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Author : Richard A. Kaye Publisher : University of Virginia Press Page : 258 pages File Size : 41,5 Mb Release : 2002 Category : Literary Criticism ISBN : 9780813921006
Examining British, French, and American novels, Kaye (English, Hunter College of the City U. of New York) argues that flirtatious eros in late-18th and early-19th century texts is a largely unexplored, distinct realm of experience. Flirtation in these novels suggests that the aim of desire is not the realization of desire by rather deferral itself. Flirting represented a reckless adventurism that violates middle-class aspirations and interests. The lack of a thorough examination by critical theorists of this vital part of Victorian and Edwardian literature is blamed on a dominating methodology in the field based on the ideas of Michel Foucault. Annotation copyrighted by Book News, Inc., Portland, OR
Author : Richard A. Kaye Publisher : University of Virginia Press Page : 246 pages File Size : 50,8 Mb Release : 2002-05-29 Category : Literary Criticism ISBN : 9780813922003
In the flirtation plots of novels by Jane Austen, Charlotte Brontë, and W. M. Thackeray, heroines learn sociability through competition with naughty coquette-doubles. In the writing of George Eliot and Thomas Hardy, flirting harbors potentially tragic consequences, a perilous game then adapted by male flirts in the novels of Oscar Wilde and Henry James. In revising Gustave Flaubert’s Sentimental Education in The Age of Innocence, Edith Wharton critiques the nineteenth-century European novel as morbidly obsessed with deferred desires. Finally, in works by D. H. Lawrence and E. M. Forster, flirtation comes to reshape the modernist representation of homoerotic relations. In The Flirt’s Tragedy: Desire without End in Victorian and Edwardian Fiction, Richard Kaye makes a case for flirtation as a unique, neglected species of eros that finds its deepest, most elaborately sustained fulfillment in the nineteenth-century and early twentieth-century novel. The author examines flirtation in major British, French, and American texts to demonstrate how the changing aesthetic of such fiction fastened on flirtatious desire as a paramount subject for distinctly novelistic inquiry. The novel, he argues, accentuated questions of ambiguity and ambivalence on which an erotics of deliberate imprecision thrived. But the impact of flirtation was not only formal. Kaye views coquetry as an arena of freedom built on a dialectic of simultaneous consent and refusal, as well as an expression of "managed desire," a risky display of female power, and a cagey avenue for the expression of dissident sexualities. Through coquetry, novelists offered their response to important scientific and social changes and to the rise of the metropolis as a realm of increasingly transient amorous relations. Challenging current trends in gender, post-gender, and queer-theory criticism, and considering texts as diverse as Darwin’s The Descent of Man and Gilbert and Sullivan’s The Mikado, Kaye insists that critical appraisals of Victorian and Edwardian fiction must move beyond existing paradigms defining considerations of flirtation in the novel. The Flirt’s Tragedy offers a lively, revisionary, often startling assessment of nineteenth-century fiction that will alter our understanding of the history of the novel.
The Portrait of a Lady + The Bostonians + The Tragic Muse + Daisy Miller (4 Unabridged Classics) by Henry James Pdf
This carefully crafted ebook: "The Portrait of a Lady + The Bostonians + The Tragic Muse + Daisy Miller (4 Unabridged Classics)" is formatted for your eReader with a functional and detailed table of contents. The Portrait of a Lady is a novel by Henry James, first published as a serial in The Atlantic Monthly and Macmillan's Magazine in 1880–81 and then as a book in 1881. It is the story of a spirited young American woman, Isabel Archer, who "affronts her destiny" and finds it overwhelming. She inherits a large amount of money and subsequently becomes the victim of Machiavellian scheming by two American expatriates. Like many of James's novels, it is set in Europe, mostly England and Italy. Generally regarded as the masterpiece of James's early period, this novel reflects James's continuing interest in the differences between the New World and the Old, often to the detriment of the former. It also treats in a profound way the themes of personal freedom, responsibility, and betrayal. The Bostonians by Henry James was first published as a serial in The Century Magazine in 1885–1886 and then as a book in 1886. This bittersweet tragicomedy centers on an odd triangle of characters: Basil Ransom, a political conservative from Mississippi; Olive Chancellor, Ransom's cousin and a Boston feminist; and Verena Tarrant, a pretty, young protégée of Olive's in the feminist movement. The storyline concerns the struggle between Ransom and Olive for Verena's allegiance and affection, though the novel also includes a wide panorama of political activists, newspaper people, and quirky eccentrics.
What if the Renaissance had the right idea about character? Most readers today think that characters are individuals. Poets of the Renaissance understood characters as types. They thought the job of a character was to collect every example of a kind, in the same way that an entry in a dictionary collects definitions of a word. Character as Form celebrates the old meaning of character. The advantage of the old meaning is that it allows for generalization. Characters funnel whole societies of beings into shapes that are compact, elegant, and portable. This book tests the old meaning of character against modern examples from poems, novels, comics, and performances in theater and film by Shakespeare, Molière, Austen, the Marx Brothers, Raul Ruiz, Denton Welch, and Lynda Barry. The heart of the book is the character of the misanthrope, who, in Shakespeare's phrase, “banishes the world.”
Henry James, Oscar Wilde and Aesthetic Culture by Michele Mendelssohn Pdf
This book, the first fully sustained reading of Henry James's and Oscar Wilde's relationship, reveals why the antagonisms between both authors are symptomatic of the cultural oppositions within Aestheticism itself.
Tragedies: Troilus and Cressida. Coriolanus. Titus Andronicus. Romeo and Juliet. Timon of Athens. Julius Caesar. Macbeth. Hamlet. King Lear. Othello. Antony and Cleopatra. Cymbeline. Pericles by William Shakespeare Pdf
The great nineteenth-century tragedienne known simply as Rachel was the first dramatic actress to achieve international fame. Composing her own persona with the same brilliance and passion she demonstrated on stage, she virtually invented the role of "star." Rumors of her extravagant life offstage delighted the audiences who flocked to theaters in Boston and Paris, London and Moscow, to see her perform in the tragedies of Racine and Corneille. In Tragic Muse, Rachel M. Brownstein reveals the life of la grande Rachel and explores--at the boundary of biography, fiction, and cultural history--the connections between this self-dramatizing woman and her image. Born to itinerant Jewish peddlers in 1821, Rachel arrived on the Paris stage at the age of fifteen. She became both a symbol of her culture's highest art and a clue to its values and obsessions. Fascinated with all things Napoleonic, she was the mother of Napoleon's grandson and the lover of many men connected to the emperor. Her story--the rise from humble beginnings to queen of the French state theater--echoes and parodies Napoleon's own. She decisively controlled her career, her time, and finances despite the actions and claims of managers, suitors, and lovers. A woman of exceptional charisma, Rachel embodied contradiction and paradox. She captured the attention of her time and was memorialized in the works of Matthew Arnold, Charlotte Brontë, George Eliot, and Henry James. Richly illustrated with portraits, photographs, and caricatures, Tragic Muse combines brilliant literary analysis and exceptional historical research. With great skill and acuity, Rachel M. Brownstein presents Rachel--her brief intense life and the image that was both self-fashioned and, outliving her, fashioned by others. First published by Knopf (1993), this book will attract a broad audience interested in matters as wide ranging as the construction of character, the cult of celebrity, women's lives, and Jewish history. It will also be of enduring interest to readers concerned with nineteenth-century French culture, history, literature, theater, and Romanticism. Tragic Muse won the 1993 George Freedley Award presented by the Theater Library Association.
Tragedy and the Tragic in German Literature, Art, and Thought by Stephen D. Dowden,Thomas P. Quinn Pdf
Essays in this volume seek to clarify the meaning of tragedy and the tragic in its many German contexts, art forms, and disciplines, from literature and philosophy to music, painting, and history.
Miscellanies ...: The author's farce. The tragedy of tragedies; or, The life and death of Tom Thumb the Great. Pasquin. An essay of conversation. The True patriot, no. XIII. The Covent-Garden journal, nos. X, XXXIII. Familiar letters by Henry Fielding Pdf
An exploration of the poetic qualities of the Greek tragic dramatists Aeschylus, Sophocles and Euripides highlighting their similarities and differences.
The British Drama: Tragedies: Alexander the Great, by Nathaniel Lee. All for love by Mr. Dryden. Alzira, by Aaron Hill. The distressed mother, tr. by Ambrose Philips, from the "Andromaque" of Racine. The Earl of Essex, by Mr. Henry Jones. Mahomet [adapted from the French of Voltaire] by the Rev. Mr. Miller. The orphan of China, by Arthur Murphy. Pizarro from the German of Kotzebue [by R. B. Sheridan] The Roman father, altered from Mr. W. Whitehead. The siege of Damascus, by John Hughes. Tamerlane, by Nicholas Rowe. Ximena, by Colley Cibber. Zara, by Aaron Hill by Anonim Pdf
