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"What did she say? – Just what she ought, of course. A lady
always does." This book explores the act of declaring love in works
of literature written between the middle of the eighteenth century
and the death of Jane Austen - and uncovers the uncertain
boundaries of the self in the force-field of courtship. Declaring
love is understood as the hazardous attempt to find public, social
terms which can communicate personal feelings and bring intimacy
into being. This was a period highly sensitive to the propriety and
artificiality of public forms, and hence peculiarly alive to
problems around the idea of saying what you feel, problems
experienced especially though not exclusively by women. Through
this historical lens the author considers the ways in which we may
become entangled with one another through language, the limits to
our operation as independent individuals, and whether in love you
can only feel what you can tell. The first part of the book
examines eighteenth-century attitudes towards the independent or
disengaged self, performance culture, and the feasibility of
sincerity, through readings of a wide range of different works.
This provides the basis for a discussion of Austen's novels in the
final two chapters, focused on the dynamics of courtship and the
moment of proposal, and making much of the role of Austen's
narrative voice in supporting the subjectivity of the one in love.
"What did she say? - Just what she ought, of course. A lady always
does." This book explores the act of declaring love in works of
literature written between the middle of the eighteenth century and
the death of Jane Austen - and uncovers the uncertain boundaries of
the self in the force-field of courtship. Declaring love is
understood as the hazardous attempt to find public, social terms
which can communicate personal feelings and bring intimacy into
being. This was a period highly sensitive to the propriety and
artificiality of public forms, and hence peculiarly alive to
problems around the idea of saying what you feel, problems
experienced especially though not exclusively by women. Through
this historical lens the author considers the ways in which we may
become entangled with one another through language, the limits to
our operation as independent individuals, and whether in love you
can only feel what you can tell. The first part of the book
examines eighteenth-century attitudes towards the independent or
disengaged self, performance culture, and the feasibility of
sincerity, through readings of a wide range of different works.
This provides the basis for a discussion of Austen's novels in the
final two chapters, focused on the dynamics of courtship and the
moment of proposal, and making much of the role of Austen's
narrative voice in supporting the subjectivity of the one in love.
Does the Devil lie at the heart of the creative process? In The
Devil as Muse, Fred Parker offers an entirely fresh reflection on
the age-old question, echoing William Blake's famous statement:
"the true poet is of the Devil's party." Expertly examining three
literary interpretations of the Devil and his influence upon the
artist--Milton's Satan in Paradise Lost, the Mephistopheles of
Goethe's Faust, and the one who offers daimonic creativity in
Thomas Mann's Doctor Faustus--Parker unveils a radical tension
between the ethical and the aesthetic. While the Devil is the
artist's necessary collaborator and liberating muse, from an
ethical standpoint the price paid for such creativity is nothing
less damnable than the Faustian pact--and the artist who is
creative in that way is seen as accursed, alienated, morally
disturbing. In their own different ways, Parker shows, Blake,
Byron, and Mann all reflect and acknowledge that tension in their
work, and model ways to resolve it through their writing. Linking
these literary conceptions with scholarship on the genesis of the
historical conception of the Devil and recent work on the role of
"otherness" in creativity, Parker insightfully suggests how
creative literature can feel its way back along the processes--both
theological and psychological--that lie behind such constructions
of the Adversary.
This Is A New Release Of The Original 1892 Edition.
Our best articles, missives and rants from 2010-2011 during the
start-up years of Mentisor.
This scarce antiquarian book is a selection from Kessinger
Publishing's Legacy Reprint Series. Due to its age, it may contain
imperfections such as marks, notations, marginalia and flawed
pages. Because we believe this work is culturally important, we
have made it available as part of our commitment to protecting,
preserving, and promoting the world's literature. Kessinger
Publishing is the place to find hundreds of thousands of rare and
hard-to-find books with something of interest for everyone!
This book is a facsimile reprint and may contain imperfections such
as marks, notations, marginalia and flawed pages.
This scarce antiquarian book is a selection from Kessinger
Publishings Legacy Reprint Series. Due to its age, it may contain
imperfections such as marks, notations, marginalia and flawed
pages. Because we believe this work is culturally important, we
have made it available as part of our commitment to protecting,
preserving, and promoting the worlds literature. Kessinger
Publishing is the place to find hundreds of thousands of rare and
hard-to-find books with something of interest for everyone!
In this first study of the role of scepticism in literature, Fred Parker offers a lively and stimulating introduction to key issues in eighteenth-century literature and philosophy. Parker traces the presence of sceptical thinking in works by Pope, Hume, Sterne, and Johnson, relates it more broadly to the social self-consciousness of eighteenth-century culture, and discusses its source in Locke and its inspiration in Montaigne.
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