Articoli di riviste: "Clarissa"

1

Leborgne, Erik. "Clarissa Harlot or Clarissa Hallowed ? L’échiquier moral de Clarisse". Littératures 48, n. 1 (2003): 35–48. http://dx.doi.org/10.3406/litts.2003.2211.

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2

Gaipa, Mark. "Accessorizing Clarissa: How Virginia Woolf changes the clothes and the character of her lady of fashion". Modernist Cultures 4, n. 1-2 (maggio 2009): 24–47. http://dx.doi.org/10.3366/e2041102209000446.

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The period following the first world war in England saw dramatic changes in women's clothing: the manufacturing of quality ready-made clothing brought fashion to the masses, and modern fashions helped liberate women with simpler, lighter, and more youthful designs. These changes, I argue, have great consequence for Virginia Woolf's lady of fashion, Clarissa Dalloway. In her story “Mrs Dalloway in Bond Street” (1922), Woolf produces an ultimately satirical portrait of Clarissa, who remains insulated, by class privilege and fashion sensibility, from the working world about her; but when Woolf rewrites her story as a novel (1925), Clarissa comes to feel deeply for her lower-class counterparts. The change reflects Woolf's modernist technique, which strips away Clarissa's material insulation. But Woolf's dematerialized modernism in turn echoes contemporary women's fashions, which likewise were revolting against heavy materials, exploring youthful looseness, and even allowing ladies and workers to become fashion doubles.

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3

Brooks-Davies, Douglas, Terry Castle, Katharine M. Rogers e Simon Shepherd. "Clarissa's Ciphers: Meaning and Disruption in Richardson's 'Clarissa'". Yearbook of English Studies 16 (1986): 264. http://dx.doi.org/10.2307/3507804.

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4

BATSAKI, YOTA. "Clarissa; or, Rake Versus Usurer". Representations 93, n. 1 (2006): 22–48. http://dx.doi.org/10.1525/rep.2006.93.1.22.

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ABSTRACT This paper applies ““interest,”” as a dominant eighteenth-century model of human nature, to Richardson's Clarissa; it proceeds to explore the construction of a new ethics of sexual relationship in the novel by focusing on the homology between usury and libertinism as two kinds of speculation judged immoral due to absence of risk. Clarissa's economic language reveals her to be an astute exegete of her culture's politics and enables her to redress the sexual imbalance of risk; Lovelace, by contrast, troubles the assumptions of the ““interest”” paradigm by subscribing to an aristocratic economy of expenditure that is at odds with the economic prudence of the bourgeoisie.

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5

Bye, Antony. "Holloway's Clarissa". Musical Times 131, n. 1767 (maggio 1990): 243. http://dx.doi.org/10.2307/966156.

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6

Doody, Margaret Anne, e Florian Stuber. ""Clarissa" Censored". Modern Language Studies 18, n. 1 (1988): 74. http://dx.doi.org/10.2307/3194702.

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7

Rain, D. C. "Richardson's Clarissa". Explicator 47, n. 1 (settembre 1988): 12–15. http://dx.doi.org/10.1080/00144940.1988.9933866.

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8

Graves, Lila V. "Richardson's Clarissa". Explicator 47, n. 2 (gennaio 1989): 18–19. http://dx.doi.org/10.1080/00144940.1989.9933892.

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9

Rain, D. C. "Richardson's Clarissa". Explicator 52, n. 1 (1 ottobre 1993): 20–22. http://dx.doi.org/10.1080/00144940.1993.9938725.

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10

London, April. "Enclosing Clarissa". ESC: English Studies in Canada 13, n. 3 (1987): 271–80. http://dx.doi.org/10.1353/esc.1987.0036.

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11

Aikins, Janet E., Florian Stuber, Margaret Anne Doody e Jim Springer Borck. "The Clarissa Project." Eighteenth-Century Studies 26, n. 3 (1993): 525. http://dx.doi.org/10.2307/2739429.

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12

Greene, Mildred Sarah. "The French Clarissa". Man and Nature 11 (1992): 89. http://dx.doi.org/10.7202/1012674ar.

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13

Keymer, Tom, Carol Houlihan Flynn, Edward Copeland e Victor J. Lams. "Clarissa and Her Readers: New Essays for the 'Clarissa' Project". Modern Language Review 97, n. 2 (aprile 2002): 395. http://dx.doi.org/10.2307/3736878.

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14

Ewha Chung. "Re-Reading Clarissa and Clarissa: Interpretations of ＂Virtue＂ at War". Journal of English Language and Literature 54, n. 3 (giugno 2008): 395–409. http://dx.doi.org/10.15794/jell.2008.54.3.005.

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15

Bray, J. "Review: Clarissa and her Readers: New Essays for The Clarissa Project". Review of English Studies 52, n. 206 (1 maggio 2001): 267–69. http://dx.doi.org/10.1093/res/52.206.267.

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16

Morate, David, Julia de León, Mário De Prá, Javier Licandro, Antonio Cabrera-Lavers, Humberto Campins e Noemí Pinilla-Alonso. "Visible spectroscopy of the Sulamitis and Clarissa primitive families: a possible link to Erigone and Polana". Astronomy & Astrophysics 610 (febbraio 2018): A25. http://dx.doi.org/10.1051/0004-6361/201731407.

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The low-inclination (i< 8∘) primitive asteroid families in the inner main belt, that is, Polana-Eulalia, Erigone, Sulamitis, and Clarissa, are considered to be the most likely sources of near-Earth asteroids (101955) Bennu and (162173) Ryugu. These two primitive NEAs will be visited by NASA OSIRIS-REx and JAXA Hayabusa 2 missions, respectively, with the aim of collecting samples of material from their surfaces and returning them back to Earth. In this context, the PRIMitive Asteroid Spectroscopic Survey (PRIMASS) was born, with the main aim to characterize the possible origins of these NEAs and constrain their dynamical evolution. As part of the PRIMASS survey we have already studied the Polana and Erigone collisional families in previously published works. The main goal of the work presented here is to compositionally characterize the Sulamitis and Clarissa families using visible spectroscopy. We have observed 97 asteroids (64 from Sulamitis and 33 from Clarissa) with the OSIRIS instrument (0.5-0.9μm) at the 10.4 m Gran Telescopio Canarias (GTC). We found that about 60% of the sampled asteroids from the Sulamitis family show signs of aqueous alteration on their surfaces. We also found that the majority of the Clarissa members present no signs of hydration. The results obtained here show similarities between Sulamitis-Erigone and Clarissa-Polana collisional families.

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17

Marks, Sylvia Kasey. ""Clarissa" as Conduct Book". South Atlantic Review 51, n. 4 (novembre 1986): 3. http://dx.doi.org/10.2307/3199753.

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18

Hilliard, Raymond F. "Clarissa and Ritual Cannibalism". PMLA 105, n. 5 (ottobre 1990): 1083. http://dx.doi.org/10.2307/462736.

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19

Ghabris, Maryam. "Les passions dans Clarissa". XVII-XVIII. Revue de la société d'études anglo-américaines des XVIIe et XVIIIe siècles 39, n. 1 (1994): 143–57. http://dx.doi.org/10.3406/xvii.1994.1936.

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20

Soupel, Serge. "Clarissa : la femme pourchassée". XVII-XVIII. Revue de la société d'études anglo-américaines des XVIIe et XVIIIe siècles 20, n. 1 (1985): 113–23. http://dx.doi.org/10.3406/xvii.1985.1700.

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21

Lubey, Kathleen. "Sexual Remembrance in Clarissa". Eighteenth-Century Fiction 29, n. 2 (gennaio 2017): 151–78. http://dx.doi.org/10.3138/ecf.29.2.151.

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22

Klima, Cynthia A. "Clarissa by Stefan Zweig". Journal of Austrian Studies 52, n. 1-2 (2019): 157–58. http://dx.doi.org/10.1353/oas.2019.0020.

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23

Tennenhouse, Leonard. "The Americanization of Clarissa". Yale Journal of Criticism 11, n. 1 (1998): 177–96. http://dx.doi.org/10.1353/yale.1998.0025.

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24

Pritchard, W. "Pope, Richardson, and "Clarissa"". Literary Imagination 14, n. 2 (20 giugno 2012): 216–34. http://dx.doi.org/10.1093/litimag/ims043.

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25

Anderson, R. Lanier. "Is Clarissa Dalloway Special?" Philosophy and Literature 41, n. 1A (2017): 233–71. http://dx.doi.org/10.1353/phl.2017.0032.

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26

Nasta, Susheila. "Clarissa Luard 1948 ‐1999". Wasafiri 15, n. 31 (marzo 2000): 59. http://dx.doi.org/10.1080/02690050008589686.

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27

Chaber, Lois A. "Clarissa (review)". Eighteenth-Century Fiction 5, n. 3 (1993): 285–87. http://dx.doi.org/10.1353/ecf.1993.0009.

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28

Holloway, R. "Reflections on Setting Clarissa". Forum for Modern Language Studies 48, n. 2 (1 aprile 2012): 236–43. http://dx.doi.org/10.1093/fmls/cqs002.

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29

Rivard, Yvon. "Le coeur pur de Clarissa". Études françaises 46, n. 1 (27 maggio 2010): 77–96. http://dx.doi.org/10.7202/039818ar.

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Toute oeuvre qui ne se mesure pas à la mort, qui se détourne du réel que lui découvre la mort, s’éloigne de sa vérité, de sa tâche qui est de chercher pour l’homme une façon de rester humain après que la conscience de la mort a détruit toutes ses certitudes. Ce qui permet de rester humain, dit Broch, « c’est la connaissance de l’infini », ce désir, ce pressentiment qu’il y a une relation nécessaire, harmonieuse entre moi et le monde, « entre la terrifiante condition finie et mortelle et l’infini du cosmos ». N’a de valeur, n’est éthique, que ce qui procède de cette connaissance, de ce « savoir du rêve » qui unit le passé et le futur en un « présent durable » de sorte que la peur de mourir devient l’aspiration à disparaître en moi-même, en un monde dont plus rien ne me sépare. Cette unité profonde, cette impossibilité d’être séparé, les êtres en font l’expérience, la vérifient en quelque sorte, chaque fois qu’ils reconnaissent dans les autres la même angoisse et le même désir d’y échapper, comme si s’abolissaient alors en même temps que la différence entre les êtres la différence entre ce qui se trouverait de ce côté-ci de la mort (dans le moi) et ce qui se trouverait de l’autre côté (dans le non-moi). C’est pourquoi la question capitale pour tout être et pour tout écrivain qui ont à coeur de créer un monde humain est la suivante : que faire pour que personne ne soit seul ou angoissé au point de devenir fou ou de vouloir mourir, que faire pour que personne ne soit obligé de mourir pour avoir accès à une autre vie ? C’est la question que se pose Virginia Woolf, grande lectrice des romanciers russes, c’est la question qui bat sans cesse dans le coeur pur de Clarissa Dalloway.

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30

Damrongpiwat, Pichaya. "Fictions of Materiality in Clarissa". Eighteenth Century 62, n. 1 (marzo 2021): 43–62. http://dx.doi.org/10.1353/ecy.2021.0002.

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31

Ghabris, Maryam. "L'enthousiasme chez Lovelace dans Clarissa". Colloque - Société d'études anglo-américaines des 17e et 18e siècles 29, n. 1 (1989): 147–68. http://dx.doi.org/10.3406/xvii.1989.2269.

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32

Martin, Mary Patricia. "Reading Reform in Richardson's Clarissa". Studies in English Literature, 1500-1900 37, n. 3 (1997): 595. http://dx.doi.org/10.2307/451051.

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33

Nace, N. D. "Aaron Hill in Richardson's Clarissa". Notes and Queries 55, n. 3 (1 luglio 2008): 331–33. http://dx.doi.org/10.1093/notesj/gjn075.

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34

Nace, N. D. "More Aaron Hill In Clarissa". Notes and Queries 56, n. 2 (1 giugno 2009): 247–48. http://dx.doi.org/10.1093/notesj/gjp038.

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35

Tita Chico. "Clarissa’s Readers". Eighteenth Century 49, n. 3 (2009): 273–78. http://dx.doi.org/10.1353/ecy.0.0018.

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36

이동신. "Parenthesized Lives: (Deronda), (Clarissa), (Ballard)". Journal of English Language and Literature 61, n. 1 (marzo 2015): 109–29. http://dx.doi.org/10.15794/jell.2015.61.1.007.

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37

Reeves, James Bryant. "Posthumous Presence in Richardson’s Clarissa". SEL Studies in English Literature 1500-1900 53, n. 3 (2013): 601–21. http://dx.doi.org/10.1353/sel.2013.0031.

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38

Doody, Margaret Anne. "The Gnostic Clarissa". Eighteenth-Century Fiction 11, n. 1 (1998): 49–78. http://dx.doi.org/10.1353/ecf.1998.0038.

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39

Steele, Kathryn L. "Clarissa’s Silence". Eighteenth-Century Fiction 23, n. 1 (2010): 1–34. http://dx.doi.org/10.1353/ecf.2010.0003.

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40

Rinehart, Hollis. "Clarissa and the Concept of Tragedy: The Death of Lovelace". Man and Nature 2 (20 agosto 2012): 37–47. http://dx.doi.org/10.7202/1011810ar.

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Clarissa de Richardson fait apparaître deux théories de la tragédie qui sont partiellement opposées : la théorie didactique qui véhicule un enseignement moral moyennant l’attrait d’une histoire qui plaît, et la théorie affective, d’origine aristotélienne, selon laquelle le public doit être amené à éprouver pitié et crainte. La fin de la vie de Clarissa et sa mort édifiante illustrent la théorie didactique, tandis que la mort de Lovelace excite la crainte du spectateur, si elle ne réussit pas à susciter sa pitié, et correspond donc davantage à l’idée moderne du tragique.

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41

Sulich, Rachel. "Lovelace's “Gloomy Scheme of Death”: Suffering, Dueling, and Suicide in Richardson's Clarissa". Eighteenth-Century Life 46, n. 2 (1 aprile 2022): 88–112. http://dx.doi.org/10.1215/00982601-9664423.

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This article uses Samuel Richardson's Clarissa (1747–48) as a case study in order to expose the relationship between dueling and suicide in eighteenth-century literature and culture. By examining the novel alongside contemporary documents concerning dueling, I make the case that Lovelace's fatal duel with Morden is a covert form of self-destruction, one that allows him to disguise and ultimately escape his sufferings while maintaining his masculine honor and reputation. While many critics have focused on Clarissa's suicide in Richardson's novel, few have considered the nature of Lovelace's own self-willed death at length. The following consideration of Lovelace's “gloomy scheme of death” reveals the violence necessary for performances of masculinity in the early to mid-eighteenth century and suggests that the duel is at the heart at such efforts at self-display.

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42

Harris, Jocelyn, Elizabeth Echlin, Dimiter Daphinoff e Carol Houlihan Flynn. "An Alternative Ending to Richardson's 'Clarissa'". Yearbook of English Studies 16 (1986): 268. http://dx.doi.org/10.2307/3507805.

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43

Stuber, Florian. "On Fathers and Authority in Clarissa". Studies in English Literature, 1500-1900 25, n. 3 (1985): 557. http://dx.doi.org/10.2307/450496.

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44

Lamb, Jonathan. "The Fragmentation of Originals and Clarissa". Studies in English Literature, 1500-1900 28, n. 3 (1988): 443. http://dx.doi.org/10.2307/450595.

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45

Binhammer, Katherine. "Knowing Love: The Epistemology of Clarissa". ELH 74, n. 4 (2007): 859–79. http://dx.doi.org/10.1353/elh.2007.0034.

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46

Hill, J. "The Arctic Genealogy of Clarissa Dalloway". Notes and Queries 52, n. 4 (1 dicembre 2005): 500–501. http://dx.doi.org/10.1093/notesj/gji435.

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47

Gunn, Daniel P. "Is Clarissa Bourgeois Art?" Eighteenth-Century Fiction 10, n. 1 (1997): 1–14. http://dx.doi.org/10.1353/ecf.1997.0001.

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48

Oliveira, Taís de. "Os percursos de Clarissa Vaughan e Richard Brown no filme As Horas." Estudos Semióticos 11, n. 2 (11 dicembre 2015): 62. http://dx.doi.org/10.11606/issn.1980-4016.esse.2015.111036.

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O filme As horas (The Hours, Stephen Daldry, 2002), baseado no romance de mesmo nome de Michael Cunningham (The Hours, 1998), foi um sucesso de público e crítica. Recebeu nove indicações ao Oscar de 2003, incluindo melhor filme e melhor roteiro adaptado. As duas obras tratam do entrelace das histórias de três mulheres ligadas pelo romance de Virginia Woolf, Mrs. Dalloway (Woolf, 2003 [1925]). Cada uma é retratada em um momento diferente: a primeira, no início do século XX, a segunda, em sua metade, e a terceira, no final do mesmo século, no livro, e no primeiro ano do presente século, no filme. Tendo como teoria norteadora de nosso trabalho a Semiótica Discursiva de linha francesa, analisamos – no filme – o percurso desta última personagem, Clarissa Vaughan, uma editora que vive em Nova Iorque cuidando de seu amigo e ex-amante Richard, aidético terminal. Buscamos desvelar os papéis actanciais manifestados por essas duas personagens. Um dos resultados obtidos pela análise é o papel de Destinador Manipulador desempenhado pelo ator Clarissa, que tenta a todo custo convencer seu Destinatário, Richard, a lutar pela vida. No entanto, Richard é consciente de sua impotência. Tal relação desencadeia interessantes configurações, até desembocar na completa recusa de Richard com relação ao seu papel de Destinatário de Clarissa. Além de rejeitar a manipulação proposta por ela, ele passa a ocupar o papel de Antissujeito, ao cometer suicídio. Utilizamo-nos também de recursos da Semiótica Tensiva que nos possibilitaram chegar a alguns resultados que demonstram os valores ligados à vida e à morte, de acordo com cada uma das personagens citadas. Os resultados apontam que para Clarissa a vida teria caráter emissivo e a morte remissivo. Já Richard enxerga da maneira oposta, para ele a vida teria caráter remissivo e a morte é que teria caráter emissivo.

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49

Lopes, Denilson. "A Poesia da Luz de Clarissa Campolina". Rebeca - Revista Brasileira de Estudos de Cinema e Audiovisual 3, n. 1 (25 luglio 2016): 14. http://dx.doi.org/10.22475/rebeca.v3n1.320.

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Os espaços nos filmes de Clarissa Campolina não são apenas cenários, elementos menores da encenação, são sensações materiais que definem mesmo o filme. Analisaremos, em especial, Adormecidos, no qual não há mais a paisagem definida pelo olhar contemplativo que projeta romanticamente seus dilemas e devaneios, que dá valor ao espaço a partir de suas memórias e experiência ali vivenciadas, nem algo irrepresentável na esfera do sublime. Só aparentemente há uma perspectiva. Mas a tela não é uma janela para o mundo que o espectador contempla. A realizadora, o espectador e qualquer figura humana não são a medida nem no olhar nem na cena. Em Adormecidos, deixamos de transitar pelas paisagens do sertão, especialmente do Norte de Minas Gerais, presente em Girimunho (2011) e Trecho (2006), filmes dirigidos por Clarissa Campolina em conjunto com Helvécio Marins e nos deparamos com um lugar sem nome, sem grandes marcas, mas não um lugar impessoal de trânsito, um não lugar. Esta paisagem em que imergimos mais que contemplamos é por onde penetramos nesse pequeno filme. Talvez seja o que Deleuze e Guattari chamaram de perceptos. Perceptos não são mais percepções, são independentes do estado daqueles que os experimentam... “A Paisagem vê. O percepto é [Estamos na] “paisagem anterior ao homem, na ausência do homem” (DELEUZE e GUATTARI, 1992, 219).

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50

Zomchick, John P., e Tom Keymer. "Richardson's 'Clarissa' and the Eighteenth-Century Reader". Modern Language Review 89, n. 2 (aprile 1994): 447. http://dx.doi.org/10.2307/3735259.

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Articoli di riviste sul tema "Clarissa"

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