:
- 9780195148831
- eISBN:
- 9780199869695
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195148831.003.0005
- Subject:
- Music, History, Western
Unlike the obscure newcomer De Meyer, Henri Herz (1803-88) already had a well-established reputation as pianist, composer, teacher, and piano manufacturer when he arrived in America in 1846. Because ...
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Unlike the obscure newcomer De Meyer, Henri Herz (1803-88) already had a well-established reputation as pianist, composer, teacher, and piano manufacturer when he arrived in America in 1846. Because of his well-known reputation, Herz was well received without having to resort to sensational publicity and attracted many amateur pianists and music lovers to his concerts. His piano music, noted for its brilliance and elegance, consisted primarily of variations and fantasias on opera themes. His performances of works for multiple pianos (e.g., Overture to Rossini's William Tell arranged for sixteen pianists on eight pianos) were popular with audiences if not critics. Bernard Ullman soon became Herz's manager and began resorting to more outrageous publicity. John Sullivan Dwight, Boston's most prominent music critic, was rhapsodic about Herz's performances.Less
Unlike the obscure newcomer De Meyer, Henri Herz (1803-88) already had a well-established reputation as pianist, composer, teacher, and piano manufacturer when he arrived in America in 1846. Because of his well-known reputation, Herz was well received without having to resort to sensational publicity and attracted many amateur pianists and music lovers to his concerts. His piano music, noted for its brilliance and elegance, consisted primarily of variations and fantasias on opera themes. His performances of works for multiple pianos (e.g., Overture to Rossini's William Tell arranged for sixteen pianists on eight pianos) were popular with audiences if not critics. Bernard Ullman soon became Herz's manager and began resorting to more outrageous publicity. John Sullivan Dwight, Boston's most prominent music critic, was rhapsodic about Herz's performances.
Dorota M. Dutsch
- Published in print:
- 2008
- Published Online:
- September 2008
- ISBN:
- 9780199533381
- eISBN:
- 9780191714757
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199533381.003.0002
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
This chapter explores a register of speech that the 4th-century commentator Donatus called blanditia. A detailed analysis of the distribution of the lexical markers of this register (the modifier ...
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This chapter explores a register of speech that the 4th-century commentator Donatus called blanditia. A detailed analysis of the distribution of the lexical markers of this register (the modifier amabo and the address with mi/mea) in Terence and Plautus reveals that blanditia is primarily a discourse implying intimate connection. Such speech relies on an in-depth knowledge of the needs of others, or an illusion of such knowledge, which can be used to comfort or to harm. Roman comedy compares blanditiae to the practice of veneficium — a ritual that disrupts personal boundaries and undermines an individual's control over his (or her) own body. Just like venenum — poison that could either heal or harm — the discourse of blanditia turns out to be a flexible and dangerous tool.Less
This chapter explores a register of speech that the 4th-century commentator Donatus called blanditia. A detailed analysis of the distribution of the lexical markers of this register (the modifier amabo and the address with mi/mea) in Terence and Plautus reveals that blanditia is primarily a discourse implying intimate connection. Such speech relies on an in-depth knowledge of the needs of others, or an illusion of such knowledge, which can be used to comfort or to harm. Roman comedy compares blanditiae to the practice of veneficium — a ritual that disrupts personal boundaries and undermines an individual's control over his (or her) own body. Just like venenum — poison that could either heal or harm — the discourse of blanditia turns out to be a flexible and dangerous tool.
David Manning
- Published in print:
- 2007
- Published Online:
- October 2011
- ISBN:
- 9780195182392
- eISBN:
- 9780199851485
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195182392.003.0048
- Subject:
- Music, History, Western
It has sometimes been questioned whether Cecil Sharp had the creative impulse in music, but his accompaniments to my mind clearly show that he had. His creative impulse came from the tune he was ...
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It has sometimes been questioned whether Cecil Sharp had the creative impulse in music, but his accompaniments to my mind clearly show that he had. His creative impulse came from the tune he was setting. In all the best of Sharp's accompaniments it is the tune that counts, and the arrangement falls into its proper background. In some cases his accompaniments look wrong, and sometimes even when played by themselves seem awkward, but they stand the important test: that they make the tune sound right. It is true that Sharp had little of the conventional technique of pianoforte accompaniment, as taught by professors of composition, but he developed a technique of his own whose complete success was only hindered by his fear of the harmony professor. As examples of first-rate accompaniments this book suggests “The Cuckoo,” “The Drowned Lover,” and “The Water is Wide.”Less
It has sometimes been questioned whether Cecil Sharp had the creative impulse in music, but his accompaniments to my mind clearly show that he had. His creative impulse came from the tune he was setting. In all the best of Sharp's accompaniments it is the tune that counts, and the arrangement falls into its proper background. In some cases his accompaniments look wrong, and sometimes even when played by themselves seem awkward, but they stand the important test: that they make the tune sound right. It is true that Sharp had little of the conventional technique of pianoforte accompaniment, as taught by professors of composition, but he developed a technique of his own whose complete success was only hindered by his fear of the harmony professor. As examples of first-rate accompaniments this book suggests “The Cuckoo,” “The Drowned Lover,” and “The Water is Wide.”
Cecilia A. Hatt (ed.)
- Published in print:
- 2002
- Published Online:
- November 2003
- ISBN:
- 9780198270119
- eISBN:
- 9780191600609
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/0198270119.003.0007
- Subject:
- Religion, Religion and Literature
The introduction to this text describes the tradition of Good Friday preaching, and traces the development of several devotional topoi, notably the figure of Christ the lover‐knight and the ...
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The introduction to this text describes the tradition of Good Friday preaching, and traces the development of several devotional topoi, notably the figure of Christ the lover‐knight and the relationship of the “book of the cross” image to the medieval Charters of Christ. It compares John Fisher's emphasis on the crucifix with remarks made in the Paraclesis of Erasmus.Less
The introduction to this text describes the tradition of Good Friday preaching, and traces the development of several devotional topoi, notably the figure of Christ the lover‐knight and the relationship of the “book of the cross” image to the medieval Charters of Christ. It compares John Fisher's emphasis on the crucifix with remarks made in the Paraclesis of Erasmus.
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.
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/9780199266128.003.0007
- Subject:
- Literature, 16th-century and Renaissance Literature, Women's Literature
This chapter analyses the menstrual cure for lovesickness in early modern medical and literary texts, suggesting how it throws important light on concepts of women, masculinity, and menstruation. In ...
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This chapter analyses the menstrual cure for lovesickness in early modern medical and literary texts, suggesting how it throws important light on concepts of women, masculinity, and menstruation. In this remedy, the lovesick man is shown the bloody cloths of his mistress, so that rather than inciting desire, her body provokes revulsion. Such a strategy mitigates the contradictions of male emotion and renders them justifiable: the lover's conflicting responses are represented as not the product of internal inconsistencies but rather as the inevitable result of being confronted by two seemingly different bodies. Male sexual insecurity is thus projected onto the female body, so that the lover's misogyny functions as a means of compensating for his sense of vulnerability and powerlessness. The menstrual cure also throuws new light on a key scene in Flectcher's The Mad Lover, which depicts how sexual disgust can cure the male lover.Less
This chapter analyses the menstrual cure for lovesickness in early modern medical and literary texts, suggesting how it throws important light on concepts of women, masculinity, and menstruation. In this remedy, the lovesick man is shown the bloody cloths of his mistress, so that rather than inciting desire, her body provokes revulsion. Such a strategy mitigates the contradictions of male emotion and renders them justifiable: the lover's conflicting responses are represented as not the product of internal inconsistencies but rather as the inevitable result of being confronted by two seemingly different bodies. Male sexual insecurity is thus projected onto the female body, so that the lover's misogyny functions as a means of compensating for his sense of vulnerability and powerlessness. The menstrual cure also throuws new light on a key scene in Flectcher's The Mad Lover, which depicts how sexual disgust can cure the male lover.
Constant J. Mews
- Published in print:
- 2005
- Published Online:
- April 2005
- ISBN:
- 9780195156881
- eISBN:
- 9780199835423
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/0195156889.003.0002
- Subject:
- Religion, History of Christianity
Images of Abelard and Heloise. This chapter discusses images of Abelard and Heloise from the 12th to the 20th centuries. It observes how the controversial character of their ...
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Images of Abelard and Heloise. This chapter discusses images of Abelard and Heloise from the 12th to the 20th centuries. It observes how the controversial character of their relationship, as well as accusations of heresy made by St. Bernard have created stereotyped images of Abelard and Heloise as rebels against authority and the religious life that do not do full justice to their intellectual achievement. They were not lovers, but thinkers.Less
Images of Abelard and Heloise. This chapter discusses images of Abelard and Heloise from the 12th to the 20th centuries. It observes how the controversial character of their relationship, as well as accusations of heresy made by St. Bernard have created stereotyped images of Abelard and Heloise as rebels against authority and the religious life that do not do full justice to their intellectual achievement. They were not lovers, but thinkers.
Troy Jollimore
- Published in print:
- 2011
- Published Online:
- October 2017
- ISBN:
- 9780691148724
- eISBN:
- 9781400838677
- Item type:
- chapter
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691148724.003.0008
- Subject:
- Philosophy, Moral Philosophy
This chapter argues that love lies somewhere between reason and unreason, just as it lies somewhere between the particular and the universal. It places a particular individual at the center of my ...
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This chapter argues that love lies somewhere between reason and unreason, just as it lies somewhere between the particular and the universal. It places a particular individual at the center of my field of vision, and in doing so makes my experience of my life very different from what it would otherwise have been, and very different from other people's experiences of their lives. It even makes my experience of life different from that of my beloved. It is sometimes suggested that the most unified lovers are not those who gaze lovingly into each other's eyes but those who are perceiving some third thing, who share some object of attention and thus share an experience. However, we can surely say that even if the particular details of the experience are different, there is undoubtedly a kind of experience—seeing one's beloved—that is shared by lovers who are looking at each other.Less
This chapter argues that love lies somewhere between reason and unreason, just as it lies somewhere between the particular and the universal. It places a particular individual at the center of my field of vision, and in doing so makes my experience of my life very different from what it would otherwise have been, and very different from other people's experiences of their lives. It even makes my experience of life different from that of my beloved. It is sometimes suggested that the most unified lovers are not those who gaze lovingly into each other's eyes but those who are perceiving some third thing, who share some object of attention and thus share an experience. However, we can surely say that even if the particular details of the experience are different, there is undoubtedly a kind of experience—seeing one's beloved—that is shared by lovers who are looking at each other.
Daniel Schwartz
- Published in print:
- 2007
- Published Online:
- May 2008
- ISBN:
- 9780199205394
- eISBN:
- 9780191709265
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199205394.003.0002
- Subject:
- Philosophy, Ancient Philosophy
Aquinas has written that ‘Concord is a union of wills, not of opinions’. This dictum is problematic because one would think that without some union of opinions, union of wills cannot be obtained. ...
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Aquinas has written that ‘Concord is a union of wills, not of opinions’. This dictum is problematic because one would think that without some union of opinions, union of wills cannot be obtained. This chapter seeks to clarify the meaning of this dictum and to show that it does not imply that shared opinions are unnecessary for concord. It is argued that working behind Aquinas's dictum is his theory about love and what love does. The proper effect of love is to unite persons. Love unites them formally: the lover aims to resemble (participate in the form) of the beloved. The lover's movement toward resemblance involves a movement toward resemblance as to his acts of will.Less
Aquinas has written that ‘Concord is a union of wills, not of opinions’. This dictum is problematic because one would think that without some union of opinions, union of wills cannot be obtained. This chapter seeks to clarify the meaning of this dictum and to show that it does not imply that shared opinions are unnecessary for concord. It is argued that working behind Aquinas's dictum is his theory about love and what love does. The proper effect of love is to unite persons. Love unites them formally: the lover aims to resemble (participate in the form) of the beloved. The lover's movement toward resemblance involves a movement toward resemblance as to his acts of will.
Inna Naroditskaya
- Published in print:
- 2011
- Published Online:
- January 2012
- ISBN:
- 9780195340587
- eISBN:
- 9780199918218
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195340587.003.0010
- Subject:
- Music, History, Western
In order to gain and retain the highest power in the Russian empire, the empress, the lead actress in a highly politicized imperial drama, engaged in gender cross-dressing. Ascribed masculine ...
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In order to gain and retain the highest power in the Russian empire, the empress, the lead actress in a highly politicized imperial drama, engaged in gender cross-dressing. Ascribed masculine qualities and not rejecting their feminine selves, female rulers cultivated supporting actors, including a cast of lovers, often along with their own familial networks—the Razumovskys, Shuvalovs, Orlovs. They traversed gender boundaries as well as binaries of East and West. Avid patronesses of the arts, they employed theatre as a political institution that magnified and mythologized their real and proclaimed victories, their simultaneous promotion of Russian Orthodoxy and secularism, their intimate ties to the Greco-Roman past, to European modernity, and to a hybrid Slavic and Eastern identity—their roles in a dynamic spectacle of absolutism.Less
In order to gain and retain the highest power in the Russian empire, the empress, the lead actress in a highly politicized imperial drama, engaged in gender cross-dressing. Ascribed masculine qualities and not rejecting their feminine selves, female rulers cultivated supporting actors, including a cast of lovers, often along with their own familial networks—the Razumovskys, Shuvalovs, Orlovs. They traversed gender boundaries as well as binaries of East and West. Avid patronesses of the arts, they employed theatre as a political institution that magnified and mythologized their real and proclaimed victories, their simultaneous promotion of Russian Orthodoxy and secularism, their intimate ties to the Greco-Roman past, to European modernity, and to a hybrid Slavic and Eastern identity—their roles in a dynamic spectacle of absolutism.
David Edgar
- Published in print:
- 2009
- Published Online:
- May 2009
- ISBN:
- 9780199548781
- eISBN:
- 9780191720673
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199548781.003.0030
- Subject:
- Law, Human Rights and Immigration
Nearly fifty years on from the Lady Chatterley's Lover trial and over forty years from the abolition of theatre censorship, the new threat to free speech in the story-telling arts comes not from the ...
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Nearly fifty years on from the Lady Chatterley's Lover trial and over forty years from the abolition of theatre censorship, the new threat to free speech in the story-telling arts comes not from the nanny state but from a public demanding the right to be protected from offensive images. Newspaper attacks on representations of wicked people and their acts — at a time when victims' rights are being vigorously asserted — have blurred the distinction between the real and the imagined, and contributed to a climate in which the value of storytelling is downgraded and free speech made vulnerable. Understanding why some groups want to assert their right not to be offended, it is argued that it is beneficial for minority groups to protect free speech and the rights of artists to free expression, even when their work deals with the extremes of human behaviour.Less
Nearly fifty years on from the Lady Chatterley's Lover trial and over forty years from the abolition of theatre censorship, the new threat to free speech in the story-telling arts comes not from the nanny state but from a public demanding the right to be protected from offensive images. Newspaper attacks on representations of wicked people and their acts — at a time when victims' rights are being vigorously asserted — have blurred the distinction between the real and the imagined, and contributed to a climate in which the value of storytelling is downgraded and free speech made vulnerable. Understanding why some groups want to assert their right not to be offended, it is argued that it is beneficial for minority groups to protect free speech and the rights of artists to free expression, even when their work deals with the extremes of human behaviour.
Joseph M. Hassett
- Published in print:
- 2010
- Published Online:
- September 2010
- ISBN:
- 9780199582907
- eISBN:
- 9780191723216
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199582907.003.0011
- Subject:
- Literature, Poetry, 20th-century and Contemporary Literature
The Finale discusses Yeats's final years of life and how those years were enriched by the memories he held of his Muses. The Muse notion was Yeats's way of arranging his experience of women in terms ...
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The Finale discusses Yeats's final years of life and how those years were enriched by the memories he held of his Muses. The Muse notion was Yeats's way of arranging his experience of women in terms of his desire to be a poet who spoke in the role of lover. Over his lifetime, his Muses taught him that, for a poet of genius, a Muse knows no limits of age or gender. His Muses were essential to his becoming the love poet he always wanted to be.Less
The Finale discusses Yeats's final years of life and how those years were enriched by the memories he held of his Muses. The Muse notion was Yeats's way of arranging his experience of women in terms of his desire to be a poet who spoke in the role of lover. Over his lifetime, his Muses taught him that, for a poet of genius, a Muse knows no limits of age or gender. His Muses were essential to his becoming the love poet he always wanted to be.
Neil Corcoran
- Published in print:
- 2004
- Published Online:
- September 2007
- ISBN:
- 9780198186908
- eISBN:
- 9780191719011
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198186908.003.0008
- Subject:
- Literature, 20th-century Literature and Modernism
This chapter offers a reading of Bowen's collection of Second World War short stories, The Demon Lover and Other Stories, proposing it as a book of unhappy returns. Studies of dislocation, the ...
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This chapter offers a reading of Bowen's collection of Second World War short stories, The Demon Lover and Other Stories, proposing it as a book of unhappy returns. Studies of dislocation, the stories have their Anglo-Irish element, even though they are set mainly in the London of the Blitz. The chapter also considers matters of literary allusion and reference, as well as issues of gender together with sexual and social disruption. The chapter concludes with a lengthy reading of the figure of the apparently supernatural ghost in one of Bowen's greatest short stories, The Demon Lover, suggesting an influence from T. S. Eliot, an affinity with William Golding, and an alliance with Freud's conception of the ‘uncanny’. Thus, in various ways the story is the representation of crisis.Less
This chapter offers a reading of Bowen's collection of Second World War short stories, The Demon Lover and Other Stories, proposing it as a book of unhappy returns. Studies of dislocation, the stories have their Anglo-Irish element, even though they are set mainly in the London of the Blitz. The chapter also considers matters of literary allusion and reference, as well as issues of gender together with sexual and social disruption. The chapter concludes with a lengthy reading of the figure of the apparently supernatural ghost in one of Bowen's greatest short stories, The Demon Lover, suggesting an influence from T. S. Eliot, an affinity with William Golding, and an alliance with Freud's conception of the ‘uncanny’. Thus, in various ways the story is the representation of crisis.
Michael Ostling
- Published in print:
- 2011
- Published Online:
- January 2012
- ISBN:
- 9780199587902
- eISBN:
- 9780191731228
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199587902.003.0011
- Subject:
- History, European Early Modern History, Social History
The historiography of witchcraft tends to see confessions to diabolical sex as clear examples that accused witches were forced to adopt the ‘demonological script’. However, a close reading of the ...
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The historiography of witchcraft tends to see confessions to diabolical sex as clear examples that accused witches were forced to adopt the ‘demonological script’. However, a close reading of the trials indicates that accused witches sought to minimize their sexual contact with devils, and emphasized that such contact was painful and unpleasant due to the devil’s ‘cold member’. This suggests that accused witches tried to maintain some control of their stories: they might be quarrelsome and spiteful, but they were not promiscuous—might be imagined as witches, but not as whores. However, some confessions ‘indigenized’ diabolical sex, assimilating it to the folkloric figure of the latawiec—part unbaptized infant, part treasure-hauling demon, part erotic fairy-youth.Less
The historiography of witchcraft tends to see confessions to diabolical sex as clear examples that accused witches were forced to adopt the ‘demonological script’. However, a close reading of the trials indicates that accused witches sought to minimize their sexual contact with devils, and emphasized that such contact was painful and unpleasant due to the devil’s ‘cold member’. This suggests that accused witches tried to maintain some control of their stories: they might be quarrelsome and spiteful, but they were not promiscuous—might be imagined as witches, but not as whores. However, some confessions ‘indigenized’ diabolical sex, assimilating it to the folkloric figure of the latawiec—part unbaptized infant, part treasure-hauling demon, part erotic fairy-youth.
John Kerrigan
- Published in print:
- 2001
- Published Online:
- September 2011
- ISBN:
- 9780199248513
- eISBN:
- 9780191697753
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199248513.003.0003
- Subject:
- Literature, Shakespeare Studies
This chapter discusses works of Keats which present a Shakespearian quality, such as Lucrese. This poem, along with A Lover's Complaint, were ignored by Caroline Spurgeon. These two works of Keats ...
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This chapter discusses works of Keats which present a Shakespearian quality, such as Lucrese. This poem, along with A Lover's Complaint, were ignored by Caroline Spurgeon. These two works of Keats are able to reinforce assumptions about what Keats might correct in terms of what is considered to be distinctively Shakespearian.Less
This chapter discusses works of Keats which present a Shakespearian quality, such as Lucrese. This poem, along with A Lover's Complaint, were ignored by Caroline Spurgeon. These two works of Keats are able to reinforce assumptions about what Keats might correct in terms of what is considered to be distinctively Shakespearian.
Derek Hirst and Steven N. Zwicker
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780199655373
- eISBN:
- 9780191742118
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199655373.003.0004
- Subject:
- Literature, 17th-century and Restoration Literature, Poetry
This chapter begins with an extended reading of Marvell's lyric masterpiece, The unfortunate Lover, and builds on the story of the self unfolded there to explore Marvell's writings amid revolution ...
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This chapter begins with an extended reading of Marvell's lyric masterpiece, The unfortunate Lover, and builds on the story of the self unfolded there to explore Marvell's writings amid revolution and his insistent returns to motifs of woundedness, the dangerous female, and the endangered child. These are themes, the chapter shows, that preoccupied Marvell in his lyrics, in his polemical writings, and in his political career.Less
This chapter begins with an extended reading of Marvell's lyric masterpiece, The unfortunate Lover, and builds on the story of the self unfolded there to explore Marvell's writings amid revolution and his insistent returns to motifs of woundedness, the dangerous female, and the endangered child. These are themes, the chapter shows, that preoccupied Marvell in his lyrics, in his polemical writings, and in his political career.
Matilda Tomaryn Bruckner
- Published in print:
- 2009
- Published Online:
- May 2009
- ISBN:
- 9780199557219
- eISBN:
- 9780191720932
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199557219.003.0004
- Subject:
- Literature, Early and Medieval Literature, European Literature
Chapter 3 focuses on the alternately protective and destructive relationships between mothers and sons in Perceval and the First Continuation. Although the Veuve Dame dies when her son leaves the ...
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Chapter 3 focuses on the alternately protective and destructive relationships between mothers and sons in Perceval and the First Continuation. Although the Veuve Dame dies when her son leaves the Welsh forest for the world of knights, she continues to play a significant role in Perceval's erotic connections with Blancheflor and family connections to the Grail Castle. The issue of mothers and marriage unexpectedly returns when Gauvain's grandmother, mother, and sister appear at the Roche de Champguin, liberated from enchantment by Arthur's nephew in the last unfinished episode of Chrétien's romance. Problematic but essential connections continue to be traced between mothers, sexuality, sons, and lovers, as the first continuator extrapolates his anonymous elaboration of Gauvain's story and inserts the story of Caradoc, a son whose revelation of his mother's adultery leads to punishment and then cure with the help of his lady, configured as a kind of virginal mother.Less
Chapter 3 focuses on the alternately protective and destructive relationships between mothers and sons in Perceval and the First Continuation. Although the Veuve Dame dies when her son leaves the Welsh forest for the world of knights, she continues to play a significant role in Perceval's erotic connections with Blancheflor and family connections to the Grail Castle. The issue of mothers and marriage unexpectedly returns when Gauvain's grandmother, mother, and sister appear at the Roche de Champguin, liberated from enchantment by Arthur's nephew in the last unfinished episode of Chrétien's romance. Problematic but essential connections continue to be traced between mothers, sexuality, sons, and lovers, as the first continuator extrapolates his anonymous elaboration of Gauvain's story and inserts the story of Caradoc, a son whose revelation of his mother's adultery leads to punishment and then cure with the help of his lady, configured as a kind of virginal mother.
Matilda Tomaryn Bruckner
- Published in print:
- 2009
- Published Online:
- May 2009
- ISBN:
- 9780199557219
- eISBN:
- 9780191720932
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199557219.003.0007
- Subject:
- Literature, Early and Medieval Literature, European Literature
In order to renew our understanding of Chrétien's unfinished romance through an approach that focuses on his dialogue with the continuations, this study avoids the well-worn trail that leads to ...
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In order to renew our understanding of Chrétien's unfinished romance through an approach that focuses on his dialogue with the continuations, this study avoids the well-worn trail that leads to explaining or defining the Grail, following instead the ‘Story of the Grail’. The conclusion, nevertheless, leads more directly to the Grail as signifier by picking up threads left dangling in the space between Chapters 2 and 3, threads linking Perceval's mother and the Grail, mothers and sons, sons and lovers and mothers. In that itinerary of moving forward by returning back, the closing discussions bring together analyses from all the previous chapters to show how they may push farther into the middle of mysteries that Chrétien has set before contemporary, as well as medieval readers and continuators, by leaving unresolved so many contradictions and continuities in the human experience of paradox.Less
In order to renew our understanding of Chrétien's unfinished romance through an approach that focuses on his dialogue with the continuations, this study avoids the well-worn trail that leads to explaining or defining the Grail, following instead the ‘Story of the Grail’. The conclusion, nevertheless, leads more directly to the Grail as signifier by picking up threads left dangling in the space between Chapters 2 and 3, threads linking Perceval's mother and the Grail, mothers and sons, sons and lovers and mothers. In that itinerary of moving forward by returning back, the closing discussions bring together analyses from all the previous chapters to show how they may push farther into the middle of mysteries that Chrétien has set before contemporary, as well as medieval readers and continuators, by leaving unresolved so many contradictions and continuities in the human experience of paradox.
Gul Ozyegin
- Published in print:
- 1937
- Published Online:
- May 2016
- ISBN:
- 9780814762349
- eISBN:
- 9780814762356
- Item type:
- chapter
- Publisher:
- NYU Press
- DOI:
- 10.18574/nyu/9780814762349.003.0010
- Subject:
- Sociology, Race and Ethnicity
Cem, Can, and Devrim are three professionally successful, upwardly mobile gay men in their early thirties living in Istanbul. Their interview explores themes of "coming out," family connectedness, ...
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Cem, Can, and Devrim are three professionally successful, upwardly mobile gay men in their early thirties living in Istanbul. Their interview explores themes of "coming out," family connectedness, class, and love as they relate to fashioning gey identity. "Out" to varying degrees and in different contexts (familial, professional, etc.) the men bring into question the notion that being "out" is a static state or that it is essential to being gey in Turkey. Like the men and women of the previous chapters, they adopt façades to simultaneously conceal and reveal their identities as gay men. More than recognition and acceptance for being gey, what these men long for is to have their romantic relationships recognized and affirmed. Having a male lover accepted into their family lives as a female lover would be remains a fundamental and elusive goal for them in their self-making.Less
Cem, Can, and Devrim are three professionally successful, upwardly mobile gay men in their early thirties living in Istanbul. Their interview explores themes of "coming out," family connectedness, class, and love as they relate to fashioning gey identity. "Out" to varying degrees and in different contexts (familial, professional, etc.) the men bring into question the notion that being "out" is a static state or that it is essential to being gey in Turkey. Like the men and women of the previous chapters, they adopt façades to simultaneously conceal and reveal their identities as gay men. More than recognition and acceptance for being gey, what these men long for is to have their romantic relationships recognized and affirmed. Having a male lover accepted into their family lives as a female lover would be remains a fundamental and elusive goal for them in their self-making.
James H. Murphy
- Published in print:
- 2011
- Published Online:
- January 2011
- ISBN:
- 9780199596997
- eISBN:
- 9780191723520
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199596997.003.0003
- Subject:
- Literature, 19th-century and Victorian Literature
Recent scholarship has shown that William Carleton's work reflected the literary conventions of improvement literature and was not therefore especially representational of peasant life, the reason ...
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Recent scholarship has shown that William Carleton's work reflected the literary conventions of improvement literature and was not therefore especially representational of peasant life, the reason for which he was so acclaimed. During his lifetime, however, the perceived authenticity of his writing gave him enormous authority in the literary world. Carleton's novels are considered individually. As a critic Carleton could be fierce, especially against those he claimed to be misrepresenting the peasantry, such as Charles Lever. Carleton also attacked Samuel Lover, though his novels can be seen as just as much a satire of Irish stereotypes as an indulgence in them. It was, however, in part, a fear of a damaging comparison with the unassailable Carleton that prevented Lover's defenders from drawing attention to the more complex dimensions of this work. Carleton's reputation continued to grow during the rest of the nineteenth century, not least because the vibrant world he presented was believed, after the famine, to be a thing of the past.Less
Recent scholarship has shown that William Carleton's work reflected the literary conventions of improvement literature and was not therefore especially representational of peasant life, the reason for which he was so acclaimed. During his lifetime, however, the perceived authenticity of his writing gave him enormous authority in the literary world. Carleton's novels are considered individually. As a critic Carleton could be fierce, especially against those he claimed to be misrepresenting the peasantry, such as Charles Lever. Carleton also attacked Samuel Lover, though his novels can be seen as just as much a satire of Irish stereotypes as an indulgence in them. It was, however, in part, a fear of a damaging comparison with the unassailable Carleton that prevented Lover's defenders from drawing attention to the more complex dimensions of this work. Carleton's reputation continued to grow during the rest of the nineteenth century, not least because the vibrant world he presented was believed, after the famine, to be a thing of the past.
