bluuebunny/crossref_metadata_2025 huggingface dataset:
Gower
Authors: Bennett J A W
Published: November 2023

About the life of John Gower, Chaucer’s friend, little can be said with certainty. His family evidently had Yorkshire origins, but certain features of his language suggest a connection with Kent, where he purchased lands in 1378. In that year Chaucer, when setting out for Italy, gave power of attorney to Gower and a lawyer called Richard Forester. In his French poem, the Mirour de l’omme (21772—4), Gower says that he is not a ‘clerk’ but that he wears ‘la raye mance’, the distinctive dress of serjeants at law and certain court officials; and other documents and allusions confirm the suggestion that he was a Londoner versed in the law, who was in touch with Kentish gentry, and had some knowledge of life at court. In the Mirour de l’omme, he confesses (27337 ff.) that in his youth he aban¬ doned himself to ‘foldelit et veine joye’, and wrote ‘fol ditz d’amours’, songs and ditties such as those he was to attribute to Chaucer and to Amans in the Confessio Amantis (i. 2727), whom he represents as composing ‘rondeal, balade and virelai’. Some of the fifty-one French balades that survive in the Trentham manuscript (now MS Egerton 2862 in the British Library) may represent these youthful poems: Machaut, Deschamps, and Froissart had made the ba/ade a fashionable medium for love-poetry well before the death of Edward III (1377). In his Latin poem, the Vox C/amantis, he gives a mordant description of society in the following reign, including accounts of the Peasants’ Revolt (1381) and of Richard II’s reconciliation with the House of Commons (1392). The original (undated) Prologue and Conclusion to Confessio Amantis dedicate the poem to Richard, but about 1393 they were changed in favour of Henry of Lancaster, who in that year gave ‘an esquire John Gower’ the collar that is presumably the collar of SS shown on his tomb. Five weeks after his coronation Henry, as king, rewarded Gower with a grant of two pipes of Gascon wine for life. The untitled poem called by his editor, G. C. Macaulay, ‘In Praise of Peace’, belongs to this period.
John Taylor and the Poems of Clare
Authors: Leader Zachary
Published: November 2023

Now Here in the writing of the English Romantic period do questions of imposition figure more prominently than in the revision of the poems of John Clare, the work mostly of Clare’s publisher, John Taylor. The current consensus on these revisions, shared both by Clare’s modern editors and a number of his most influential critics, is that they importantly alter the poems, domesticate, smooth, diminish them. Hence, for example, the decision of Eric Robinson and David Powell, the editors of The Early Poems of John Clare, an Oxford English Texts edition of 1989, not only to print manuscript over published versions, relegating subsequent alterations, including those of first printed editions, to the apparatus, but to arrange the entirety of Clare’s output of 1804-22, ‘a huge mass of material that was excluded from the original books’,1 under the headings of his published volumes. This arrangement obscures the distinction between published and unpublished works (including obviously unworked scraps and fragments), presumably on the grounds that selection, like revision, was mostly Taylor’s province not Clare’s. Hence also the decision of Robinson and Geoffrey Summerfield in 1964 to reprint for ‘the general reader’ a manuscript edition, wholly unpunctuated and with only ‘minimal alterations’, of The Shepherd’s Calendar (.1827), the most radically revised of his works, an edition corrected and updated by Robinson and Powell in 1993.2 A comparable rationale underlies Kelsey Thornton and Anne Tibbie’s 1979 edition of The Midsummer Cushion, a volume Clare planned in 1832, advertised, and hoped to publish himself through private subscription.3 For a variety of reasons, The Midsummer Cushion never appeared in print (until 1979, that is), though a number of its poems were included in The Rural Muse (1835), a volume edited and arranged for the press by Clare’s benefactress, Mrs Emmerson, with the assistance of Taylor. This volume, too, has been re-edited from the original manuscript, again by Thornton (1982).
Introduction
Authors: Mccalman Iain
Published: November 2023

This London political underworld began its formal existence on 18 March 1801 when Thomas Spence, pamphlet-seller and ex-state prisoner, established a society to disseminate his land-reforming ideals by means of tavern free-and-easies. Its roots. however, need to be traced back to the 1790s amongst the tavern debating clubs depicted in W.H. Reid’s pamphlet of 1800, The Rise and Dissolution of the Infidel Societies in this Metropolis.
Tavern debating clubs: Spencean strategy and culture, 1815-17
Authors: Mccalman Iain
Published: November 2023

The Spenccans’ preference for the tavern debating club as a radical organisation and strategy linked them with long-established popular traditions. The English alehouse had been a pivotal institution in plebeian life since the sixteenth century. By the eighteenth it served as labour exchange, house-of-call, trades’ headquarters, benefit club, strike centre, pick-up joint, unlicensed theatre and drinking place.
Blasphemous chapels: the preacher as insurrectionary, 1818-20
Authors: Mccalman Iain
Published: November 2023

One of Thomas Evans’s first actions after leaving prison in January 1818 was to announce his intention of reorganising the Spenceans ‘on a better system’. He had decided to reconstitute the society along the lines of an independent dissenting sect. Some time in spring or early summer he and Wedderburn took out a joint licence to operate a dissenting chapel in a large basement backroom at 6 Archer Street - a small Haymarket lane way.
Celibacy and Psychoanalysis
Authors: Raitt Suzanne
Published: November 2023

In early 1907, just after the serialization of The Helpmate began, May Sinclair watched a suffragist march attended by her friends Beatrice Harraden, Alice Meynell, Aphra Wilson, and probably Evelyn Sharp. She told Otto Kyllmann that she was ‘willing to stand up & be shot dead opposite the Carlton Club —if that wd. really benefit all future generations of my sex —but I haven’t the courage to march in that procession!’ Sinclair did indeed make an unlikely suffragist. The two novels she published in 1908, Kitty Tailleur and The judgment of Eve, are outspoken enough about men’s oppressive treatment of women to show that she was at least partly in sympathy with the movement for women’s rights, but her reluctance to appear in public or to draw attention to herself meant that she was ill-suited to the activist life. Her natural inclination was to communicate her support by writing from the unbroken peace of her little studio in Kensington, looking down over the green grass of the square. She wanted to find a way to support the suffrage movement without becoming too involved in the life of the streets and of the prisons.
The New York Edition
Authors: Horne Philip
Published: November 2023

On 13 October 1908 Henry James wrote to his agent James Brand Pinker that he had called on Macmillans to obtain copies of two of the works in their English issue of the New York Edition of his Novels and Tales, and had been made to pay for them. Frederick Macmillan was buying sheets from Charles Scribner and felt he must charge the author cost price. James ruefully commented that ‘It all adds to my sense of literature being for me, somehow, ever only an expensive job.’ Seven days later this mild ironic surprise was followed by a severe shock: the first really clear statement from Scribners of how little money he was to make from his ‘long & devoted labour’. The news, he told Pinker, was ‘a bitter grief’.
Confidence in Revision
Authors: Horne Philip
Published: November 2023

On 9 August 1900 The Sense of the Past was running into serious difficulties and James resorted to his notebook so that the close working-out of detail, as in his dramatic period, could see him on his way to a subject. I must proceed now with a more rigorous economy, and I turn about, I finger other things over, asking, praying, feel something that will do instead. I take up, in other words, this little blessed, this sacred small, ‘ciphering’ pen that has stood me in such stead often already, and I call down on it the benediction of the old days, I invoke the aid of the old patience and passion and piety. They are always there—by which I mean here—if I give myself the chance to appeal to them (Nks., p. 190).
Hammersmith, 1632–1635
Authors: Parker William Riley
Published: November 2023

sometime between September 1631 and the following September, Milton’s father retired from business, gave up the home and shop in Bread Street, and went to live in Hammersmith, a suburb of London in the Middlesex parish of Fulham. He was approaching seventy. It is reasonable to suppose that the move took place soon after John’s graduation from Cambridge on 3 July 1632. Young Christopher withdrew from the University at that time, having spent only five terms there, and on 22 September, at the age of seventeen, he was admitted to the Inner Temple as a law student. John was not attracted by the law, nor was he yet ready to enter the ministry. With his parents’ consent, he joined them in their new suburban home, and settled down to study and write.
Horton, 1635–1638
Authors: Parker William Riley
Published: November 2023

MILTON’s Horton period was one of relentless study. So far as we know, during 1635, 1636, and the first ten months of 1637 he wrote no verse. Doubtless he continued to dream of immortality as a Latin and English poet, but, as the opening lines of Lycidas more than hint, he realized that increased knowledge and maturity were necessary to give his writing the richness and significance his youthful performances had lacked. Both the opening and closing passages of Ad Patrem indicate that he regarded his previous work as iuvenilia carmina. His was a ‘slowendeavouring art’ compared with that of the ‘more timely-happy’; it was his destiny to be slow in development. And the remedy was obvious: to his aged parent he conceded the prosaic nature of preparation. There would be no more writing of masques. There would be only reading and note-taking-and more reading. What he needed to know could be found in books, and books can be read anywhere.
London, 1639–1642
Authors: Parker William Riley
Published: November 2023

MILTON returned to an England precariously at peace. The Episcopal war with the Scots, formally declared late in January, had ended ingloriously on 18 June 1639 with the pacification of Berwick. No battles had been fought. Facing the Scottish army on the banks of the Tweed, King Charles had realized that he lacked sufficient force to punish his rebellious subjects. He returned to London in early August with intentions not difficult to guess.
Christian Doctrine, 1656–1660
Authors: Parker William Riley
Published: November 2023

WEDNESDAY, 22 October 1656, was a market day, and some of the good housewives of London heard news which must have caused gossip. Mr. Milton, the blind secretary of Oliver’s Council, was marrying a woman he had never seen. The agreement and intention of marriage was published, as the law now required, during three successive weeks, first on 22 October, then on the 27th, then on 3 November. Milton was a widower, with three small daughters; his first wife had been dead for more than four years. His bride-to-be was Miss Katherine Woodcock of the parish of St. Mary the Virgin, Aldermanbury. They were married on Wednesday, 12 November, by Sir John Dethicke, alderman and one of the justices of the peace for the city of London.
Sources And Themes
Authors: McGrail Seán
Published: November 2023

The principal subject of this study is water transport, that is, rafts, boats, and ships. Research into water transport, a subject sometimes known as ‘boat archae ology’, is just one aspect of the maritime subdiscipline of archaeology which may be defined as ‘the study of the nature and past behaviour of Man in his use of those special environments associated with lakes, rivers, and seas’ (McGrail, 1989a: ro ). In addition to water transport, this research area includes the study of landing places and harbours, as well as the study of the building, use, and performance of rafts, boats, and ships (Fig. I.I). It also includes: anchors and fishing gear; overseas coloruzations and trade routes; trade and cargo handling; changes in past climates, sea levels, and coastlines; and early seafaring and navigational techniques (McGrail, 1995c: 329).
Arabia
Authors: McGrail Seán
Published: November 2023

This chapter deals with that part of Asia which lies east of the Red Sea, west of the Indian subcontinent and south of the Caspian Sea. It does not include the Black Sea region, Anatolia, or the Levant (except indirectly) which, for historical rather than geographic reasons, are dealt with in Chapter 4 on the Mediterranean. Nor does it include Egypt and the western shores of the Red Sea or the southern shores of the Gulf of Aden which are considered in Chapter 2. The core of this region, in the earliest phases of this chapter, is Mesopotamia (modern Iraq)-the land of the two rivers, Tigris and Euphrates (Fig. 3.r).
India
Authors: McGrail Seán
Published: November 2023

Generally the climate is tropical with seasonal monsoon winds having a profound effect on the sailing season (Deloche, 1994: 209-16). On the west coast the stormy wet winds of the south-west monsoon virtually prevent sailing from May to August and later. From the end of this monsoon until November the wind strength abates, and sailing becomes increasingly practicable. The winter months from December to March are the main sailing season using regular land and sea breezes. From March to the onset of the south-west monsoon, as the land and sea breeze effect slackens, it becomes increasingly more difficult to make coastal passages.
The Americas
Authors: McGrail Seán
Published: November 2023

The earliest evidence of Man in the north-west region of the American continent is thought to come from the Old Crow Flats site in north-west Yukon where bones said to be associated with stone artefacts have been dated to c.29,000 BC (Klein, 1980: 95): this claim has frequently been challenged, as has the date of another early site in North America, the Meadow-croft Rock shelter (Adovasio, Donahue, and Stukenrath, 1990). The traditional view is that it was not until the Canadian ice sheets began to melt, some time after 18,000 BP (a time of lowest sea levels) that Man could spread from this north-western region eastwards and southwards (Fig. n.2). Dates from excavations in other parts of the Americas appear to support this late date: mid-tenth millennium BC for Chile; the southern tip of South America in the mid-ninth millennium BC; the Arctic regions from c.9000 BC (G. Clark, 1977: 353; Street, 1980: 56); and Greenland from c.2000 BC (McGhee, 1993).
Early Water Transport
Authors: McGrail Seán
Published: November 2023

The direct evidence for early water transport is both sparse and late in date: worldwide, there are only a few hundred logboats and, perhaps, a hundred well-documented plank boat and ship remains from before AD 1500. The earliest logboat is dated to the eighth millennium Bc; the earliest plank boat to the third millennium. There are no excavated examples of the other five basic types of boat (hide, bark, bundle, basket, and pottery); no bundle or buoyed rafts; and only five documented log rafts-the earliest from Roman times.
The Laconian System
Authors: Winter Nancy A
Published: November 2023

The second major roofing system in Archaic Greece is known as Laconian, an attribution known from later inscriptions’ but confirmed by the wealth of material of this type found in Sparta and the neighbouring territory (Map 2). Like the Corinthian system proper, the Laconian may have evolved from the Protocorinthian system (see Chapter 3, Fig. 1a-b),2 but taking its appearance from the curved elements of the slope rather than from the angular articulation along the eaves: both Protocorinthian and Laconian roofs have wide, concave pan tiles and narrower, convex cover tiles. In contrast to the Protocorinthian tiles, however, the Laconian ones are always separate elements, never combination tiles. As on the earliest Proto corinthian roof, that at Corinth, the tiles of the Laconian system are coloured, though black or red rather than yellow and black. The Laconian system appears to have been restricted during the Archaic period to use on temples or other buildings in a sanctuary, with pediments at both ends of the building; no hip tiles exist within the Laconian system which would indicate the use of a hip roof, and building models with Laconian system roofs show pediments at both ends.
Stylistic Groups and Chronology
Authors: Plantzos Dimitris
Published: November 2023

The study of the correlation between style and subject-matter in the previous chapters has suggested that certain subjects were thought to call for a particular stylistic treatment. Portraits in particular were always executed in a varying mixture of realistic and idealistic features until the verism of the late Republic. The latter, satisfying the tastes of Roman patrons, was introduced, or at least successfully adopted, by Greek engravers to answer the new demands of their market. ‘Baroque’ and post-’baroque’ features were invariably used to represent the gods and there was an increasing influence from sculpture. The more the latter became decorative and light-hearted, the easier it became for gem-engravers to adopt its iconography, and therefore its style as well.
Introduction: Decadence and the Crisis of Ornament
Authors: Siècle Fin de , Anderson Mark M
Published: November 2023

The idea for the present book arose nearly a decade ago when I first read Kafka’s Letters to Milena and discovered that the author of perhaps the most horrific literary presentations of the modern world, the author of The Trial and ‘In the Penal Colony’, was also an avid observer of women’s fashion. At the time of their correspondence Milena Jesenska was living in Vienna and wrote fashion articles for Czech newspapers in her native Prague. Kafka would read her descriptions of hats and summer dresses with great pleasure and expertise, overlooking no detail in what he understood to be secret letters written for him alone and then weaving these sartorial references back into the text of their correspondence. ‘No, you’re wrong to underrate your fashion articles,’ he admonished her in a letter of 7 August. ‘I’m really grateful to you that I can read them in the open (since like a scoundrel I’ve been reading them in secret often).’ I realized then, with that odd sense of elation provoked by seeing a canonical figure dislodged from the grip of stereotype, that Kafka’s own writings, with their repeated references to fashion, elegant clothing, uniforms, and fur, revealed a surprisingly acute sense for the ‘superficial’ spectacle of urban life; and that in his writings he invariably presented the world as a shining and deceptive surface, presented it as clothing.
Sliding Down the Evolutionary Ladder? Aesthetic Autonomy in The Metamorphosis
Authors: Siècle Fin de , Anderson Mark M
Published: November 2023

A Few years ago an art gallery in New York created a mild sensation by dousing a number of human models, clothes and bodies, in green paint and hanging them on its bare white walls. Although the models adopted various poses, they made no attempt to deny their living status, and interacted freely with the bemused public. Somewhat at a loss to describe the artwork, which apparently was not for sale, the media spoke of ‘Dada’, ‘performance’, and ‘action’ art. Franz Kafka’s literary masterpiece of 1912, The Metamorphosis, enacts essentially the same scenario when its human-sized bug hero climbs “the wall of his bedroom and usurps the aesthetic space occupied by a gilt-framed photograph, hugging his flat body against the glass until it ‘completely covers’ the picture. When his mother, less blase than a New York audience of the 1980s, enters the room, her senses are overwhelmed. She perceives only a huge brownish spot against the flowered wallpaper and, crying out ‘Oh God! Oh God!’, falls into a dead faint. No avant-garde artist of the modern period could ask for a more satisfying public response.
The Physiognomy of Guilt: The Trial
Authors: Siècle Fin de , Anderson Mark M
Published: November 2023

Few readers of The Trial would disagree that the central enigma of the novel is posed by its first sentence announcing Joseph K.’s arrest although apparently he has not done anything ‘wrong’ or ‘evil’: ‘Someone must have been telling lies about Joseph K., for without having done anything wrong he was arrested one fine morning.’ This same idea is repeated later in the first chapter when one of the arresting warders explains to K. that the Court officials ‘never go hunting for crime in the populace, but, as the Law decrees, are drawn toward the guilty’ (T6).1 In other words, this particular Court does not prosecute a criminal act that has already taken place, but is ‘attracted’ (angezogen) by a condition of guilt that either precedes or in some sense is independent of an actual crime. Confronted with this enigma, commentators have often turned to the biblical notion of original sin to explain K.’s ‘trial’, which the novel’s Christian symbolism admittedly seems to corroborate. Joseph K. eats an apple Oil the morning of his arrest, and shortly before his execution visits a cathedral where he discovers a painting of Christ’s burial.
‘Jewish’ Music? Otto Weininger and ‘Josephine the Singer’
Authors: Siècle Fin de , Anderson Mark M
Published: November 2023

In ‘Josephine the Singer, or the Mouse Folk’, his last story, Kafka took up a subject which he had explicitly sought to eliminate from his writing ‘organism’ as early as 1912: ‘When it became clear in my organism that writing was the most productive direction for my being to take, everything rushed in that direction and left empty all those abilities which were directed toward the joys of sex, eating, drinking, philosophical reflection and above all music’ (diary entry for 3 January 1912). Here music represents an organic, superfluous ‘ornament’ which the ascetic modernist must purge in order to write. Throughout his life Kafka aspired toward a non-musical, architectural purity in his writing, rather proudly characterizing his unmusical nature in a letter to Milena Jesenskà as a source of strength: ‘I have a certain strength, and if one wanted to designate it briefly and vaguely, it is my being unmusical.’ None the less, in March 1924, gravely debilitated by the illness that would lead to his death a few months later, Kafka wrote his moving if enigmatic story about a singing mouse named Josephine.
Introduction
Authors: Kennedy Elspeth
Published: November 2023

Lancelot and the Grail would seem to represent opposite poles—the hero whose love for Arthur’s Queen inspires him to become the greatest of all knights, and the holy vessel, from its first appearance (in Chretien’s Conte def Graal) described in a context of Christian ritual as ‘sainte chose’ and in the Vulgate Queste only to be approached by chaste or virgin knights. Yet these two themes and that of the Death of Arthur are combined in the Lancelot-Grail cycle. This vast work fills six volumes in Sommer’s edition, starting with an early History of the Grail, followed by a Merlin, giving an account of the birth of Merlin, the early history of Arthur’s reign (based on Robert de Boron), and a suite leading up to the three volumes of the Lancelot propre (volumes III, IV, and V), the last of which prepares the way for the Queste. The cycle ends with la Mort Artu. The contrasts and contradictions (including a reference to Perceval/Perlesvaus as Grailwinner and accomplisher of the adventure of the Perilous Seat) within a closely interlacing structure have puzzled and fascinated scholars for more than a hundred years.
The Making of a Name or Quest for Identity
Authors: Kennedy Elspeth
Published: November 2023

One of the recurring themes in twelfth-century romance is the identity theme. A young man has to discover who he is, to make his name (sometimes in the most literal sense) through his exploits as a knight, or an older knight has to prove his right to a reputation won in the past, or recover a good name which he has lost. This theme, under its various aspects and in relation to a range of characters who provide a counterpoint to the development of Lancelot’s quest for identity, runs right through the PL. It emerges clearly in terms of the narrative structure and the handling of the interlace (as will be examined further in Chapter VII) and is emphasized through interplay with the existing literary tradition by means of variations on familiar narrative patterns, subtle allusions to the heroes of earlier Arthurian romances.
The Grail Allusions
Authors: Kennedy Elspeth
Published: November 2023

There is another kind of Arthurian supernatural, more directly associated with Christianity, namely that of the Grail theme. The relationship between the Grail story and the tale of Lancelot as presented in the PL is of crucial importance in any examination of the position of the non-cyclic romance in the development of the Lancelot-Grail cycle. We have seen that there are many passages in the text which serve to set the story within a wider Arthurian tradition and to link it with the past history of the Arthurian kingdom and with the magic and marvels associated with the time of the Prophet Merlin, son of a devil, whose activities are placed in the past in relation to the events in the life of Lancelot. There are also a number of passages which refer to the Christian marvels associated with the Grail and with Joseph of Arimathea which form another main thread in the texture of Arthurian romance early in the thirteenth century.
The Tale and the Interlace
Authors: Kennedy Elspeth
Published: November 2023

Le Conte is the basis of the work, as the recurring references to it make clear. The author does not intervene frequently in the first person singular; the source of almost all comments or explanations is le conte, and it is cited as the authority for the relevance and accurate reporting of all the adventures related. We have already seen in earlier chapters that the tale of Lancelot is presented as part of a larger whole, and it is in this context that the references to the conte are particularly important. Two passages already quoted in Chapter VI explain that Arthur’s clerks recorded in a great book all the adventures of the knights (PL 571.24-31, 611.38-612.1 ). This recording is linked with the oath sworn by knights leaving court on a quest that on their return they will give a truthful account of all that happens to them while they are away.
Repetition and other linking devices
Authors: Kennedy Elspeth
Published: November 2023

Frequent repetition of familiar episodes and situations and the doubling of characters are features of Arthurian romance which may in some texts produce a monotonous effect. However, repetition, contrasts, and parallels can be used with subtlety and to good purpose, especially at a time when logical development of plot according to modern ideas of cause and effect often plays a restricted role in literary structure. The non-cyclic Prose Lancelot provides a particularly good example of the skilful use of repetition both to give a firm texture and cohesion to the romance and to bring out the complex relationship between the individual work and a wider whole, existing beyond the text and encompassing it.
Lancelot with the Grail: first stage
Authors: Kennedy Elspeth
Published: November 2023

There is another Prose Lancelot which, as great scholars such as Ferdinand Lot and Jean Frappier have shown, possesses a unity as a literary work, in spite of contrasts between the different branches. In that romance the tale of Lancelot’s childhood and adventures up to his installation as a companion of the Round Table forms only the first part of a great cycle which includes a Grail Quest firmly integrated in Lancelot’s own story through the person of his son Galahad, and a Mort Artu which recounts the tragic conclusion of Lancelot’s love for Guinevere and the destruction of Arthur and the Round Table. The non-cyclic and the cyclic Prose Lancelot share the same text up to Lancelot’s welcome into Arthur’s court (at the end of Sommer III), although some scribes, seeing the obvious contradictions between the Grail allusions in this part of the tale and the Galahad Quest, have tried to remove them or alter them, as will be seen in the last part of Chapter XI. The cyclic and non-cyclic romances, therefore, only diverge at the end of Sommer III (at the end of phase V in the work studied in Part I of this book), when Galehot takes Lancelot away from court and journeys to his own lands. It is this divergence into two different versions of the journey to Sorelois, the False Guinevere episode, and the death of Galehot which I propose to study in this chapter. I use the title ‘version (a)’ to designate the brief version (‘special version’ in the terminology of Micha) which corresponds to phase VI of the non-cyclic Lancelot and which brings the story to an end with the death of Galehot.2 I use the title ‘version (b)’ to designate the cyclic version. We have seen that version (a) (phase VI) is linked through references back and a
‘Uthmīn And ‘Alī
Authors: Crone Patricia , Zimmermann Fritz
Published: November 2023

Sālim b. Dhakwān was an Iba9i, possibly an Omani, and apparently an acquaintance of Jabir, which is to say that he was a sectarian, possibly a provincial, and apparently a very early figure. The discovery of an epistle by such an author ought greatly to increase our understanding of early Islamic history and beliefs, not only because early texts can be expected to contain new information, but also, and more particularly, because they make well-known information come alive by preserving early perspectives. However faithful a tradition may be, it cannot transmit the contemporary view of things because it cannot transmit all the information on which that view is based.
The Murji’a and Fatana
Authors: Crone Patricia , Zimmermann Fritz
Published: November 2023

Sālim only takes issue with the Murji’ites on two points: they suspend judgement on the participants in the first civil war, and they insist that their ‘kings’ are believers. As regards the former point, the MurjPites argue that one can only pronounce on the rights and wrongs of things on the basis of personal observation (autopsy in the original sense) or unanimous testimony (III, 91, 95, 97). Since the first civil war is a disputed event which happened before their time, they cannot tell who was right and who was wrong in it, and Sālim implies that they neither affiliate to nor dissociate from its participants.
A Brief Glance at Art History
Authors: Rouet Philippe
Published: November 2023

We shall resume our investigation into the history of connoisseurship by examining the thinking of Giovanni Morelli and Bernard Berenson. There seems little doubt that, although archaeologists were of course capable of realizing for themselves that many of the styles of drawing they observed on vases could be attributed to individual artists, works such as those of Morelli (whose influence on Furtwängler has already been mentioned) must have spurred them on to go further down the road of attributionism.
Beazley’s Background
Authors: Rouet Philippe
Published: November 2023

Like Morelli, Berenson, and most connoisseurs of the time, Beazley acquired most of his training for himself by going to museums. It should be explained straight away that he had the best possible education in Classical Greats at Oxford University; not only was he very much a product of Oxford, he also spent the whole of his adult life there, from October 1903 until his death on 6 May 1970. At the beginning of the century, however, there was no real teaching of art history or archaeology on offer at the university.
The Workshop and the Circle, the Painter and his School
Authors: Rouet Philippe
Published: November 2023

Apart from those painters whom Beazley identified very early on, such as the Kleophrades Painter and the Berlin Painter, Beazley took little trouble to explain the reasons for his attributions. We therefore need to examine his work on those two painters; this will help us not only to analyse his method, but also to identify clearly the radical changes that he introduced to the study of pottery from the very beginning of his research. On the Berlin Painter he published one of the few articles in which he explained his ideas about the connoisseurship of vases in detail. His conclusion was a sharp reaction against erroneous interpretations, which he saw as distorting any overall picture one might have of the production of painted vases in Athens, and also any sense of the status of the painters.
The Reaction to Beazley in France
Authors: Rouet Philippe
Published: November 2023

‘Approval for Beazley’s first articles at the beginning of the century was far from unanimous,especially in France where there was little support for attributionism.
Epilogue
Authors: Rouet Philippe
Published: November 2023

At the end of a long historiographical study, what food for thought can we draw from the comparison between Beazley and Pottier? The reader already has some idea of this, since it was indicated at an earlier point that the discussion of Carlo Ginzburg’s ‘clue paradigm’ would be carried over to this conclusion. What is this theory? Ginzburg claims that the last quarter of the nineteenth century saw the emergence of a new explanatory model in the field of human sciences.
Telling the Truth: the discourse of history
Authors: Ainsworth Peter F
Published: November 2023

When the writers of the first vernacular French ‘histories’ were given the task of reflecting upon their masters’ antecedents, they had recourse to oral tradition, to myth, and to legend; to genealogy as it was understood and to written testimony (which was often fabricated). Historical ‘fact’ was thus inextricably intertwined with fictions of various kinds, but in a manner that did not preclude the emergence of texts witnessing to a certain reality.
Creating an Image: Edward III in the Rome Manuscript
Authors: Ainsworth Peter F
Published: November 2023

It is more than likely that the Rome manuscript version of Book I was undertaken at the same time as Froissart was completing the second half of Book IV, which deals with the final moments of the reign of Richard 11. As we saw in Chapter 6, Book III had already chronicled the nefarious influence upon Richard of Robert de Vere, his elevation to a dukedom, and the increasing baronial resentment caused by the king’s undue reliance on a marmouset.
Ni Victimes Ni Bourreaux: The Liberal Dilemma
Authors: Dine Philip
Published: November 2023

In the previous chapter, I drew attention to Roger Ikor’s tale of the stand taken against the army’s use of torture by a conscript sergeant. In fact, this action is prompted by that of a lieutenant, who, having been obliged to interrogate an Algerian suspect, leaves the army and enters a monastery. The character’s decision to devote himself henceforth to the imitation of Christ is explained by his belief that the Son of God is the ultimate victim of any use of torture (267). This attitude reflects the views consistently expressed by Francois Mauriac in his influential ‘Bloc-Notes’ column in L’Express, while the officer’s consideration in turn of the murder of his superior, suicide, and madness serves to draw attention to the properly ontological pretensions of such liberal Catholic soul-searching. Indeed, for Plaa and those he represents, torture is not primarily a military tactic, to be accepted or rejected —either for practical reasons, or on ethical grounds, or both —but rather an existential dilemma which must be suffered even unto death. The lieutenant thus leaves the Algerian stage, having rejected the modalities of French repression, but, crucially, nothing else.
The Will to Belong: The Myths of the Pieds-Noirs
Authors: Dine Philip
Published: November 2023

It was Pierre Mend às-France who, having only a few months earlier wound up the French army’s catastrophic Indo-Chinese campaign, first committed his country’s forces to the defence of Alg àrie francaise. This seemingly illogical reaction to the Algerian insurrection could, in fact, hardly be avoided, given the presence in the territory of some one million well-established settlers. Without the pieds-noirs there would have been no Algerian war: it was they who constituted ‘French Algeria’, and it was their entrenchment which made the 1954-62 conflict both so inevitable and so intractable.
Cinema Images of the Algerian Conflict, 1954—1992
Authors: Dine Philip
Published: November 2023

It has long been a critical commonplace to bemoan the lack of a French cinema of the Algerian war. More recently, however, the publication of substantial critical inventories of this supposedly non existent corpus has forced a reappraisal of the cinematic representation of the 1954--62 conflict. It is as part of this reassessment that Benjamin Stora, the leading historian of the French collective memory of the war, has sought to analyse not an objective absence, but rather a perceived one. Stora looks to the doubly partial—both fragmentary and partisan—character of the approximately fifty feature films which have so far dealt, directly or indirectly, with the Algerian conflict, in an attempt to account for this abiding impression of a cinematic absence.3 In what follows, I shall propose both a chronology and a typology of the corpus which draws on this and other contributions to the recent debate. However, as I turn in this final chapter to the processes of mediation performed by cinematic ‘texts’, it is the pivotal relationship between the ideological stances and the narrative strategies of the films in question that will constitute the primary object of my analysis.
̒La Passion selon H.C.’: Reading in the Feminine
Authors: Wilson Emma
Published: November 2023

In her seminar series ‘A la recherche de l’auteur inconnu’ given at the Collège international de philosophie in Paris between 1989 and 1990, Helene Cixous spoke once, for some minutes, of her love of exotic flowers. This strategy of reading the self as text, and reading through the self, is a not uncommon feature of her writing practice. Cixous tends her own life with intimate care, offering to her readers fragments of her dreams, her passions, moments of being, and measured recollections. Her work incessantly draws into question the identity of the writer and of the reader, and, further, the relations between the two.
‘Mon histoire de Loi V. Stein’: Duras, Reading, and Amnesia
Authors: Wilson Emma
Published: November 2023

In her essay ‘La Maladie de la douleur: Duras’, Julia Kristeva writes: ‘il ne faut pas donner les livres de Duras aux lecteurs et lectrices fragiles’.1 How, we might wonder, may the fragile reader become a victim of Duras’s texts? Is it possible, indeed, that Duras’s texts work to undermine the reader’s certainty and sanity, forming, rather than reflecting, the trauma of noncathartic identification Kristeva has sought to analyse? And might this be understood in positive rather than negative terms? Kristeva’s argument works to suggest that Duras’s texts confront her readers with madness and horror, in unspeakable intimacy.
Introduction
Authors: Rowe William
Published: November 2023

For poets writing in Latin America since the 1950s there have been two main inheritances to be used, modified, or abandoned: the work of the avant-gardes and the tradition of politicized poetry. But whereas the latter is widely known, and associated in particular with the name of Pablo Neruda, the general reader is less likely to have come across the contributions of Latin American poets to the avant-garde tradition of experiment with language and form. Avant-gardism is regarded as a European phenomenon, with Surrealism and Dada as the prime examples, and Latin American poetry is taken to be distinctive in its preoccupation with politics. That view could be traced to a number of influences, such as the coloniality of established literary history and the populism of the Left, but the fact is that the way it divides up the territory is not accurate. Crucially, it diverts attention from the poetic imagination and its capacity to invent forms, which is a power that moves through all varieties of poetry. To perceive and respond to this is a prime condition for reading poetry.
Juan L. Ortiz: Verticality from the Margins
Authors: Rowe William
Published: November 2023

The introduction of doubts, vacillations, and uncertainties at the most intense moments of a poem is a prime characteristic of Juan L. Ortiz’s writing and it makes the act of reading approximative. Instead of giving definite contours to inner experience, making it distinct from public space, Ortiz’s poems move into ecstatic areas which cause such classifications to dissolve and a different sense of time and space to emerge. Let us begin by considering some specific features of their movement.
Ana Enriqueta Terán: In the Midst of Things
Authors: Rowe William
Published: November 2023

Ana Enriqueta Terán often compares herself with a tree, not with any allegorical intention, but as a way of exploring the physicality of standing in the world. The weight, spread, and growth of a tree are forms in which to discover the forms of her imagination.
Futurist Theatre: A Preliminary Characterization
Authors: Berghaus Günter
Published: November 2023

Futurism, launched in 1909 by the Italian poet and publicist Filippo Tommaso Marinetti, was the first expression of a radical, modernist spirit in the arts. In their manifestos, the Futurists proclaimed the bankruptcy of a country that clung to the past and ignored the great advances of the modern world. They ridiculed the ossified cultural and political institutions, the servile respect paid to an intellectual and artistic cult of the glorious Italian past. Instead, they sought nothing less than to revolutionize life and society in all their diverse aspects: moral, artistic, cultural, social, economic, and political.
The Beginnings Of A Futurist Performance Art: The Early Serate
Authors: Berghaus Günter
Published: November 2023

The first performances of Marinetti ‘s plays Le Roi Bombance and Poupees electriques gave a clear idea of what Futurist theatre was going to look like. The serate were a natural progression from Marinetti ‘s political and aesthetic beliefs described in the introductory chapters of this volume. The term serata, plural: serate, is used in Italian for any kind of evening entertainment, just like the French soiree. There is no specific theatrical meaning attached to the word. However, the Futurists developed the serate into a kind of theatrical genre, to which I will refer throughout the book with the Italian term.
The Stage Works Of Giacomo Balla
Authors: Berghaus Günter
Published: November 2023

Giacomo Balla (1871-1958) was a mature and well-established painter when he joined the Futurist movement, and was more than ten years older than most members of the circle Marinetti had assembled around himself. He had moved from Turin to Rome in 1895 and subsequently shed his early, Impressionist style of painting, influenced by the Italian Macchiaioli. Although at heart a Verist, he adoped Divisionist and then Symbolist techniques, giving expression to his strong social concerns and left-wing political convictions. Through his pupils Boccioni and Severini he was made familiar with the aims of the Futurist movement, with which he associated himself around April or May 19m.
Futurism Under The Fascist Régime
Authors: Berghaus Günter
Published: November 2023

We do not know exactly when Marinetti and Mussolini first heard of each other and their respective cultural-political programmes. It was certainly during the interventionist campaign, when both of them were amongst the first to join the demonstrations in the piazze, that they discovered a considerable degree of convergence between their nationalist ideologies and revolutionary politics. In the course of 1915, personal contacts were established between Mussolini and the Futurists. During the war, the Arditi served as a trajectory between revolutionary nationalism and Futurism, and after the armistice they offered a recruiting ground for the Futurist Political Party. In March 1919, the Futurists aligned themselves with Mussolini and were actively involved in the founding of the Fasci di Combattimento. The Fascists ‘ political programme of 1919 was based on the Programme of the Futurist Political Party. Both were revolutionary, subversive groups, who combined a Leftist social policy with a Rightist concept of nation and government.
Heimat Regained, Dissolved, or Multiplied?
Authors: Boa Elizabeth , Palfreyman Rachel
Published: November 2023

This study has concentrated in the main on literature and film. But from the turn of the century to the 1990s, Heimat discourse has always stretched beyond the arts to include sociology, ethnography and folk studies, local history, geography and regional studies, tourist publications, and a whole host of other kinds of texts, not least significant being Heimatkunde as an interdisciplinary school subject designed to develop pupils’ knowledge not only of their own locality but also of the troubled history of the concept of Heimat in the wider history of Germany. Renegotiation of Heimat in the late twentieth century was a feature of the 1980s which continued into the last decade of the century, fuelled by the continuing reverberations of the Historikerstreit, by the popular success of Edgar Reitz’s Heimatsequence,and as an exercise in identity-building following unification of the two Germanies. In 1990, the Federal Political Education Centre brought out two fat volumes dedicated to the theme of Heimat, with suggestions for school syllabuses, a wealth of essays on a whole range of topics, and extensive bibliographies.
The Good Neighbor Program and Gilda;Global Commodities and The Third Man(with George Yudice)
Authors: Miller Toby
Published: November 2023

Because Orson wasn’t in Vienna, we had to shoot something. This is where the shadows started. Carol said, ‘Guy, can you make a shadow running down that wall?’ I found I was rather good at running in front of an arc light and moving down the wall. I was a skinny young lad so I was given a big hat and a heavy coat with shoulder padding. So we shot all this shadow stuff and that’s me you can see running down the streets at night. Orson finally arrives, and he’s quite happy with the hat and coat I’d worn for the shadow shots. His first scene was in the sewers. Al] he had to do was stand there as water poured over him. Carol did the shot and said, ‘Isn’t that wonderful?’ Then Orson went into a tirade.
The Good Neighbor Program and Gilda; Global Commodities and The Third Man (with George Yùdice)
Authors: Miller Toby
Published: November 2023

Sid Furie the director and Harry [Saltzman, producer] went off to ‘de-gay’ my role in the script. The supermarket cart problem had already been solved by having me use mine as a weapon. The glasses were satisfactorily’butched up’ by having Sue Lloyd, who played the romantic lead, ask me if I always wear glasses. I say, ‘I only take them off in bed,’ she looks at me for a moment, then reaches forward and takes them off ... The cooking we made fast, expert and delicious. In this scene, I make her an omelette using the macho trick of breaking two eggs simultaneously and with one hand-very spectacular. I could not do this, ... , so we had to use the hands of Len Deighton [ novelist]-Michael Caine, referring to The IPCRESS File.