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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
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Lonely passions - the cinema of Jack Clayton
Neil Sinyard

way compensate for lack of real passion or concern’. 5 Even the complimentary quote from Alexander Walker that heads this chapter talks of ‘impersonal craftsmanship’: admittedly, it is coupled with ‘incisiveness’ and Walker is contrasting such craftsmanship favourably with modern, modish self-indulgence, but there is still the ghost of an impression of a reticent stylist who is typically and predictably English in the

in Jack Clayton
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Sam Rohdie

Minimalism Mouchette (1967) and Le Journal d’un curé de campagne (1951) are returns to an ancient story, the Passion of Christ. In that story, as in Bresson’s two films, there are similar elements: chance (a series of encounters none of which are particularly connected, but all of which lead to a predestined end); predestination (though the paths to a final end are matters of chance and coincidence, the end itself is predetermined); freedom (the characters embrace their fate freely, not mere acceptance but an active embrace as understanding and thereby

in Film modernism
Open Access (free)
The French human sciences and the crafting of modern subjectivity, 1794–1816
Laurens Schlicht

populace in order to clear the way for new and better ones: Revolutions are, for the political body they shake, what medicines are for the impaired human body whose harmony they must restore. In both cases, the first effect is a disorder, the first sensation pain. 1 Petit thereby claimed that the ‘shock of all passions’ which had

in Progress and pathology
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Michael C. Schoenfeldt

with toxic passion or heal with human compassion, depending on the object and the situation. 4 Part of the challenge of deploying the concept of positive emotions to talk about early modern literature, moreover, may emerge from the inherent imprecision, if not the implicit anachronism, of the term ‘emotion’. It is certainly significant that all the early modern entries for the word ‘emotion’ are negative in the Oxford English Dictionary . It is a word whose first uses include ‘political agitation

in Positive emotions in early modern literature and culture
Roel Meijer

negotiation as the only means of eliminating its causes – all of which are anathema to Wahhabism. In the Saudi discourse, the causes of violence are sought in another logical sequence of steps beginning with religious ignorance ( jahil ), irrationality/passions ( ahwa’ ), deviation ( inhiraf ) and extremism ( ghuluw ), leading to political involvement ( hizbiyya ) and violence ( ‘unf ). In this discourse the believer is the central figure, and the concept of the ‘victorious sect’ ( al-ta’ifa al-mansura ), to which all Salafis/Wahhabis belong, is by definition unequal. It

in Non-Western responses to terrorism