Search results

‘Pears on a willow’?

-​Norman Literature:  A Guide to Texts and Manuscripts lists six texts that outline the duties of seneschals and landowners.3 Under the title ‘farming and estate-​management’, the tenth volume of A Manual of Writings in Middle English lists another seven items.4 But the bulk of these vernacular compositions dealing with agriculture is not concerned with the practicalities of farming. Instead these French and English works typically present an idealised demesne or estate and discuss the hierarchy of farmhands and their duties. Peasant wisdom, such as Walter of Henley’s remark about

in Household knowledges in late-medieval England and France
Abstract only

, examining diverse political contexts in both Protestant and Catholic Europe – Milan, Ancona, southern Italy, France, Spain, Portugal, Poland, Britain, the Low Countries and elsewhere. As interdisciplinary studies, the essays explore a range of related cultural phenomena: antiquarianism, civic histories, excavations, artistic and architectural projects, collections of antiquities, or the reuse of classical literary models in vernacular poetry. In the early modern era, local antiquaries studied material remains, which were thought to be living testaments to distant origins

in Local antiquities, local identities
The rise of Nordic Gothic

There is a long non-realist tradition in Nordic literature and film that goes back to the Romantic period. This tradition frequently employs typical Gothic tropes, it seeks to evoke feelings of terror and horror, and it negotiates, as Gothic is understood to do, the complex tension between the human subject and Enlightenment modernity. Due to a striking reluctance by generations of Nordic literary critics and scholarship to recognise a Gothic tradition in the region, it was not until the late 1980s that the existence of Gothic fiction in the

in Nordic Gothic
Theology, politics, and Newtonian public science

This book explores at length the French and English Catholic literary revivals of the late nineteenth and early twentieth centuries. These parallel but mostly independent movements include writers such as Charles Péguy, Paul Claudel, J. K. Huysmans, Gerard Manley Hopkins, G. K. Chesterton and Lionel Johnson. Rejecting critical approaches that tend to treat Catholic writings as exotic marginalia, the book makes extensive use of secularisation theory to confront these Catholic writings with the preoccupations of secularism and modernity. It compares individual and societal secularisation in France and England and examines how French and English Catholic writers understood and contested secular mores, ideologies and praxis, in the individual, societal and religious domains. The book also addresses the extent to which some Catholic writers succumbed to the seduction of secular instincts, even paradoxically in themes that are considered to be emblematic of Catholic literature. Its breadth will make it a useful guide for students wishing to become familiar with a wide range of such writings in France and England during this period.

Abstract only

Marguerite Duras embarked on a second career as a film director in the late 1960s; by then was already a well-known and highly acclaimed novelist and playwright. Bearing in mind this dual influence, this book presents an outline of Duras's early life and of her later political preoccupations, highlighting the relationship between these two dimensions and her films. Duras's aim was to transcend the limitations of both literature and cinema by creating an écriture filmique. Working within the 1970s French avant-garde, Marguerite Duras set out to dismantle the mechanisms of mainstream cinema, progressively undermining conventional representation and narrative and replacing them with her own innovative technique. The making of Nathalie Granger in 1972 coincided with the period of intense political activity and lively theoretical debates, which marked the early years of the post-1968 French feminist movement. India Song questions the categories of gender and sexuality constructed by the patriarchal Symbolic order by foregrounding the Imaginary. Agatha mirrors transgressive relationship and quasi-incestuous adolescent relationship, as the film resonates with the off-screen voices of Duras and Yann Andréa who also appears on the image-track where he represents Agatha's anonymous brother. Her work, both in literature and in film, distinguishes itself by its oblique, elusive quality which evokes her protagonists' inner landscape instead of dwelling on the appearances of the external world.

Between art and life

The term la Parisienne denotes a figure of French modernity. There is significant scholarship on la Parisienne in the fields of art history, fashion theory and culture and cultural histories of Paris However, there is little written on the (re)appearance and function of the type in cinema. This book is intended as an introduction to la Parisienne and her iconography in cinema, and deals predominantly with visual and narrative conventions, derived primarily from nineteenth-century art, literature and visual culture. The iconography of la Parisienne can be categorised according to the following concepts: visibility and mobility; style and fashionability, including self-fashioning; artist and muse; cosmopolitanism; prostitution; danger; consumption; and transformation. The book argues that la Parisienne is a type which exists between art and life, and the figure that emerges from this blurring of art and life is la Parisienne as muse. It considers the cosmopolitanism of the Parisienne type, in the sense of 'anyone' and 'anywhere', and argues that la Parisienne was conceived as feminity as such. The book explores the relationship between la Parisienne, fashion and film, and looks at la Parisienne as femme fatale within the context of French film noir. It traces her development in nineteenth-century art and literature, and examines the way the Parisienne as courtesan is (re)presented in cinema. The book also investigates the contribution star personae of Brigitte Bardot, Charlotte Gainsbourg, Anna Karina, and Jeanne Moreau have made to the Parisienne type in cinema.

Abstract only
Kipling’s secret sharer

Some might argue that Joseph Conrad does not belong in this collection of conservative artists of empire. Born a subject of the Russian czar, educated as a Polish patriot, steeped in French literature, a wanderer on the seven seas during his chosen career as a ship’s officer, Conrad is a long stretch from every stereotype of Englishness. Fellow seamen, mocking his stylish

in Imperium of the soul

This book seeks to challenge the notion of the supremacy of the brain as the key organ of the Enlightenment. It is done by focusing on the workings of the bowels and viscera that so obsessed writers and thinkers during the long eighteenth-century. These inner organs and the digestive process acted as counterpoints to politeness and other modes of refined sociability, drawing attention to the deeper workings of the self. The book complicates the idea that discourses and representations of digestion and bowels are confined to so-called consumption culture of the long eighteenth century, in which dysfunctional bowels are categorised as a symptom of excess. It offers an interdisciplinary and cross-cultural perspective on entrails and digestion by addressing urban history, visual studies, literature, medical history, religious history, and material culture in England, France, and Germany. The book explores the metaphorical and symbolic connections between the entrails of the body and the bowels of the city or the labyrinthine tunnels of the mine. It then illustrates the materiality of digestion by focusing on its by-products and their satirical or epistemological manifestations. The book expounds further on the burlesque motif of the innards as it is used to subvert areas of more serious knowledge, from medical treatises to epic literature or visual representation. Finally, it focuses on drawings, engravings and caricatures which used the bowels, viscera and entrails to articulate political protest, Revolutionary tensions and subversion through scatological aesthetics, or to expose those invisible organs.

The bearded lady, displacement and recuperation in Apollinaire’s Les Mamelles de Tirésia

in any way compromised by it. The iconic prominence of Dali’s own whiskers and his possible standing as something of a bearded lady are, of course, out of the question. In this chapter, I will explore the currency of this figure in late nineteenth- and early twentieth-century French literature. In particular, I will examine ways in which that currency is caught up in techniques of unexpected juxtaposition and displacement associated with avant-garde movements of the period, in particular Surrealism and Dada. The bearded lady is indeed

in The last taboo

The surface’s substance The naked areas an artist represents when painting a human body were traditionally not conceived of in terms of skin but of flesh. It was the body’s substance, its living matter, rather than its surface that was meant to be brought on to the canvas (or any other support such as wood, or a wall in the case of frescoes). The medieval and early modern art literature referred to painterly imitations of the unclothed human body in terms related to flesh: the Italian carnagioni as well as the French carnation derived from the Latin word for

in Fleshing out surfaces