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Salvador Ryan

Passione Christi, attributed to St Bernard. A devotional work comprising a literary dialogue between St Anselm and the Virgin Mary on the subject of Christ’s Passion, Dialogus Beatae Mariae et S. Anselmi de Passione, was first translated to Irish at the end of the fourteenth century and was repeatedly copied through the fifteenth century.13 Religious texts from England were similarly absorbed into fifteenth-century Gaelic Irish devotional culture. One good example is the Carta Humani Generis or ‘Charter of Christ’; this is a Middle English allegory which presented the

in Irish Catholic identities
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Genre and the birth and childhood
Matthew Page

It’s a swell story. A story told before, yes, but we like to flatter ourselves that it’s never been told with this kind of distinction and panache. (Eddie Mannix, Hail, Caesar! ( 2016 )) At the heart of the concept of genre is a tension between the need to match a set of conventions and the need to deviate from them. Successful genres, then, continually evolve as minor innovations accrue over time. Whilst films such as The Passion of the Christ ( 2004 ) and Noah ( 2014 ) have recently sought to revive the biblical epic genre in similar fashion to

in The Bible onscreen in the new millennium
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Thomas A. Prendergast and Stephanie Trigg

medieval, love for the past became abjected with the professionalism of literary studies as an embarrassing sign of amateurism. As a result, the world of medieval studies was divided between those who valued enlightenment thinking and reason and those who relied on antiquarian models of passion. 7 This model is enormously powerful and seems to have the advantage of describing the creation of medieval

in Affective medievalism
Open Access (free)
Farah Karim-Cooper

therefore, to address the ways in which the passions, humours and senses merge within the complex physiology of the human body. To understand ourselves and our own sensory engagement with the world is one justification for a cultural history of the senses. But we may ask ourselves why this book and others like it (as there are more studies on the senses in early modern England on the way) are particularly important and why they are important at the moment. In October 2011, Globe Education launched a series of lectures, staged readings and conferences on Shakespeare and

in The senses in early modern England, 1558–1660
Sam Rohdie

Italian spectacle films, the Christ story to films of the Passion, the story of the seventeenth century St Bartholomew’s massacre to French Films d’Art, the modern story to the melodramas that Griffith had perfected. If the narrative elements of which Intolerance is composed were already familiar, Griffith’s ordering of these was unique. Each story was a story of intolerance through the ages. Rather than

in Montage
Isabel Rousset

In 1808, the French philosopher Charles Fourier believed himself to have discovered the laws of ‘passional attraction’, which would propel society out of chaos and into eternal ‘Harmony’. In The theory of the four movements , Fourier outlined twelve passions, composed of luxurious passions (the pleasures of the five senses), affective passions (ambition, friendship

in The architecture of social reform
Performing passion in Chaucer and Shakespeare
Andreas Mahler

‘Love’ as problem Around 1600, in England, the passion of love, at least in its textual representation, seems to have become largely exhausted. In the programmatic first poem of his collection The Forest , written in 1611/12, Ben Jonson insists on informing the reader right from the start, ‘Why I Write Not of Love’, 1 an idea which

in Love, history and emotion in Chaucer and Shakespeare
Before She Met Me
Peter Childs

), and a woman whose mature attitude to sex contrasts with those of the men (Ann, an ex-actress and Graham’s second wife). The main themes of the novel concern the relationship between reason and passion at a particular point in social history, advocating how the 1960s changed sexual manners but not feelings, and emphasising how difficult it can be to control primitive but unwanted emotions. The action of the novel takes place in 1981 when Graham is 42 and Ann is 35. This is four years after they first met at a party in 1977, when Graham was

in Julian Barnes
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