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George Brown’s narrative defence of the ‘New Britain raid’
Helen Gardner

master of their passions. Brown consistently claimed that he conducted the raid in order to avert the threat of uncontrollable passions erupting between the Christian teachers from Samoa and Fiji and the heathen villagers of New Britain. In his investigation of counter-insurgency rhetoric and Indian historiography, Guha

in Law, history, colonialism
Timothy Raylor

passions! how soon changed are Our wrath and fury to a friendly care! They that but now for honour, and for plate, Made the sea blush with blood, resign their hate; And, their young foes endeavouring to retrieve, With greater hazard than they fought, they dive.   (lines 89–100) The sudden change of tack merits official narratorial approbation. Waller replaces the pagan thirst for blood and booty that drove Euryalus to the slaughter of the sleeping Rutulians and led to his own death, with the more generous-spirited emotions of romance: ‘noble pity’ trumps desire  for

in Texts and readers in the Age of Marvell
Open Access (free)
Sara Haslam

3 Personal perspectives A Call: The Tale of Two Passions, was published in 1910, and declares its interest in the plurality of passion in its title. A splintered image of the protagonist emerges early on: Grimshaw’s father was English, his mother Greek; orphaned at 3, he was adopted by relations who also died; Greek Orthodox until public-school age, he assumed the mantle of the Church of England on entering Winchester; when older, close friendships with women confuse further an inability to decide which of them he desires – and whether he can legitimately

in Fragmenting modernism
R. S. White and Ciara Rawnsley

analysis – anger, pity, melancholy, shame and so on – rather than noticing that many states of feeling are transitional or inseparably multiple. 2 Even the important (if differing) philosophical accounts of ‘the Passions’ in general by Robert Solomon and Thomas Dixon tend to represent affective states as definably discrete. 3 As Erin Sullivan has shown in Chapter 1 , above, precedents are the great early modern

in The Renaissance of emotion
Migration, treechange and grey nomads
A. James Hammerton

interior of British Columbia.3 In others it could evolve from new country experience, but invariably underline links between migration and the quest for a simpler, purer, way of life. Ironically this coexists with a quite contrary passion for inner-city apartment living, often pursued in contrast to prior life in British provincial towns, villages or suburbs.4 But the anti-urban drive is more common. Island stories Island living is quintessentially the ultimate form of escape from the stress and pollution of urban life. Tourist clichés about tropical holiday retreats

in Migrants of the British diaspora since the 1960S
Un Condamné à mort s’est échappé, Pickpocket and Le Procès de Jeanne d’Arc
Keith Reader

the American Gnostic/cabbalistic theorist Harold Bloom would call agon – with one of the silent cinema’s greatest classics, Carl Theodor Dreyer’s La Passion de Jeanne d’Arc of 1928. Bresson has written of the earlier film in somewhat deprecatory terms (‘Faute de vrai, le public s’attache au faux. La façon expressionniste dont Mlle Falconetti lançait les yeux au ciel, dans le film de Dreyer, arrachait les larmes’ (Bresson

in Robert Bresson
A summary discussion
Bonnie Clementsson

had to do with the potential spouses’ family relationship relative to each other and with the question of where the line should be drawn between acceptable family relationships and prohibited ones. Views on love and passion Ideas about love and passion in society have varied over time, in ways that have affected how incestuous relationships have been perceived and dealt with. In earlier times, love was an ambiguous concept. Conjugal love was described as a positive energy that strengthened the bond between spouses, whereas

in Incest in Sweden, 1680–1940
Gothic and the perverse father of queer enjoyment
Dale Townshend

Geraldine and Christabel herself, while the countless responses, parodies and rewritings that the poem occasioned would variously eradicate, intensify or reformulate the romance’s queer desirings. More recently, postmodern appropriations of the formal features of Gothic romance by, say, Angela Carter in The Passion of the New Eve (1977) or Jeanette Winterson in Sexing the Cherry (1989) would

in Queering the Gothic
Abstract only
James S. Williams

with Paul Klee’s image of The Angel (the fallen angel Lucifer? The angel of history?) which, as Leutrat reminds us, can be linked back to Cocteau’s poem of male passion, ‘L’Ange Heurtebise’ (discussed above in Chapter 4 ). Despite his exclusive focus on the back and the behind (the article is accompanied by a still from Le Testament where Cocteau walks past his own double with Dermit at his side), Leutrat sees no

in Jean Cocteau
Howard J. Booth

ways of thinking and acting. In Michel Foucault’s well-known words, ‘The sodomite had been a temporary aberration; the homosexual was now a species’.3 Looking at Kipling and same-sex passion expands the available set of textual responses to emergent sexological categories and related identities. Kipling held onto a position rooted in that of the church – which is not to say that Kipling had an orthodox faith – and maintained that same-sex acts were a wrong choice, where an initial false step could lead to a life of sin and then to ruin. Though some might be more

in In Time’s eye