Книги з теми "Inc Samuel French"
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1
Samuel de Champlain. [Montréal]: Éditions de l'Homme, 1988.
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2
Temmer, Mark J. Samuel Johnson and three infidels: Rousseau, Voltaire, Diderot. Athens: University of Georgia Press, 1988.
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3
Realism in Samuel Richardson and the abbé Prévost. Lewiston, N.Y: Edwin Mellen Press, 2005.
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4
Champlain, Samuel de. Voyages of Samuel de Champlain, 1604-1618. New York: C. Scribner, 1996.
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5
Samuel Beckett and the idea of God. Basingstoke, Hampshire: Macmillan Press, 1998.
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6
Raum und Objekt im Werk von Samuel Beckett. Bielefeld: Transcript, 2011.
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7
Champlain, Samuel de. The voyages and explorations of Samuel de Champlain (1604-1616). Toronto: Courier Press, 2003.
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8
Champlain, Samuel de. The voyages and explorations of Samuel de Champlain (1604-1616). Toronto: Courier Press, 2003.
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9
Champlain, Samuel de. The voyages and explorations of Samuel de Champlain, 1604-1616. Toronto: Courier Press, 1997.
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10
Samuel de Champlain: From New France to Cape Cod. New York: Crabtree Pub. Co., 2005.
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11
Henning, Sylvie Debevec. Beckett's critical complicity: Carnival, contestation, and tradition. Lexington, Ky: University Press of Kentucky, 1988.
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12
Cruelty and desire in the modern theater: Antonin Artaud, Sarah Kane, and Samuel Beckett. Madison, NJ: Fairleigh Dickinson University Press, 2010.
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13
Uhlmann, Anthony. Beckett and poststructuralism. Cambridge, UK: Cambridge University Press, 1999.
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14
Bennett, Terry. Early Photography in Vietnam. GB Folkestone: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9781912961047.
Повний текст джерелаАнотація:
Early Photography in Vietnam is a fascinating and outstanding pictorial record of photography in Vietnam during the century of French rule. In more than 500 photographs, many published here for the first time, the volume records Vietnam’s capture and occupation by the French, the wide-ranging ethnicities and cultures of Vietnam, the country’s fierce resistance to foreign rule, leading to the reassertion of its own identity and subsequent independence. This benchmark volume also includes a chronology of photography (1845–1954), an index of more than 240 photographers and studios in the same period, appendixes focusing on postcards, royal photographic portraits, Cartes de Visite and Cabinet Cards, as well as a select bibliography and list of illustrations.
15
Remembering and the sound of words: Mallarmé, Proust, Joyce, Beckett. Oxford: Clarendon Press, 1996.
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16
Kant, Immanuel. Sette scritti politici liberi. Edited by Maria Chiara Pievatolo. Florence: Firenze University Press, 2011. http://dx.doi.org/10.36253/978-88-6655-000-6.
Повний текст джерелаАнотація:
At the end of the eighteenth century, before and during the French Revolution, Kant wrote intensively about politics. This book brings together the translations of his principal philosophical-political works, with the editor's annotations, from the essay on Enlightenment through to the writing on progress. The texts are subject to a Creative Commons licence, so that they can be amended without restrictions, retaining the same rights. Open access publication alone can achieve freedom in the public use of reason. The decision to free a classic work from economic monopoly and censure is intended to demonstrate that open access is not an academic theory but a reality that can give value and meaning to the establishment of a public university. Making Kant read means much more than merely reading him.
17
Lambert, Véronique. The Adornes Domain and the Jerusalem Chapel in Bruges. Translated by Ian Connerty. NL Amsterdam: Amsterdam University Press, 2018. http://dx.doi.org/10.5117/9789462989924.
Повний текст джерелаАнотація:
Bruges, middle of the 15th century. Anselm Adornes, scion of a rich patrician family, creates a magnificent domain in the heart of the city : an elegant mansion, beautiful gardens, several charitable almshouses and the spectacular Chapel of Jerusalem. It is a place that every right-minded resident of Bruges and every tourist must see. The history of the Adornes domain is truly remarkable, remaining in the unbroken possession of the same family for six centuries. It has survived storms and setbacks, the secularism of the French Revolution, the fury of two world wars and inevitable periods of disinterest. 'In this book Véronique Lambert allows us to share in the hopes and fears, joys and sorrows, trials and tribulations that mark the milestones in the Adornes family saga. Within the boundaries of historical interpretation and based on extensive research, she unfolds a fascinating tale of ambitious adventurers, charismatic personalities, flamboyant lords and ordinary mortals, but each imbued with the family's traditional willpower and energy'. Let yourself be enchanted by this fascinating piece of our cultural heritage, which deserves to be more widely known.
18
Heyam, Kit. The Reputation of Edward II, 1305-1697. NL Amsterdam: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789463729338.
Повний текст джерелаАнотація:
During his lifetime and the four centuries following his death, King Edward II (1307-1327) acquired a reputation for having engaged in sexual and romantic relationships with his male favourites, and having been murdered by penetration with a red-hot spit. This book provides the first account of how this reputation developed, providing new insights into the processes and priorities that shaped narratives of sexual transgression in medieval and early modern England. In doing so, it analyses the changing vocabulary of sexual transgression in English, Latin and French; the conditions that created space for sympathetic depictions of same-sex love; and the use of medieval history in early modern political polemic. It also focuses, in particular, on the cultural impact of Christopher Marlowe’s Edward II (c.1591-92). Through such close readings of poetry and drama, alongside chronicle accounts and political pamphlets, it demonstrates that Edward’s medieval and early modern afterlife was significantly shaped by the influence of literary texts and techniques. A ‘literary transformation’ of historiographical methodology is, it argues, an apposite response to the factors that shaped medieval and early modern narratives of the past.
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Off-Off-Broadway Festival plays: Twenty-second series : selected by New York theatre critics, professionals, and the editorial staff of Samuel French, Inc. as the most important plays of the Twenty-Second Annual Off-Off-Broadway Original Short Play Festival, sponsored by Love Creek Productions. New York: Samuel French, 1998.
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20
Samuel de Champlain. Calgary, Alberta: Weigl Educational Publishers Limited, 2015.
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21
Temmer, Mark J. Samuel Johnson and Three Infidels: Rousseau, Voltaire, Diderot. University of Georgia Press, 2009.
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22
Tsumura, David Toshio. The Second Book of Samuel. Wm. B. Eerdmans Publishing Co., 2019. http://dx.doi.org/10.5040/bci-009m.
Повний текст джерелаАнотація:
Second Samuel includes some of the most well-known and theologically layered episodes in the Old Testament, such as the Lord’s establishment of an eternal covenant with David, David’s sin with Bathsheba, and the subsequent account of Absalom’s rebellion. In this second part of an ambitious two-volume commentary on the books of Samuel, David Toshio Tsumura elucidates the rich text of 2 Samuel with special attention to literary and textual issues. Tsumura interprets the book in light of the meaning of the original composition, and he provides a fresh new translation based on careful analysis of the Hebrew text.
23
Sick, Franziska. Raum und Objekt Im Werk Von Samuel Beckett. Transcript Verlag, 2014.
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24
De l'abject et du sublime: Georges Bataille, Jean Genet, Samuel Beckett. Oxford: Peter Lang, 2011.
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25
Champlain, Samuel de. Voyages of Samuel de Champlain, 1604-1618: With a map and two plans. Adamant Media Corporation, 2001.
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26
Gilmour, Rachelle. Divine Violence in the Book of Samuel. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190938079.001.0001.
Повний текст джерелаАнотація:
Much of the drama, theological paradox, and interpretive interest in the book of Samuel derives from instances of God’s violence in the story. The beginnings of Israel’s monarchy are interwoven with God’s violent rejection of the houses of Eli and of Saul, deaths connected to the Ark of the Covenant, and the outworking of divine retribution after David’s violent appropriation of Bathsheba as his wife. Divine Violence in the Book of Samuel explores these narratives of divine violence from ethical, literary, and political perspectives, in dialogue with the thought of Immanuel Kant, Martha Nussbaum, and Walter Benjamin. The book addresses such questions as: Is the God of Samuel a capricious God with a troubling dark side? Is punishment for sin the only justifiable violence in these narratives? Why does God continue to punish those already declared forgiven? What is the role of God’s emotions in acts of divine violence? In what political contexts might narratives of divine violence against God’s own kings and God’s own people have arisen? The result is a fresh commentary on the dynamics of transgression, punishment, and their upheavals in the book of Samuel. The book offers a sensitive portrayal of God’s literary characterisation, with a focus on divine emotion and its effects. By identifying possible political contexts in which the narratives arose, God’s violence is further illumined through its relation to human violence, northern and southern monarchic ideology, and Judah’s experience of the Babylonian exile.
27
Samuel De Champlain: From New France to Cape Cod (In the Footsteps of Explorers). Crabtree Publishing Company, 2006.
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28
Hoffmann, George. Reforming French Culture. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198808763.001.0001.
Повний текст джерелаАнотація:
Satire has recently re-emerged as a potent political tool, but it has played many different roles in the past. French reformers waged massive satire campaigns in the sixteenth century to little or no political effect and, even, to their own disadvantage. Satiric forms nevertheless flourished because they fulfilled a devotional purpose. By portraying themselves as lonely travelers passing through the strange and exotic lands of Catholic custom, French reformers found a way to flesh out imaginatively the Pauline injunction to live in the world but not as part of it. The spiritual alienation cultivated in satiric literature allowed reformers to fashion themselves, after Calvin’s recommendation, as pilgrims in this world and confessional foreigners in their home country. At the same time, these satires’ self-presentation and their modes of address implied a reformed audience constituted by those who “got the joke.” The new communion entailed in laughing at Catholic excesses, modeled upon the reformed theological concept of “communication,” imagined a pan-European community held together by a non-local sense of belonging. Thus, French reformers embraced a diasporic identity well in advance of their actual emigration to the New World. But, more surprising still, the attitude of looking at one’s own culture through the eyes of an estranged traveler spread beyond reformed milieus to become a staple of French culture more generally. Through Montaigne, the ploy of acting the outsider in one’s homeland would become one of the signature devices of the Enlightenment’s challenge to the world of the Old Regime.
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Schmidt, Vivien A. Varieties of Capitalism. Edited by Robert Elgie, Emiliano Grossman, and Amy G. Mazur. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199669691.013.27.
Повний текст джерелаАнотація:
This chapter reviews the “varieties of capitalism” (VOC) literature on comparative political economy alongside the development of French political economy scholarship and the evolution of Western capitalism through this body of work. It shows that, although France has a distinct kind of capitalism from other Western countries, particularly in this period of crisis, and that French scholars have used the “French touch” to assess political economy issues through the lens of discourse/“référentiel,” ideas, and institutions, the French case has been incorporated in comparative VOC theory-building. Indeed, the French model is under the same global economic challenges and is enmeshed in Europeanization, like other capitalist economies. Today, the lines between comparative VOC and French work have become more fuzzy, as French scholars increasingly include insights from recent VOC scholarship into their own work and have simultaneously influenced this newer comparative work.
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Hartley, Julia Caterina. Iran and French Orientalism. Bloomsbury Publishing Plc, 2023. http://dx.doi.org/10.5040/9780755645626.
Повний текст джерелаАнотація:
New translations of Persian literature into French, the invention of the Aryan myth, increased travel between France and Iran, and the unveiling of artefacts from ancient Susa at the Louvre Museum are among the factors that radically altered France’s perception of Iran during the long nineteenth century. And this is reflected in the literary culture of the period. In an ambitious study spanning poetry, historiography, fiction, travel-writing, ballet, opera, and marionette theatre, Julia Hartley reveals the unique place that Iran held in the French literary imagination between 1829 and 1912. Iran’s history and culture remained a constant source of inspiration across different generations and artistic movements, from the ‘Oriental’ poems of Victor Hugo to those of Anna de Noailles and Théophile Gautier’s strategic citation of Persian poetry to his daughter Judith Gautier’s full-blown rewriting of a Persian epic. Writing about Iran could also serve to articulate new visions of world history and religion, as was the case in the intellectual debates that took place between Michelet, Renan, and Al-Afghani. Alternatively joyous, as in Félicien David’s opera Lalla Roukh, and ominous, as in Massenet’s Le Mage, Iran elicited a multiplicity of treatments. This is most obvious in the travelogues of Flandin, Gobineau, Loti, Jane Dieulafoy, and Marthe Bibesco, which describe the same cities and cultural practices in altogether different ways. Under these writers’ pens, Iran emerges as both an Oriental other and an alter ego, its culture elevated above that of all other Muslim nations. At times this led French writers to critique notions of European superiority. But at others, they appropriated Iran as proto-European through racialist narratives that reinforced Orientalist stereotypes. Drawing on theories of Orientalism and cultural difference, this book navigates both sides of this fascinating and complex literary history. It is the first major study on the subject.
31
Uhlmann, Anthony. Beckett and Poststructuralism. Cambridge University Press, 2009.
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32
Saugera, Valérie. Nominal Anglicisms in the Plural. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190625542.003.0005.
Повний текст джерелаАнотація:
This chapter comprehensively identifies the constraints that control the inflection of English-origin nouns in French. While French and English share the same pluralization morpheme, a small set of English nouns, particularly compounds, fails to receive inflection in French (for example, des black-out vs. des black-jacks). The findings demonstrate that the lack of inflection on this subset is rooted in the parameters of French (rather than English) morphology. Examination of the plural of Anglicisms also provides insight into mechanisms and processes of integration and reveals other findings, e.g. patterns of simplification, Anglicisms as tools for playful language, case studies of loans (people).
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Crowley, Patrick, and Shirley Jordan, eds. What Forms Can Do. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789620658.001.0001.
Повний текст джерелаАнотація:
The chapters in this book respond to important questions about the formal properties of French literary texts and the agency of form. A central feature of twentieth- and twenty-first century French and Francophone writing has been the exploration of how cultural forms (literary, philosophical and visual) create distinctive semiotic environments and at the same time engage with external realities. The aim of this volume is to explore how the formal properties of a range of texts inflect our reading of them and, through that exploration, to renew the engagement with form that has been a key feature of French cultural production and of analysis in French studies.
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Troberg, Michelle, and Heather Burnett. From Latin to Modern French: A punctuated shift. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198747840.003.0008.
Повний текст джерелаАнотація:
This chapter presents data that challenge the prevailing assumption that as Latin evolves into French, it passes gradually from a satellite-framed language to a verb-framed language. In fact, Medieval French presents an unexpected intermediate stage, a grammar that includes a number of satellite-framed constructions that are present neither in Latin nor in Modern French (verb particles, goal-of-motion constructions, complex adjectival resultative constructions). Moreover, there is evidence that these constructions disappear abruptly during the same period. We provide a micro-parametric account for the presence of verb particles and goal-of-motion constructions in Medieval French whereby both are made possible through the presence of a null Path morpheme having the meaning of TO, which arises as early as Late Latin, as the Latin telicizing prefixes become decreasingly salient.
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Palmer, R. R. The French Revolution: The Explosion of 1789. Princeton University Press, 2017. http://dx.doi.org/10.23943/princeton/9780691161280.003.0015.
Повний текст джерелаАнотація:
Instead of attempting the hopeless task of a full and rounded account of the French Revolution, this chapter selects a few points for more detailed treatment: how the year 1789 opened with a fully developed revolutionary psychology, what the Revolution essentially consisted of, and why the French Revolution, though inspired by much the same principles as the American Revolution, adopted different constitutional forms and took on a magnitude unknown to the upheavals of Western Civilization since the time of the Protestant Reformation. The chapter brings the story, for all countries, to about the year 1791, to the eve of the great war in which all these national and social developments were to be gathered together into one tremendous struggle.
36
After Beckett = D'après Beckett. Amsterdam: Rodopi, 2003.
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37
Vail, Mark I. Degrees of Freedom and Constraint. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190683986.003.0003.
Повний текст джерелаАнотація:
This chapter analyzes how the French tradition of statist liberalism has shaped policy outcomes in fiscal policy, labor-market policy, and financial regulation since the early 1990s. After the demise of dirigisme, French authorities expanded the scope of market forces, privatizing and liberalizing the French political economy. They did so, however, in ways that rejected standard neoliberal prescriptions, using state power to foster economic growth and expanding social protection to support the turn to the market. At the same time, the policy and institutional limitations of the post-dirigiste era, coupled with constraints associated with the Maastricht Treaty and EMU, forced French authorities to seek new means to accomplish these traditional ends. In all three areas, policy outcomes reflected a macroeconomic policy orientation, the continued primacy of an interventionist state, and an emphasis on individual citizens as the principal components of the national economic community and constituents and beneficiaries of state action.
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Stonebridge, Lyndsey. Beckett’s Expelled. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198797005.003.0006.
Повний текст джерелаАнотація:
Samuel Beckett is known for his unique abstraction of human suffering. This chapter shows how his wartime experiences transformed his writing, producing one of the first really critical literary depictions of the new subject of human rights and humanitarianism. Beckett’s engagement with what he described in 1946 as ‘the time-honoured conception of humanity in ruins’ began with his own experience of displacement and with his work with the Irish Red Cross in Saint-Lô. The characters who wander through the three short stories that he first wrote in French, ‘La Fin’, ‘L’Explusé’, and ‘Le Calmant’, collectively known as the Nouvelles, are both subject to a regime of humanitarian indifference (‘They clothed me and gave me money’ read the first lines of ‘La Fin’) and restless agents, stumbling in a stripped down French, groping for a new narrative. These are the new clowns of the dark background of difference, ironists of their own suffering, chroniclers of the gap that had opened up between the placeless people and the rest of the world.
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Gillon, Carrie, and Nicole Rosen. Nominal Contact in Michif. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198795339.001.0001.
Повний текст джерелаАнотація:
Michif is an endangered language spoken by approximately a few hundred Métis people, mostly located in Manitoba and Saskatchewan, Canada. Michif is usually categorized as a mixed language (Bakker 1997; Thomason 2003), due to the inability to trace it back to a single language family, with the majority of verbal elements coming from Plains Cree (Algonquian) and the majority of nominal elements coming from French (Indo-European). This book investigates Bakker’s (1997) often cited claim that the morphology of each source language is not reduced, with the language combining full French noun phrase grammar and Plains Cree verbal grammar. The book focuses on the syntax and semantics of the French-source noun phrase. While Michif has features that are obviously due to heavy contact with French (two mass/count systems, two plural markers, two gender systems), the Michif noun phrase mainly behaves like an Algonquian noun phrase. Even some of the French morphosyntax that it borrowed is used to Algonquianize non-Algonquian borrowings: the French-derived articles are only required on non-Algonquian nouns, and are used to make non-Algonquian borrowings visible to the Algonquian syntax. Michif is thus shown to be best characterized as an Algonquian language, with heavy French borrowing. With such a quintessentially ‘mixed’ language shown to essentially not mix grammars, the usefulness of this category for analysing synchronic patterns is questioned, much in the same way that scholars such as DeGraff (2000, 2003, 2005) and Mufwene (1986, 2001, 2008, 2015) question the usefulness of the creole language classification.
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Johnson, Julian. After Debussy. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190066826.001.0001.
Повний текст джерелаАнотація:
This book explores an idea of music, exemplified by the work of Debussy, in dialogue with a parallel movement in French literary and philosophical thought. Its central thesis is that modern music and philosophy converge on the same set of problems but from opposite directions. Through close readings of selected musical works it argues that Debussy’s rethinking of the relation between sound and grammar anticipates and complements the defining problem of modern philosophy – the gap between language and a sensory relation to the world, between abstract systems of signification and embodied experience. Although its principal focus is the music of Debussy, it ranges widely across French music from Fauré and Ravel to Dutilleux, Boulez, Grisey, Murail, and Saariaho. It ranges similarly through a set of French writers and philosophers, from Mallarmé and Proust to Merleau-Ponty, Jankélévitch, Derrida, Lyotard, and Nancy. Frequent reference is made to the visual arts (Rodin, Monet, Bonnard, Cezanne, Matisse). It explores the idea that this current of French music, running through the long twentieth century from Debussy to the present, makes sense in a manner that affords a different way of knowing the world, foregrounding sound over syntax, and sense over signification.
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Huber, Judith. Borrowed PATH verbs in Middle English. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190657802.003.0009.
Повний текст джерелаАнотація:
Chapter 9 analyses the use of the path verbs enter, ish/issue, descend, avale, ascend, mount, and amount in Middle English autonomous texts and translations from French and Latin, focusing on their recurrent contexts and their complementation patterns. It shows that these verbs are borrowed predominantly in specific, often non-literal or manner-enriched senses relating to discourse domains such as administration, military, religion, and the like, rather than being borrowed as verbs for describing general literal motion events. Their application for general literal motion events is shown to be less restricted in translations from French and Latin, in which translators often react to the presence of a path verb in the original by using the same verb in its Middle English form. This and the continued influence of French and Latin after Middle English may eventually have led to a wider application of the verbs in later stages of the language.
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Gillon, Carrie, and Nicole Rosen. Plurality. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198795339.003.0003.
Повний текст джерелаАнотація:
Michif has two different morphological exponents of plurality: the French-derived article lii and the Cree-derived suffix -a/-ak. This chapter investigates the syntax and the semantics of both plural markers, and shows that the two plurals cannot occupy the same position (as they can co-occur) and that lii occupies Num while -a/-ak occupies Div. The plural article lii is a ‘counting plural’ (following Mathieu 2013, 2014) and the plural suffix -a/-ak is a ‘dividing plural’ (following Borer 2005; Borer and Ouwayda 2010). The suffix -a/-ak can only occur on Algonquian-derived nouns, not French nouns, and it always creates count nouns. This analysis entails that multiple positions for ‘true’ plurality must be available to languages (contra Borer and Ouwayda 2010). This analysis also has implications for the semantics of Algonquian-derived nouns vs French-derived nouns, the development of Michif and—potentially—the semantics of plurality in Plains Cree.
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Butterfield, Ardis. National Histories. Edited by James Simpson and Brian Cummings. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199212484.013.0003.
Повний текст джерелаАнотація:
Nation and vernacularity are naturally intertwined, as Adrian Hastings, Richard Helgerson, and Benedict Anderson would attest. Hastings, Helgerson, and Anderson all argue that the rise of nation coincides with a decisively new burgeoning of the vernacular, even as this moment occurs in a different century. This article explores three issues concerning nation that have particular relevance to cross-period “cultural reformations” and are radically affected by England’s long relationship with France: nation’s relation to modernity, to language, and to England and Englishness. It examines the entanglement between English and French in the context of nationhood and considers a bifurcated Anglo-French model for vernacularity that it argues is central to understanding of nation and crucially resistant to it at the same time.
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Ezell, Margaret J. M. 1659–1660. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198183112.003.0007.
Повний текст джерелаАнотація:
An overview of events following the death of Oliver Cromwell and the return of Charles II and his court from the Continent. Although John Milton continued to write urging the preservation of the Commonwealth, public opinion, as seen in the diaries of John Evelyn and Samuel Pepys, led the army to invite the return of the royal family. The literary response to Cromwell’s death which depicted him as a heroic general and leader of the Commonwealth soon changed to celebration of the royal family and the hypocrisy of Puritan rule. The theatres were reopened and two companies were granted patents; influenced by French theatres, companies now included professional women actors. The demand for new plays offered opportunities for writers. Fiction dealt with contemporary issues, using romance conventions to satirize.
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Grenby, M. O. The Anti-Jacobin Novel. Edited by Alan Downie. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199566747.013.020.
Повний текст джерелаАнотація:
This essay investigates the conservative, loyalist fiction published in Britain during the French Revolution and its aftermath. A substantial number and a wide variety of these novels were published: long and short, propagandistic and philosophical, for adults and children and by obscure and well-known authors. The essay identifies and analyses the principal structures and themes of anti-Jacobin fiction, and closely examines a representative sample. It assesses their contribution to the ‘war of ideas’ and considers how they fit into larger histories of the novel.
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Hummer, Hans. Disambiguation in the Twentieth Century. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198797609.003.0004.
Повний текст джерелаАнотація:
During the twentieth century historians and structural anthropologists developed kinship into a method for laying bare the mechanisms of history and human sociality. French Annaliste historians such as Marc Bloch and George Duby promoted kinship as a natural and primordial social structure, its vitality fluctuating in inverse proportion to the strength of institutions and the state. At the same time, German-language scholars refined kinship into a method for investigating the medieval aristocracy. This chapter examines the prosopographical research program advocated by Karl Schmid and Gerd Tellenbach, its intersection with the French sociological tradition, and the belief by the 1970s that the study of kinship could reveal the elemental processes of history. It concludes with the rebellion against structuralism and critiques the biogenetic and genealogical presuppositions that underpin the study of medieval kinship.
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Brazil, Kevin. Pig Vomit. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198824459.003.0001.
Повний текст джерелаАнотація:
Towards the end of his life Samuel Beckett reflected that ‘[l]iterature and painting are like oil and water’—two substances that can never be mixed together. Yet in spite of this—or perhaps because of it—Beckett repeatedly used writing about art as a means to reflect on his own practice as a novelist: in letters, diaries, and in his published art criticism. This chapter traces Beckett’s engagement with art during the 1930s and 1940s, the period when he wrote his most significant novels: Molloy, Malone Dies, and The Unnamable. It argues that Beckett saw modernist painting as offering an example of formal necessity that could stand against the demands for political commitment circulating in postwar French critical debates, and it draws on detailed archival and manuscript research to show how Beckett’s art criticism informed the style and composition of his postwar trilogy.
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Moody, Alys. Hunger in a Closed System. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198828891.003.0003.
Повний текст джерелаАнотація:
Chapter 2 turns to post-World War II France, where the aftermath of war produced fierce debates about the status of aesthetic autonomy, presided over by the field-shaping influence of Jean-Paul Sartre and his theory of intellectual engagement. In this context, Samuel Beckett emerges as a transitional figure in the art of hunger tradition: both its last modernist and its first standard-bearer in the post-war period beyond modernism. Situating Beckett’s writing from the 1940s onwards within the post-war French debates about the status of aesthetic autonomy, this chapter follows Beckett’s resistance to both littérature engagée, and defenses of autonomy that linked art to freedom. Hunger, linked in his writing of this period with obligation, necessity, and the collapse of collective and political communities, becomes the vehicle through which he develops a new theory of art as a practice of unfreedom.
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Patterson, W. B. Conclusion. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198793700.003.0011.
Повний текст джерелаАнотація:
Fuller’s books about England’s religious past helped to stimulate an outpouring of historical writing. Peter Heylyn wrote about some of the same subjects as Fuller, and so did Gilbert Burnet, Edward Stillingfleet, John Strype, and Jeremy Collier. Burnet, who looked for models for his history of the English Reformation, was sarcastic about Fuller, partly because of the latter’s “odd way of writing.” Fuller’s work was not highly regarded in the late seventeenth and eighteenth centuries. In the nineteenth century Charles Lamb, Robert Southey, and Samuel Taylor Coleridge deeply admired him for his insights and praised him for his writing. Several nineteenth-century historians defended his work. His reputation has remained uncertain, despite fresh assessments in recent years. Coleridge was remarkably apt in his viewpoint. Fuller saw the broader significance of the events he described and was one of the most sensible scholars and writers of his time.
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Wyke, Maria. The Pleasures and Punishments of Roman Error. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198803034.003.0011.
Повний текст джерелаАнотація:
Early cinema, this chapter argues, struggled to balance the competing claims of moral purpose and entertainment where the legacy of Roman error was concerned. At the same time, cinema also sought to redefine and outperform other modes of classical reception (such as theatre, opera, painting, and the novel). Through a close examination of the French film Héliogabale, ou l’orgie romaine (Elagabalus, or the Roman Orgy), this chapter reveals how this dynamic plays out in the case of the boy-ruler viewed by tradition as the worst of Roman emperors. While the film’s concluding punishment of the emperor by a virile praetorian guard evokes contemporary French discourses of regeneration out of national decline, The Roman Orgy also displays an internal conflict in lingering pleasurably over Elagabalus’s transgressions. In this, its central character becomes device for cinematic mise-en-abyme, a technique that reflects the broader cultural debate over cinema in France.