scholarly journals Living in the Sunken Place: Notes on Jordan Peele’s ”Get Out” as Gothic Fiction

2019 ◽  
Vol 43 (2) ◽  
pp. 125
Author(s):  
Jorge Bastos da Silva
Keyword(s):  
Eighteenth Century ◽  
Present Article ◽  
Literary Texts ◽  
Human Identity ◽  
Gothic Fiction

<p>The gothic imagination often expresses a sense of the instability and/or vulnerability of human identity, bearing either on specific individuals or on the species as a whole. The present article examines the 2017 film <em>Get Out</em>, written and directed by Jordan Peele,<strong> </strong>in order to highlight the ways in which its exploration of the abovementioned topic relates to the tradition of the gothic as it is recognisable in literary texts dating from as far back as the eighteenth century. Relevant titles include Walter Scott’s <em>Count Robert of Paris</em> and Robert Louis Stevenson’s <em>Strange Case of Dr Jekyll and Mr Hyde</em>, as well as examples from film.</p>

A Newly Discovered Annotated Partimento Manuscript : "Rudimenti di Musica per Accompagnare del Sig. r Maestro Vignali" (1789)

2021 ◽  
Vol 8 (1) ◽  
pp. 60-88
Author(s):  
Sean Curtice ◽  
Lydia Carlisi
Keyword(s):  
Eighteenth Century ◽  
Real Time ◽  
Present Article ◽  
Teaching Methods ◽  
Oral Tradition ◽  
English Language ◽  
Musical Culture ◽  
First Time ◽  
Unknown Manuscript

The partimento tradition of eighteenth-century Italy developed within a musical culture that prioritized oral pedagogy. While these teaching methods were successful in producing generations of great composers, they have left scholars with vexing questions concerning the precise manner in which partimenti should be realized. The recent appearance of a remarkable and previously unknown manuscript—"Rudimenti di Musica per Accompagnare del Sig. Maestro Vignali," dated 1789—promises to shed invaluable new light on the oral tradition of partimento instruction. The manuscript's likely author is Gabriele Vignali (c. 1736– 1799), a maestro di cappella active in Bologna; it is unique in the presently known canon owing to the detailed footnotes that accompany each of its twenty-four Bassi (one in each major and minor key). Vignali's annotations provide precisely the sort of commentary that was ordinarily restricted to real-time explanation, teaching the student to recognize keys, scale degrees, modulations, cadences, typical bass progressions, and significant motives. The present article and accompanying English-language edition examine this exceptional partimento collection in detail, offering modern partimentisti the opportunity for the first time to listen in, as it were, on a series of lessons between an eighteenth-century maestro and his student.

Amadis as Spectacle and Source

2020 ◽  
pp. 213-262
Author(s):  
Helen Moore
Keyword(s):  
Eighteenth Century ◽  
Early Modern ◽  
Parallel Development ◽  
Gothic Fiction ◽  
Libros De Caballerias ◽  
Relationship Of ◽  
Spectral Relationship

The reception of Amadis changes in the eighteenth century, with a play (Granville’s The British Enchanters (1706) ) and an opera (Handel’s Amadigi di Gaula (1715) ) presenting the romance for theatrical consumption and emphasizing its overt spectacularism in a revivified Amadisian aesthetic. In a parallel development, Amadis was mined by Shakespearean editors, Hispanists, and literary historians such as Isaac Reed, John Bowle, and Thomas Warton as indicative of early modern taste and a means of elucidating the works of Cervantes and Shakespeare. The chapter closes with an account of the ‘spectral’ relationship of Amadis to early Gothic fiction, arguing that the ‘ancient romances’ invoked in the preface to the second edition of Walpole’s The Castle of Otranto (1765) are none other than the libros de caballerías, and showing how Lewis’s The Monk (1796) takes the traditions of peninsular ‘fancy’ in an entirely new direction.

Matter, Form, Abstraction

2020 ◽  
pp. 145-202
Author(s):  
Jonah Siegel
Keyword(s):  
Eighteenth Century ◽  
Visual Arts ◽  
Henry James ◽  
George Eliot ◽  
Literary Texts ◽  
New Creation ◽  
Late Eighteenth Century ◽  
Late Eighteenth ◽  
Late Nineteenth

This chapter addresses the constantly shifting forms that mediated audiences’ experiences of admired antiquities from the late eighteenth century to the late nineteenth. Literary texts and reproductive prints not only diffused knowledge of ancient art, but shaped new creation in literature and the visual arts, which in turn contributed to the establishment of new aesthetic norms. Through analyses of authors ranging from Lessing to Winckelmann, from Coleridge to Blake, from George Eliot to Henry James, and culminating with Ruskin and Pater, this chapter argues that the emergence of an ever-more abstract and formalist vision of antiquity was shaped by the ongoing shifts in the cultural presence of antique objects.

scholarly journals John Brown's Description of the Lake at Keswick: New Clues and Clarifications

The Library ◽  
2019 ◽  
Vol 20 (4) ◽  
pp. 462-474
Author(s):  
Christopher Donaldson
Keyword(s):  
Eighteenth Century ◽  
Present Article ◽  
Reception History ◽  
Lake District ◽  
English Lake District ◽  
History Of ◽  
The Way

Abstract This article reports on the discovery of hitherto undocumented printings of John Brown’s Description of the Lake at Keswick. Brown’s Description has long been recognised as a foundational document in the development of interest in the English Lake District during the eighteenth century. The history of the Description, however, has not been fully documented, and this lack of documentation has led to a number of mistaken assumptions. The present article, therefore, not only updates the bibliographical record, but also clarifies a few inaccuracies in previous discussions of Brown’s account. In the process, the article explains how the early versions of the Description add a new dimension to the reception history of the text and shift our understanding of the way the private circulation of unpublished print informed eighteenth-century appreciations of the Lakes region. The article includes an appendix, which presents a copy of the early printings of Brown’s text.

Lessing's Relation to Early English Sentimental Comedy

PMLA ◽  
1932 ◽  
Vol 47 (3) ◽  
pp. 807-826 ◽  
Author(s):  
Paul P. Kies
Keyword(s):  
Eighteenth Century ◽  
Present Article ◽  
Early English

In the present article I hope to show that Lessing's Der Freigeist (1749) and Die Juden (1749) were influenced by early English sentimental comedy, and that about 1753 the German dramatist studied the work of Edward Moore, author of the chief English sentimental comedy of the second quarter of the eighteenth century—The Foundling (1748).

Jordanian Folkloric Songs from Arabic into English

Babel ◽  
1998 ◽  
Vol 44 (2) ◽  
pp. 150-174 ◽  
Author(s):  
Abdullah Shunnaq ◽  
Fayez Abul-Kas
Keyword(s):  
Special Reference ◽  
Present Article ◽  
Lyric Poetry ◽  
Literary Translation ◽  
Literary Texts ◽  
Sign Structure ◽  
Shed Light ◽  
Communicative Translation ◽  
Traduction Litteraire

Abstract Poetry in general and lyric poetry in particular are perhaps the most difficult types of texts to be rendered from one language into another without much change in meaning and structure. That is why folkloric songs could be considered as toilsome to be rendered, because they are often culture-bound. Moreover, they have a highly complicated sign structure which plays an important role in transmitting culture. It may be helpful and useful to investigate a number of difficulties in translating these rhymed texts which reflect certain aspects of culture (social, political and ecological, among others). Despite the dearth of references, the authors have succeeded in obtaining the necessary data of translating these folkloric songs. They aim to reach modest findings which could be beneficial to students of translation. In this paper, it may be useful to introduce some ideas about the nature of translation and translatability as well as literary translation with special reference to the semantic vs. communicative translation. It also aims to shed light on the translatability of some Jordanian folkloric songs. This study partly provides examples of the authors' translations from Arabic into English, which are only attempts of translating these literary texts. The translations are meant only for the aim of comparison or to support data. Some conclusions and recommendations about the translatability of folkloric songs are reached. Résumé La poésie en général et la poésie lyrique en particulier sont probablement les types de textes les plus difficiles à reproduire d'une langue dans une autre sans introduction de changement de signification ou de structure. C'est la rasion pour laquelle les chants folkloriques, généralement liés à la culture sont difficiles à traduire. De plus, la structure des signes est éminemment compliquée et joue un rôle important au niveau de la transmission de la teneur culturelle. Il peut donc être intéressant et utile d'analyser un certain nombre de difficultés qui surgissent lors de la traduction de ces textes rythmés qui reflètent certains aspects culturels (sociaux, politiques et écologiques, entres autres). En dépit du manque de références, les auteurs sont parvenus à obtenir les informations nécessaires à la traduction de ces chants folkloriques. Leur but est d'obtenir certains indications susceptibles d'être précieuses pour les étudiants en traduction. Dans le présent article, les auteurs ont estimé qu'il pouvait être utile d'introduire certains notions concernant la nature de la traduction et de la traductibilité mais aussi de la traduction littéraire, en particulier dans le domaine de l'opposition traduction sémantique — traduction communicative. Les auteurs souhaitent aussi aborder la traductibilité de certains chants folkloriques jordaniens, et ce à l'aide d'exemples de traductions arabe-anglais réalisées par les auteurs mais qui ne sont d'après ces derniers que des essais de traduction de ces textes littéraires. Ces traductions visent uniquement à comparer les informations ou à fournir des indications utiles. Ce faisant ils sont parvenus à formuler un certain nombre de conclusions et de recommendations concernant la traductibilité des chants folkloriques.

Genres for the Prosecution: Pornography and the Gothic

PMLA ◽  
1999 ◽  
Vol 114 (5) ◽  
pp. 1043-1054 ◽  
Author(s):  
Michael Gamer
Keyword(s):  
Nineteenth Century ◽  
Eighteenth Century ◽  
Legal History ◽  
Reception History ◽  
Charles Robert Maturin ◽  
Gothic Fiction ◽  
Matthew Lewis ◽  
Charlotte Dacre ◽  
History Of

Recent accounts of genre have asserted that all texts participate in multiple genres and that genre works as a kind of contract between writers and readers. In the legal history of eighteenth-century British prosecutions for obscene libel and the reception history of gothic fiction at the turn of the nineteenth century, however, the model of genre as contract breaks down. At the end of the eighteenth century, several texts we now call gothic faced threatened prosecution under existing obscene libel laws. The reception histories of the fiction of Matthew Lewis, Charlotte Dacre, and Charles Robert Maturin demonstrate that public denouncements and threatened prosecution forced gothic texts, even as they theoretically participated in at least one genre, to belong to a legal category (obscenity) for which their writers never intended them.

scholarly journals #MeToo or "Me Too"?: Defining Our Terms

2020 ◽  
Vol 10 (2) ◽  
Author(s):  
Caitlin L. Kelly
Keyword(s):  
Higher Education ◽  
Eighteenth Century ◽  
Sexual Violence ◽  
Subject Matter ◽  
Women's Writing ◽  
Literary Texts ◽  
Ethical Implications ◽  
Women's Narratives ◽  
The Future ◽  
The Subject

How we talk about misogyny and sexual violence in literary texts matters—to our students, to our colleagues, and to the future of the humanities and of higher education—and the “Me Too” movement has revived with new urgency debates about how to do that. In this essay, I explore the ethical implications of invoking the “Me Too” movement in the classroom, and I offer a model for designing a course that does not simply present women’s narratives as objects of study but rather uses those narratives to give students opportunities and tools to participate in the “Me Too” movement themselves. To re-think eighteenth-century women’s writing in light of “Me Too,” I contend, is to participate in the movement, and so in our teaching we must engage with the ethics of the movement as well as the subject matter.

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