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Eliza Haywood’s Love in Excess
Orla Smyth

they were no doubt influenced in doing so by the prominence within that corpus of a considerable number of women writers. Ballaster complained about the way English historians of literature were casting this amatory fiction within an indigenous tradition of English popular culture and she emphasised the importance of recognising the French provenance of this fiction and the 73 EARLY MODERN SELVES AND THE REASON V. PASSION DEBATE way it popularised, while also reworking, the ‘almost exclusively aristocratic forms of French love fiction’. 2 Thanks to important

in Writing and constructing the self in Great Britain in the long eighteenth century
Robert Lanier Reid

passion but as a complementary (indeed superior) form of reason, a compassionate reason that seeks to reform her male counterpart. Finally, the third power of the soul, sensory awareness or activity (Dwarf, Ruddymane, Talus), exemplifies the special but limited potencies of the human mind on the lowest, corporeal or sensory level of being. Each of these diminutive or

in Renaissance psychologies
Open Access (free)
In the beginning was song
Mads Qvortrup

6 Epilogue: in the beginning was song And the light shineth in the darkness; and the darkness comprehended it not. (John 1.5) We have (rather deliberately) said very little about the subject of music, as this is not obviously a part of Rousseau’s social philosophy. Yet music was – though scholars have often forgotten this1 – Rousseau’s main passion, and this passion spilled over into his political writings in more ways than one. Rousseau, the musician and note-copier, was an accidental philosopher. Had he not seen the prize question from the Academy in Dijon on

in The political philosophy of Jean-Jacques Rousseau
The portrait of Man in late seventeenth-century sermons
Regina Maria Dal Santo

2  Charitable though passionate creature: the portrait of Man in late seventeenth-century sermons Regina Maria Dal Santo In preaching before King Charles II at Whitehall on 2 April 1680, John Tillotson, the future Archbishop of Canterbury, gave the portrayal of the passionate individual thus: if a man ‘be subject … to his own lusts and passions … the tyrant is at home, and always ready at hand to domineer over him; he is got within him, and so much the harder to be vanquished and overcome’.1 Tillotson was playing on recent memories of the Civil War and on the

in Writing and constructing the self in Great Britain in the long eighteenth century
The Lonely Passion of Judith Hearne (1987)
Neil Sinyard

The performances that have made the most impression on me, that have the deepest effect – when I narrowed it down to three out of the many – I realised are all those of character actresses. Judy Holliday in Born Yesterday , Giulietta Masina in La Strada and Maggie Smith in The Lonely Passion of Judith Hearne. In each what inspires me is their skill coupled with a presence, and by that I don

in Jack Clayton
Laurence Lux-Sterritt

5 • Taming worldly emotions and appetites In his Poetics, Aristotle (383–322 BC) stated that passions were an intrinsically human trait and could not be ignored; he c­ onsidered that, although some passions could be harmful, others might be acceptable in a good and virtuous life. Yet such was not the general view in seventeenth-century Europe. Early modern authors were more receptive to the Stoicism of Cicero (106–43 BC) and Seneca (c. 1–45) and to their much harsher judgement of pathos as perturbation, giving emotions a much more negative and disruptive

in English Benedictine nuns in exile in the seventeenth century
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James Shirley’s The Traitor
Jessica Dyson

, leaving Lamia to ask, ‘Is this legal?’. 6 But Massinger's play is not the last to use this image of the desiring tyrant. Desire in tyranny and the tyranny of desire is maintained throughout Caroline drama, both in tragicomedy and in tragedy. Caroline tragicomedy, however, allows the monarch to overcome such powerful passions, either in moderating his behaviour to rule better (Massinger's Emperor of the East ), uniting with a more suitable romantic partner and submitting to the laws of the land (Brome's The Queen’s Exchange ), or reuniting with a lawful wife and

in The genres of Renaissance tragedy
Hanneke Canters and Grace M. Jantzen

Elemental Passions CHAPTER 6 Multiple subjects and fluid boundaries The development of mutually affirming sexual subjects, different but not oppositional, and thereby the destabilizing of traditional binary categories of oppositional logic, is simultaneously highly innovative and has far– reaching consequences. Because of the significance of Irigaray’s work in this regard, and because until now there has been no detailed study of Elemental Passions, our strategy in the first two sections of this book has been to present and explicate Irigaray’s text with a

in Forever fluid
Feminine fury and the contagiousness of theatrical passion
Kristine Steenbergh

) quotation of Clytemnestra’s words in Seneca’s tragedy Agamemnon (line 115) could be translated as ‘the safe way for crime is through further crimes’. 11 They mark the moment when Clytemnestra devotes herself fully to her passions. Her desire to take revenge on her husband is driven by her illicit love for Aegisthus, her fears for Agamemnon’s reprisal and her jealousy of

in Doing Kyd
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Magic, madness and other ways of losing control
Elwin Hofman

, this opened a space for defendants to make claims about their state of mind. In Zurich, claims about ‘diminished intent’ seem to have increased in the seventeenth century. 4 In eighteenth-century English courts, the language of mental excuses increased from the 1730s and 1740s onward. 5 Similarly, many suspects in the eighteenth- and nineteenth-century Southern Netherlands professed that they had some kind of ‘true’ or at least ‘regular’ self that could be ‘displaced’ by something else – by drunkenness or passion, for instance, or by more incisive events such

in Trials of the self