Compassion's Edge traces the relation between compassion and toleration after France's Wars of Religion. This is not, however, a story about compassion overcoming difference but one of compassion reinforcing division. It provides a robust corrective to today's hope that fellow-feeling draws us inexorably and usefully together.
Engaging with recent thinking about performance, political theory and canon formation, this study addresses the significance of the formal changes in seventeenth-century French theater. Each chapter takes up a particularity of seventeenth-century theatrical style and staging”for example, the clearing of violence from the stage”and shows how the conceptualization of these French stylistic shifts appropriates a rich body of Italian political writing on questions of action, temporality, and law. The theater's appropriation of political concerns and vocabularies, the author argues, proffers an astute reflection on the practices of government that draws attention to questions obscured in reason of state, such as the instrumentalization of women's bodies. In a new reading of tragedies about government, the author shows how the canonical figure of Pierre Corneille is formally engaged with the political strategizing he often appears to repudiate, and in so doing challenges a literary history that has read neoclassicism largely as a display of pure French style.
This collection is an enquiry into compassion as an early modern emotional phenomenon, situating it within the complexity of European economic, social, cultural and religious tensions. Drawing on recent work in the history of emotions, leading scholars consider the particularities of early modern compassion, demonstrating its entanglements with diverse genres and geographies. Chapters on canonical and less familiar works explore tragedy, comedy, sermons, philosophy, treatises on consolation, medical writing, and dramatic theory, showing how early modern compassion shaped attitudes and social structures that remain central to the way we imagine our response to suffering today, and how such investigations can ultimately provoke new ways of thinking about community in contemporary Europe.
This collection is an enquiry into compassion as an early modern emotional phenomenon, situating it within the complexity of European economic, social, cultural and religious tensions. Drawing on recent work in the history of emotions, leading scholars consider the particularities of early modern compassion, demonstrating its entanglements with diverse genres and geographies. Chapters on canonical and less familiar works explore tragedy, comedy, sermons, philosophy, treatises on consolation, medical writing, and dramatic theory, showing how early modern compassion shaped attitudes and social structures that remain central to the way we imagine our response to suffering today, and how such investigations can ultimately provoke new ways of thinking about community in contemporary Europe.
Compassion's Edge traces the relation between compassion and toleration after France's Wars of Religion. This is not, however, a story about compassion overcoming difference but one of compassion reinforcing division. It provides a robust corrective to today's hope that fellow-feeling draws us inexorably and usefully together.
Engaging with recent thinking about performance, political theory and canon formation, this study addresses the significance of the formal changes in seventeenth-century French theater. Each chapter takes up a particularity of seventeenth-century theatrical style and staging”for example, the clearing of violence from the stage”and shows how the conceptualization of these French stylistic shifts appropriates a rich body of Italian political writing on questions of action, temporality, and law. The theater's appropriation of political concerns and vocabularies, the author argues, proffers an astute reflection on the practices of government that draws attention to questions obscured in reason of state, such as the instrumentalization of women's bodies. In a new reading of tragedies about government, the author shows how the canonical figure of Pierre Corneille is formally engaged with the political strategizing he often appears to repudiate, and in so doing challenges a literary history that has read neoclassicism largely as a display of pure French style.
A collection of three classics, two of them Newbery Award Medal winners, and one a National Book Award winner by highly acclaimed author Katherine Paterson.
The first major scholarly investigation into the rich history of the marked body in the early modern period, this interdisciplinary study examines multiple forms, uses, and meanings of corporeal inscription and impression in France and the French Atlantic from the late sixteenth through early eighteenth centuries. Placing into dialogue a broad range of textual and visual sources drawn from areas as diverse as demonology, jurisprudence, mysticism, medicine, pilgrimage, commerce, travel, and colonial conquest that have formerly been examined largely in isolation, Katherine Dauge-Roth demonstrates that emerging theories and practices of signing the body must be understood in relationship to each other and to the development of other material marking practices that rose to prominence in the early modern period. While each chapter brings to light the particular histories and meanings of a distinct set of cutaneous marks—devil’s marks on witches, demon’s marks upon the possessed, devotional wounds, Amerindian and Holy Land pilgrim tattoos, and criminal brands—each also reveals connections between these various types of stigmata, links that were obvious to the early modern thinkers who theorized and deployed them. Moreover, the five chapters bring to the fore ways in which corporeal marking of all kinds interacted dynamically with practices of writing on, imprinting, and engraving paper, parchment, fabric, and metal that flourished in the period, together signaling important changes taking place in early modern society. Examining the marked body as a material object replete with varied meanings and uses, Signing the Body: Marks on Skin in Early Modern France shows how the skin itself became the register of the profound cultural and social transformations that characterized this era.
For the first time in publishing history, this eBook presents the complete works of the Modernist master short story writer Katherine Mansfield, with beautiful illustrations, informative introductions and the usual Delphi bonus material. (6MB Version 1) * Beautifully illustrated with images relating to Mansfield's life and works * Concise introductions to the short story collections and other works * The complete short stories * Images of how the books were first printed, giving your eReader a taste of the original texts * Excellent formatting of the texts * Mansfields beautiful poetry * Includes Mansfield's non-fiction works, including her journal - spend hours exploring the authors personal thoughts * Features the first biography on Mansfield, written by her husband - discover the authors literary life * Scholarly ordering of texts into chronological order and literary genres Please visit www.delphiclassics.com to browse our range of exciting titles CONTENTS: The Short Story Collections IN A GERMAN PENSION BLISS AND OTHER STORIES THE GARDEN PARTY AND OTHER STORIES THE DOVES' NEST AND OTHER STORIES SOMETHING CHILDISH AND OTHER STORIES The Short Stories LIST OF SHORT STORIES IN ORDER OF PUBLICATION LIST OF SHORT STORIES IN ALPHABETICAL ORDER The Poetry LIST OF POEMS The Non-Fiction NOVELS AND NOVELISTS THE JOURNAL OF KATHERINE MANSFIELD The Biography THE LIFE OF KATHERINE MANSFIELD by J. Middleton Murry and Ruth Elvish Mantz Please click here to browse our other titles
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