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For the last three decades or so, literary studies, especially those dealing with premodern texts, have been dominated by the New Historicist paradigm. This book is a collection of essays explores medieval and early modern Troilus-texts from Chaucer to Shakespeare. The contributions show how medieval and early modern fictions of Troy use love and other emotions as a means of approaching the problem of tradition. The book argues that by emphasizing Troilus's and Cressida's hopes and fears, Shakespeare sets in motion a triangle of narrative, emotion and temporality. It is a spectacle of which tells something about the play but also about the relation between anticipatory emotion and temporality. The sense of multiple literary futures is shaped by Shakespeare's Chaucer, and in particular by Troilus and Criseyde. The book argues that the play's attempted violence upon a prototypical form of historical time is in part an attack on the literary narratives. Criseyde's beauty is described many times. The characters' predilection for sententiousness unfolds gradually. Through Criseyde, Chaucer's Poet displaces authorial humility as arrogance. The Troilus and Criseyde/Cressida saga begins with Boccaccio, who isolates and expands the love affair between Troiolo and Criseida to vent his sexual frustration. The poem appears to be linking an awareness of history and its continuing influence and impact on the present to hermeneutical acts conspicuously gendered female. The main late medieval Troy tradition does two things: it represents ferocious military combat, and also practises ferocious literary combat against other, competing traditions of Troy.
, and finally the differing codes of honour in the Mediterranean, particularly in Cyprus. 60 Sexual crimes Sexual crimes were quite uncommon. 61 Life in the military was obviously isolating, leading to sexual frustration, yet in the case of homosexuality there was greater opportunity. In the absence of any studies on homosexuality in
stomach (often exaggerated through low camera angles and profile shots) overshadows the rest of his body, especially his genitals. Thus, fatness is visually associated with his sexual frustration, not only because the fat body makes the penis shrivel in comparison, but because it also creates an uncomfortably obvious physical contrast between Torrente and the sultry women who surround him in his dreams. This is also clear in the famous opening credit segments. The credits are elaborate parodies of Hollywood sagas led by global icons of masculinity, such as James Bond
sexually attracted to his erstwhile tormentor and, successfully, seeks an opportunity to have sex with him. Nathan follows Christian down to the school changing rooms where his ‘enemy’ is mopping up the changing-room floor as a punishment for some earlier misbehaviour. Nathan offers to help him in this menial task as a means of facilitating a sexual pass at Christian. The two teenage boys sit and take a rest from their chore and Hobbs begins to recount an episode of alleged sexual bravado with a teenage girl. As he relives his sexual frustration at being masturbated by
only. Through the omission of the G-major chord, the ‘a1’ music thwarts the harmonic resolution of the final chord of the ‘c’ music, which always occurs immediately prior to the ‘a1’ music. This action creates a very real sense of frustration, musically perceptible by the listener and in accordance with the song’s lyrical theme of sexual frustration. Clearly, ‘I Want The One I Can’t Have’ is among The Smiths’ most sophisticated songs formally and textually. What is particularly fascinating is how the song engages multiple levels of musical cognition (i.e. musical
The Troilus and Criseyde/Cressida saga is a perfect vehicle for tracing the history of the emotions, in that it offers an unparalleled darkening of mood over time. This saga begins with Boccaccio, who isolates and expands the love affair between Troiolo and Criseida to vent his sexual frustration. The conceit of the work, as laid out in its prose prologue, is that
ancestors.” Accordingly, “Conventional notions of monogamous, till-death-do-us-part marriage strain under the dead weight of a false narrative that insists we’re something else.” The campaign to obscure the “true nature of our species’ sexuality leaves half our marriages collapsing under an unstoppable tide of swirling sexual frustration, libido-killing boredom, impulsive betrayal, dysfunction, confusion, and shame.” If Ryan and Jethá are right, the prevailing social script that valorizes sexual monogamy probably should be revised. But not everyone is on board with their
Werewolf (Terence Fisher, 1961) – with this functioning as a counterpoint to, and in some ways a precondition of, the powerful male authority figures who were capable of successfully taking on the monsters. Weakness of this kind was usually associated with a surrender to sexual drives and desires, and although The Night Creatures removes I Am Legend ’s numerous references to Neville’s sexual frustration, its conception of Neville fits into this category. Neville is presented as largely reactive, prone to
mark the gaps in our historical knowledge, modern academics have used it as the starting point for virtuoso displays of intellectual analysis. The most common strategy renders the miraculous superficial in the most banal sense of the term, portraying it as the weird excrescence of a deeper historical process. Catholic visions of the Virgin or spiritualist encounters with the voluble dead are taken, variously, as psychoanalytic symptoms revealing scenes of maternal deprivation, sexual frustration or domestic oppression; alternatively, they are understood in
. Freethinkers also developed psychological explanations to account for the personal religious experience of the individual, 8 arguing against the existence of an independent religious instinct and describing personal piety as merely an outlet for some other natural or psychological urge, such as a ‘melancholy turn of mind’ or sexual frustration. 9 In this, they adopted what modern commentators have described as an ‘externalist’ approach to religion