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This book is an examination of the concept of Fortune in the narratives of the sixteenth-century German writer, Jorg Wickram. Throughout the Middles Ages, Fortune functioned as a representation of the experience of contingency and the human attempt to cope with a God-given order. The Renaissance saw the advent of the notion that an individual possessed the ability to control his or her life to a certain extent, but the perception of Fortune as an external force acting on human agents remained intact. Wickram, however, saw fortune, not only as an external force acting in conjunction with or competing with divine agency, but also as a force within the human mind; it was this innovative understanding which set him apart from his contemporaries and lent originality to his literature.
This comprehensive foundation for the study of realism will introduce students in disciplines as varied as philosophy, international relations, and strategic studies to the majestic breadth of the realist tradition that unifies them all. The Realist Tradition in International Relations: The Foundations of Western Order introduces the principal theorists who have shaped and defined the realist tradition. This once-dominant theory of international politics has reemerged to provide a shared foundation for understanding political theory, international relations theory, and strategic studies. The work is comprised of four volumes, each focusing upon a distinct period and the pivotal contributors writing in that era. Volume 1, State of Hope, looks at the classical era when chaos reigned supreme. Volume 2, State of Fear, goes through the early-modern period and the emergence of the modern state. Volume 3, State of Awe, explores the age of total war with its unprecedented dangers. Volume 4, State of Siege, examines the present era of insurgency and asymmetrical conflict. A truly monumental work, this sweeping study will surely foster a new appreciation of the rich tapestry of realist thought and its continuing relevance to the study of world politics.
The late 16th century and the first half of the 17th century saw a final resurgence of the concept of Fortuna. Shortly thereafter, this goddess of chance and luck, who had survived for millennia, rapidly lost her cultural and intellectual relevance. This volume explores the late heyday and subsequent erasure of Fortuna. It examines vernacular traditions and confessional differences, analyses how the iconography and semantics of Fortuna motifs transformed, and traces the rise of complementary concepts such as those of probability, risk, fate and contingency. Thus, a multidisciplinary team of contributors sheds light on the surprising ways in which the end of Fortuna intersected with the rise of modernity.
This collection of essays studies the encounter between allegedly ahistorical concepts of narratology and eighteenth-century literature. It questions whether the general concepts of narratology are as such applicable to historically specific fields, or whether they need further specification. Furthermore, at issue is the question whether the theoretical concepts actually are, despite their appearance of ahistorical generality, derived from the historical study of a particular period and type of literature. In the essays such concepts as genre, plot, character, event, tellability, perspective, temporality, description, reading, metadiegetic narration, and paratext are scrutinized in the context of eighteenth-century texts. The writers include some of the leading theorists of both narratology and eighteenth-century literature.
This book is a textual analysis of Wolfram von Eschenbach's Parzival and Titurel, dealing specifically with minnedienst (Love Service--fin amours) and its negative influence on the female characters in the narratives. By scrutinizing the women in Wolfram's works, one can see that there are surprising similarities in female characters and their situations. The author examines the actions of the male characters and follows the often painful repercussions stemming from the never-ending search for honor. Wolfram states often that love is related to pain. By doing so, he is actively criticizing a literary construct created by Chrétien de Troyes and continued by Hartmann von Aue. The author provides examples of Wolfram's criticism of his predecessors and makes a statement as to the nature of that criticism: that Wolfram was criticizing an element of society through the themes presented in Parzival and Titurel. It is a widely held opinion of researchers that Wolfram had a positive opinion of women and the institution of marriage. The author maintains that this is true but argues that Wolfram had a negative opinion as to the means whereby love was to be won. Wolfram generally liked and respected women and went to great lengths to portray them positively. It is shown through textual examples that he pitied them and sympathized with their pains brought on by the society that they lived in. It is also hypothesized that Wolfram wrote not for mere entertainment but for the betterment of society and for the advancement of women's roles in a patriarchic society.
V. N. Volosinov's important work, first published in Russian in 1929, had to wait a generation for recognition. This first paperback edition of the English translation will be capital for literary theorists, philosophers, linguists, psychologists, and many others. Volosinov is out to undo the old disciplinary boundaries between linguistics, rhetoric, and poetics in order to construct a new kind of field: semiotics or textual theory. Ladislav Matejka and I. R. Titunik have provided a new preface to discuss Volosinov in relation to the great resurgence of interest in all the writing of the circle of Mikhail Bakhtin.
This selection of peer-reviewed essays is taken from the Royal Irish Academy Symposium Intercultural Spaces: Language, Culture, Identity, hosted by Dublin City University in November 2003. It brings together a fascinating range of scholarly interpretations of the 'intercultural space' with rich contributions coming from the fields of sociology, politics, language teaching and learning, translation, drama, literature, and history. Individually each essay draws the reader into its own particular 'intercultural space' shaped by the norms and parameters of the discipline within which it is being described. As a collection, however, the essays link these usually separate spaces together to forge new and exciting interdisciplinary connections. This collection offers readers from many different disciplines a comprehensive array of interpretations and insights into the phenomenon that is the 'intercultural space', and invites them to explore the richness of this concept as it is revealed in Intercultural Spaces: Language, Culture, Identity.
Presenting new and diverse scholarship, this wide-ranging collection of 43 original chapters asks what European cinema tells us about Europe. The book engages with European cinema that attends to questions of European colonial, racialized and gendered power; seeks to decentre Europe itself (not merely its putative centres); and interrogate Europe’s various conceptualizations from a variety of viewpoints. It explores the broad, complex and heterogeneous community/ies produced in and by European films, taking in Kurdish, Hollywood and Singapore cinema as comfortably as the cinema of Poland, Spanish colonial films or the European gangster genre. Chapters cover numerous topics, including individual films, film movements, filmmakers, stars, scholarship, representations and identities, audiences, production practices, genres and more, all analysed in their context(s) so as to construct an image of Europe as it emerges from Europe’s film corpus. The Companion opens the study of European cinema to a broad readership and is ideal for students and scholars in film, European studies, queer studies and cultural studies, as well as historians with an interest in audio-visual culture, nationalism and transnationalism, and those working in language-based area studies.
The chastity belt is one of those objects people have commonly identified with the 'dark' Middle Ages. This book analyzes the origin of this myth and demonstrates how a convenient misconception, or contorted imagination, of an allegedly historical practice has led to profoundly flawed interpretations of control mechanisms used by jealous husbands.