This collection brings together twelve original essays by prominent medievalists which address problems posed by contemporary literary and cultural theory. Taken together, the essays call into question the view that contemporary criticism has little to say about medieval literature and that medieval studies should remain isolated from the issues of contemporary criticism. The contributors apply a variety of critical methodologies to explore issues in textuality, intertextuality, and the role of the reader in works of medieval writers as diverse as Chaucer, Dante, Christine de Pizan, Anselm, and Talavera. Incorporating critical approaches such as deconstructionism, Marxism, feminism, new-historicism and reader-response criticism, the essays place these writers and their texts within a wider realm of cultural reference that embraces philosophy, religion, rhetoric, history, politics, and anthropology.
In this rewarding book, Laurie A. Finke challenges assumptions about gender, the self, and the text which underlie fundamental constructs of contemporary feminist theory. She maintains that some of the key concepts structuring feminist literary criticism need to be reexamined within both their historical context and the larger framework of current theory concerning language, representation, subjectivity, and value.
This unique textbook explores core cognitive psychology topics from an innovative new perspective, focusing on key real-world issues to show how we understand and experience the world. The book examines compelling topics such as creativity, problem-solving, reasoning, rationality and language, all within the context of modern 21st century life. Each chapter demonstrates how this vibrant and constantly evolving discipline is at the heart of some of the biggest issues facing us all today. The last chapter discusses the future of cognitive psychology, which includes guidance on conducting rigorous, replicable research and how to use skills from cognitive psychology to be an effective student. Packed with pedagogical features, each chapter includes boxed examples of cognitive psychology in the real world and engaging ‘try it yourself’ features. Each chapter also includes objectives, a range of illustrative figures, chapter summaries, key readings and a glossary for ease of use. The book is fully supported by original online resources for students and instructors. Offering a new model for the study of cognitive psychology that brings the subject alive, the book is essential reading for all students studying psychology and related disciplines.
According to Laurie Langbauer, the notion of romance is vague precisely because it represents the chaotic negative space outside the novel that determines its form. Addressing questions of form, Langbauer reads novels that explore the interplay between the novel and romance: works by Charlotte Lennox, Mary Wollstonecraft, Charles Dickens, George Eliot, and George Meredith. She considers key issues in feminist debate, in particular the relations of feminist to the poststructuralist theories of Lacan, Derrida, and Foucault. In highlighting questions of gender in this way, Women and Romance contributes to a major debate between skeptical and materialist points of view among poststructuralist critics.
Brahms in the Priesthood of Art: Gender and Art Religion in the Nineteenth-Century German Musical Imagination explores the intersection of gender, art religion (Kunstreligion) and other aesthetic currents in Brahms reception of the nineteenth and early twentieth centuries. In particular, it focuses on the theme of the self-sacrificing musician devoted to his art, or "priest of music," with its quasi-mystical and German Romantic implications of purity seemingly at odds with the lived reality of Brahms's bourgeois existence. While such German Romantic notions of art religion informed the thinking on musical purity and performance, after the failed socio-political revolutions of 1848/49, and in the face of scientific developments, the very concept of musical priesthood was questioned as outmoded. Furthermore, its essential gender ambiguity, accommodating such performing mothers as Clara Schumann and Amalie Joachim, could suit the bachelor Brahms but leave the composer open to speculation. Supportive critics combined elements of masculine and feminine values with a muddled rhetoric of prophets, messiahs, martyrs, and other art-religious stereotypes to account for the special status of Brahms and his circle. Detractors tended to locate these stereotypes in a more modern, fin-de-siècle psychological framework that questioned the composer's physical and mental well-being. In analyzing these receptions side by side, this book revises the accepted image of Brahms, recovering lost ambiguities in his reception. It resituates him not only in a romanticized priesthood of art, but also within the cultural and gendered discourses overlooked by the absolute music paradigm.
While many contemplate roaming the world, at 22, Laurie Rutherford Pederson embarked on a solo journey of 365 days, beginning in December 1976. She recorded her many adventures, sublime to horrific, in twenty-seven journals from which this book emerged. The Victoria, B.C. native worked as a travel agent, creating her own itinerary to countries that intrigued her. She explored these exotic locations, each replete with its historic and often perilous political landscapes, using all means of transport: from a luggage rack on a train in India to rickshaws to horseback, even a boat on the Canal du Midi. Family friends in several countries provided respites of gracious hospitality and rollicking entertainment; but, to her credit, Pederson writes with equal appreciation of the many strangers—locals and fellow travellers—she encountered along the way. Her prose sparkles with hilarious interior monologues and a cinematographer's attention to detail. From a near-fatal motorcycle accident on Bali to a brush with death at the Israel-Lebanese border, there is adventure, romance, fear and reflection. The author left her secure home in Victoria as a young adventuress; she returned a woman. Pederson's memoir is contemplative yet spontaneous, capturing a time of great change in the world.
Offers not only an analytical study of the films of Herzog, perhaps the most famous living German filmmaker, but also a new reading of Romanticism's impact beyond the nineteenth century and in the present.
This collection brings together twelve original essays by prominent medievalists which address problems posed by contemporary literary and cultural theory. Taken together, the essays call into question the view that contemporary criticism has little to say about medieval literature and that medieval studies should remain isolated from the issues of contemporary criticism. The contributors apply a variety of critical methodologies to explore issues in textuality, intertextuality, and the role of the reader in works of medieval writers as diverse as Chaucer, Dante, Christine de Pizan, Anselm, and Talavera. Incorporating critical approaches such as deconstructionism, Marxism, feminism, new-historicism and reader-response criticism, the essays place these writers and their texts within a wider realm of cultural reference that embraces philosophy, religion, rhetoric, history, politics, and anthropology.
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