Descartes's Fictions traces common movements in early modern philosophy and literary method. Emma Gilby reassesses the significance of Descartes's writing by bringing his philosophical output into contact with the literary treatises, exempla, and debates of his age. She argues that humanist theorizing about poetics represents a vital intellectual context for Descartes's work. She offers readings of the controversies to which this poetic theory gives rise, with particular reference to the genre of tragicomedy, questions of verisimilitude or plausibility, and the figures of Guez de Balzac and Pierre Corneille. Drawing on what Descartes says about, and to, his many contemporaries and correspondents embedded in the early modern republic of letters, this volume shows that poetics provides a repository of themes and images to which he returns repeatedly: fortune, method, error, providence, passion, and imagination, for instance. Like the poets and theorists of his age, Descartes is also drawn to the forms of attention that people may bring to his work. This interest finds expression in the mature Cartesian metaphysics of the Meditations, as well as, later, in the moral philosophy of his correspondence with Elisabeth of Bohemia or the Passions of the Soul. This volume thus bridges the gap between Cartesian criticism and late-humanist literary culture in France.
French philosophical and scientific writers of the early modern period made various use of forms of narrative - language that aims to tell a story - in their texts. Equally, authors of fiction often sought to appropriate the language and tools of philosophical and scientific investigation. The contributions in this collection, from some of the most distinguished and exciting scholars working in French Studies today, aim to bring into question oppositional relationships between terms such as 'philosophy' and 'fiction' when these are applied to early modern texts. They consider authors as diverse as Montaigne, Descartes, La Rochefoucauld, Mme de Villedieu and Mme de Lafayette. If we are to be true to the early modern period, they argue, we have to acknowledge it as a time when the figurative, anecdotal and fictive on the one hand, and the truth-seeking on the other, influence each other mutually. Emma Gilby is University Lecturer in French, University of Cambridge. Paul White is Research Associate in French, University of Cambridge.
Some of the language we come across, in reading other peoples' works or listening to others speak, moves us profoundly. It requires a response from us; it occupies and involves us. Writers, always readers and listeners as well, are fascinated by this phenomenon, which became the subject of the classical treatise On the Sublime , traditionally attributed to Longinus. Emma Gilby looks at this compelling and complex text in relation to the work of three major seventeenth-century authors: Pierre Corneille, Blaise Pascal and Nicolas Boileau. She offers, in each case, intimate critical readings which spin out into broad interrogations about knowledge and experience in early modern French literature.
Descartes's Fictions traces common movements in early modern philosophy and literary method. Emma Gilby reassesses the significance of Descartes's writing by bringing his philosophical output into contact with the literary treatises, exempla, and debates of his age. She argues that humanist theorizing about poetics represents a vital intellectual context for Descartes's work. She offers readings of the controversies to which this poetic theory gives rise, with particular reference to the genre of tragicomedy, questions of verisimilitude or plausibility, and the figures of Guez de Balzac and Pierre Corneille. Drawing on what Descartes says about, and to, his many contemporaries and correspondents embedded in the early modern republic of letters, this volume shows that poetics provides a repository of themes and images to which he returns repeatedly: fortune, method, error, providence, passion, and imagination, for instance. Like the poets and theorists of his age, Descartes is also drawn to the forms of attention that people may bring to his work. This interest finds expression in the mature Cartesian metaphysics of the Meditations, as well as, later, in the moral philosophy of his correspondence with Elisabeth of Bohemia or the Passions of the Soul. This volume thus bridges the gap between Cartesian criticism and late-humanist literary culture in France.
In Virgin Whore, Emma Maggie Solberg uncovers a surprisingly prevalent theme in late English medieval literature and culture: the celebration of the Virgin Mary’s sexuality. Although history is narrated as a progressive loss of innocence, the Madonna has grown purer with each passing century. Looking to a period before the idea of her purity and virginity had ossified, Solberg uncovers depictions and interpretations of Mary, discernible in jokes and insults, icons and rituals, prayers and revelations, allegories and typologies—and in late medieval vernacular biblical drama. More unmistakable than any cultural artifact from late medieval England, these biblical plays do not exclusively interpret Mary and her virginity as fragile. In a collection of plays known as the N-Town manuscript, Mary is represented not only as virgin and mother but as virgin and promiscuous adulteress, dallying with the Trinity, the archangel Gabriel, and mortals in kaleidoscopic erotic combinations. Mary’s "virginity" signifies invulnerability rather than fragility, redemption rather than renunciation, and merciful license rather than ascetic discipline. Taking the ancient slander that Mary conceived Jesus in sin as cause for joyful laughter, the N-Town plays make a virtue of those accusations: through bawdy yet divine comedy, she redeems and exalts the crime. By revealing the presence of this promiscuous Virgin in early English drama and late medieval literature and culture—in dirty jokes told by Boccaccio and Chaucer, Malory’s Arthurian romances, and the double entendres of the allegorical Mystic Hunt of the Unicorn—Solberg provides a new understanding of Marian traditions.
Alain Chartier was one of medieval France's most influential writers, but has been overlooked by modern criticism. This is the first full-length study of his work in its cultural context. It reconsiders the French verse debates in particular, based on their material context of transmission and on similarities with his French and Latin prose works.
In the board game 'Othello', players must turn double-sided counters to their advantage. This doubleness is shared by Shakespeare's play of 1604, marked from its outset by a dual and paradoxical title 'Othello, or the Moor of Venice'. This study teases out instances of doubleness, duplication and paradox to discuss the play's language and its themes. Chapters cover the issues of substitution, of racial polarity and its confusions, of the contested place of the domestic in the play, and the mixed generic signals this comedy-turned-tragedy gives out to its audiences. Throughout the emphasis is on the close readings of the play on the page and on stage, informed by the recent scholarship that has made Othello so pressing a play for the vexed cultural politics of the twenty-first century.
Some of the language we come across, in reading other peoples' works or listening to others speak, moves us profoundly. It requires a response from us; it occupies and involves us. Writers, always readers and listeners as well, are fascinated by this phenomenon, which became the subject of the classical treatise On the Sublime , traditionally attributed to Longinus. Emma Gilby looks at this compelling and complex text in relation to the work of three major seventeenth-century authors: Pierre Corneille, Blaise Pascal and Nicolas Boileau. She offers, in each case, intimate critical readings which spin out into broad interrogations about knowledge and experience in early modern French literature.
French philosophical and scientific writers of the early modern period made various use of forms of narrative - language that aims to tell a story - in their texts. Equally, authors of fiction often sought to appropriate the language and tools of philosophical and scientific investigation. The contributions in this collection, from some of the most distinguished and exciting scholars working in French Studies today, aim to bring into question oppositional relationships between terms such as 'philosophy' and 'fiction' when these are applied to early modern texts. They consider authors as diverse as Montaigne, Descartes, La Rochefoucauld, Mme de Villedieu and Mme de Lafayette. If we are to be true to the early modern period, they argue, we have to acknowledge it as a time when the figurative, anecdotal and fictive on the one hand, and the truth-seeking on the other, influence each other mutually. Emma Gilby is University Lecturer in French, University of Cambridge. Paul White is Research Associate in French, University of Cambridge.
THIS TIME, FOREVER He had returned to save her… Once a handsome prince rescued a beautiful princess…. Well, that was what Rowena Goodman's children believed. And they soon decided that Keir Delahunty was the prince sent to rescue their mother. But Rowena had trouble believing that Keir, who had left her waiting for him all those years ago, and who could have any woman his heart desired, wanted her. Keir insisted he loved Rowena and the children, and that they were essential to his future happiness. To prove his good intentions he set out to slay all Rowena's dragons. That left Rowena with no excuses and one secret to share with Keir…and it concerned her oldest child.
Who was she? She stood out from the crowd, and Jim Neilson, his sexual curiosity piqued, was drawn to her side. The air sizzled between them. Who was he? Did Jim still carry traces of the young Jamie she had known and loved as they had grown up together in the valley? Beth Delaney sensed a man who had distanced himself from all emotion. She craved more than a physical union with this seductive man even though he had obviously forgotten their childhood bond. If she could reach the vulnerable boy inside, might the Jamie she remembered reappear? Or was one night in Jim's arms all she could hope for? Emma Darcy, with more than 60 million books in print, is one of the world's favorite romance authors.
Harlequin Presents offers you another chance to enjoy this reader-favorite story from USA TODAY bestselling author Emma Darcy. Cristabel Valdez yearns to say yes to her boss's dinner invitations and the sensual promise behind them. An intimate involvement with him is dangerous, but can she risk just one night to remember? Jared King will use everything he has to hold her, keep her. And like his legendary family, who have flourished in this part of the Australian outback, he will not be defeated by anything. For him one night is not enough… Previously published in 2000.
She's got the one things he wants--the Zavros heir. Magazines regularly devote gossip column inches to Greek magnate Ari Zavros, and the new supermodel gracing his arm--and his bed--each week. Tina Savalas is nothing like Ari's usual playmates, but this ordinary girl hides the most scandalous secret of all: four years ago her passionate fling with Ari left her pregnant ... Her bombshell revealed, Ari can see only one solution--the innocent Tina is perfect for the role of Good Greek Wife ... and it seems marriage into the Zavros family isn't a choice--it's a command!"--Publisher.
All her life, Eleanor Vandelier has been invincible, ruthless, determined. Now she's dying--and the ruthless ambition that built an empire has become a vengeful desire to keep her daughter Tamara out of her inheritance. Driven by anger and pain, Tamara is ready to strike back with a reckless plan intended to destroy the woman who never loved her--and which may destroy the man who does.
When scandal threatens the star of his network, media baron Maximilian Hart whisks beautiful Chloe away from the prying paparazzi. Where better to hide this innocent beauty than the Hart mansion…? But the handsome tycoon's plan isn't just about protecting his investment—he wants Chloe in his bed! Max might have swept her out of the fire, but Chloe finds herself in a raging inferno: Max is the master player when it comes to business and seduction….
When Ashley met Harry… Mischief was what Harry Clifton intended when he traveled to Australia in search of an heir. Marriage was the last thing on Ashley Harcourt's mind when she met Harry. But William, Ashley's enterprising young son, had other ideas! He saw Harry and decided he'd make a perfect father. To his surprise, Harry found he liked the idea of an instant family, But he'd need more than young William's help to persuade Ashley to trust in love again….
Emma Darcy – The Collector's Edition Volume 1 (featuring 5 stories) Last Stop Marriage Jayne thinks she wants stability more than she wants Dan's love. Dan knows that traveling the world from A to Z is more important than stability. Result: their marriage is over...or is it ? Mischief And Marriage Mischief was what Harry Clifton intended when he traveled to Australia in search of an heir. Marriage was the last thing on Ashley Harcourt's mind when she met Harry. But William, Ashley's enterprising young son, had other ideas! The Father Of Her Child Falling in love again... Lauren hadn't wanted or expected to. Yet when Michael Timberlane smiled at her across a crowded room, all her good resolutions went out of the window. Their Wedding Day Once a handsome prince rescued a beautiful princess.... Well, that was what Rowena Goodman's children believed. And they soon decided that Keir Delahunty was the prince sent to rescue their mother. Craving Jamie Their attraction was sizzling but Beth Delaney sensed that Jim Nielson had distanced himself from all emotion. Craving more than a physical union, Beth wondered if one night in Jim's arms was all she could hope for?
Assigned to go to a three-day conference with her managing director and feeling forlorn and rejected, it would be a miracle if Tessa didn't fall at his feet for if there was ever a man made for female fantasies, he was it!
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