The article discusses the concept of multisensuality in the satirical prints of the Georgian era in England, focusing on how the sensory perception enhances the visual humor. Drawing upon historical and cultural contexts, this study investigates how English caricaturists employed various sensory elements, such as sight, sound, smell, taste and touch to convey satire and provoke emotional responses among viewers. Ten satirical prints by five different authors were chosen for the analysis.

Inspired by Voltaire's stay in England, this is one of the key works of the Enlightenment. Exactly contemporary with Gulliver's Travels and The Beggar's Opera, Voltaire's controversial pronouncements on politics, philosophy, religion, and literature have placed the Letters among the great Augustan satires. Voltaire wrote most of the book in English, in which he was fluent and witty, and it fast became a bestseller in Britain. He re-wrote it in French as the Lettres philosophiques, and current editions in (...) class='Hi'>English translate his French. This edition restores for the modern reader Voltaire's own English text, allowing us to appreciate him as a stylist at first hand. It is the only critical edition of the original text and, as well as providing an introduction and notes, it includes intriguing accounts of Voltaire by contemporary English observers. (shrink)

What is the meaning of numerosa? From the fifteenth-century commentaries of Valla and Mancinelli to the most recent translation of Juvenal into English, by Peter Green, interpreters are in nearly unanimous agreement that numerosa describes a particular annoyance of the rhetor's unrewarding life, namely, the large size of his classes. A few commentaries, however, touch upon another interpretation, although without defending it. Pearson and Strong, after translating numerosa as ‘overgrown’, continue: numerosa might mean “in rhythmical cadence”, referring to the (...) sing-song implied in cantabit. H. P. Wright too sees a possibility that the adjective might describe a musical or sing-song style of declaiming. A brief examination of Juvenal's purpose here and a consideration of some passages from other writers will show that ‘sing-song’ is certainly the primary meaning intended here and probably the only one. (shrink)

Dickens’ famous satire of complacency and chauvinism entails a peculiarly English fiction about the innocence of girls. The “Podsnappery” chapter of Our Mutual Friend is in fact devoted to a dinner party in honor of Georgiana Podsnap’s eighteenth birthday, though “it was somehow understood…that nothing must be said about the day”1—the generation of Miss Podsnap being one of those disagreeable facts that Mr. Podsnap simply refuses to admit. But if Miss Podsnap’s birth is unmentionable, her existence is crucial: Podsnappery (...) very much depends upon the presence of a daughter. What Mr. Podsnap cannot dismiss as “Not English!”—starving Englishmen, for instance—can always be removed as subjects unsuited to the female young. The “cheek of the young person” becomes the test of knowledge over a wide field.1. Charles Dickens, Our Mutual Friend, ed. Stephen Gill , bk. 1, chap. 11, pp. 181-82; all further references to this work will be included parenthetically in the text with only book and chapter numbers for the convenience of those using other editions. (shrink)

In his Philosophical Letters, Voltaire provides a pungent and often satirical assessment of the religion, politics, science, and arts of the England he observed during his nearly three-year exile. In addition to the Letters, this edition provides a translation of Voltaire's Proposal for a Letter about the English, a general Introduction, chronology, notes, and bibliography.

Satire was core to the work of Thomas Hobbes although his critics also used it as a weapon to ridicule him. Condren uses Hobbes as an example to demonstrate that an examination of the persona is needed to advance our understanding of a writer's philosophy.

This essay examines the depiction of French ragout in eighteenth-century English literature, arguing that the dish reflects social apprehension regarding ideological, cultural, and military conflicts between England and France. This essay first traces a brief history of ragout, along with an overview of the dish’s cultural connotation and complexity, in eighteenth-century English society. It next delves into the concept of eighteenth-century English Francophobia, demonstrating that this sentiment was a mixture of national pride and anxiety amid England’s identity (...) crisis under the potential French cultural threat. Finally, the essay examines ragout in eighteenth-century English literature and identifies the dish as the target of French pretension and cultural invasion. This research highlights the fact that eighteenth-century English authors’ satirical portrait of ragout underscored xenophobic gastronomy and cautioned against a simple interpretation of the dish. The caricature and representation of ragout as a feminized, artificial, and laughable dish reinforces eighteenth-century English writers’ concern for the invasion of foreign culture by emphasizing the contrast between authentic ‛Anglo’ meat consumption and ‛Franco’ sophistication. (shrink)

Tudor historians of Henry VIII's reign strove both to define the great political theological controversies of the day and to shape the future understanding of past events. This essay considers how Roman Catholic accounts of the life and martyrdom of Sir Thomas More, including those by Nicholas Harpsfield and Thomas Stapleton, shaped subsequent Protestant works of fiction, written during the 1590s. The essay explores, in particular, the collaborative play, Sir Thomas More, by Anthony Munday and revised by Shakespeare and others; (...) and Sir John Harington's references to More and Bishop John Fisher in the preface to his translation of Orlando Furioso and his extensive anecdotal remarks about More's scatological witticisms in his satirical tract, The Metamorphosis of Ajax. Such fictional works presage both the hesitant trend towards ecumenism and the imagined reunion of Christendom of the subsequent Jacobean reign, and the later emergence of the transnational secular public sphere, which transpired during the late seventeenth and eighteenth centuries. (shrink)

This book examines the role of scepticism in initiating the idea of the sublime in early modern British literature. James Noggle draws on philosophy, intellectual history, and critical theory to illuminate the aesthetic ideology of Pope, Swift, Dryden, and Rochester among other important writers of the period. The Skeptical Sublime compares the view of sublimity presented by these authors with that of the dominant, liberal tradition of eighteenth-century criticism to offer a new understanding of how these writers helped construct proto-aesthetic (...) categories that stabilized British culture after years of civil war and revolution, while at the same time their scepticism allowed them to express ambivalence about the emerging social order. (shrink)

Satire on politics, literature and art. James Joyce, Lenin, and Dadaist, Tristan Tzara come together in the memories of an obscure English diplomat (Henry Wilfred Carr) in Zurich.

The study deals with one of the most important episodes of the history of the twentieth century - the beginning of the Cold War. The focus is on the peculiarities of the formation of the image of the external enemy for the USSR on the pages of periodical media, namely, the political cartoon magazine "Perets". It is revealed that the main ideological adversaries of the Soviet apparatus of propaganda were the United States and Great Britain, the countries that formed the (...) basis of the anti-Hitler coalition. Due to the analysis of materials of the publication - political cartoons, short stories, satirical poems - the characteristic features of the image of these two states are revealed. It is proved that the images of the opposing countries were filed by the magazine "Perets'" in the form of three categories. The first block is the image of the American and English leaders, which began to appear massively in the journal in connection with the Fulton speech of Churchill and the implementation of the "Marshall Plan". The emphasis is placed on political cartoonists' tendency to compare the leaders of the United States and Great Britain with the leaders of Nazi Germany. The second unit features personalized images of the United States and the Britain. A characteristic feature of this group is the demonstration of the domination of American symbols over the British, which was to show the Soviet reader an American-dependent position of the United Kingdom and other Western European countries. The last block of images combines works that demonstrate the relations between "capitalist" countries. In order to create the desired effect on the reader, the Soviet propaganda machine emphasized the emergence of territorial or economic disputes between the United States and Britain, presenting this as a stage of aggravation of relations between "imperialist countries." All of these features in the images of external enemies were aimed at elevating patriotic sentiment among the Soviet society and confidence in the actions of the ruling Communist Party. (shrink)

This is the first in-depth study of a female audience that shows how and why women went to the theater in Restoration England. Robert challenges the assumption that a "ladies' faction" played an important part in encouraging the playhouses to present a more moral, less bawdy or "satirical" style of comedy, thus changing the course of English drama. He shows that there is no evidence of this faction, and that "sentimental" comedies really did cater to the interest of their (...) female audience by incorporating the fashionable concern for women's rights. Drawing on many sources, including the life of Elizabeth Pepys, the book investigates just who these "ladies" were, what determined their theater-going, how often they went, what they liked and did in the theater, and the role of patronage at the court of three Restoration queens. (shrink)

This book contains English translations of nearly all Frege's published writings other than Begriffsschrift, Grundlagen, and Grundgesetze. The works translated are selected from Kleine Schriften. About thirty percent of Collected Papers has never appeared in English before. This includes Frege's Göttingen dissertation, "On a Geometrical Representation of Imaginary Forms in the Plane", and his Jena Habilitationsschrift, "Methods of Calculation based on an Extension of the Concept of Quantity". Also translated for the first time are six brief reviews of (...) mathematical works, a reply to Cantor's review of Grundlagen, two short mathematical lectures: "Lecture on a Way of Conceiving the Shape of a Triangle as a Complex Quantity" and "Lecture on the Geometry of Pairs of Points in the Plane", and a satire, "On Mr. H. Schubert's Numbers". Everything else in Collected Papers has appeared in English before in various journals and books. Frege's only published works not translated here are three explanations of Begriffsschrift and a short lecture, "Ueber den Briefwechsel Leibnizens und Huygens mit Papin", which apparently has not been translated into English. Thus, with the exception of the complete Grundgesetze, the publication of this book, together with The Foundations of Arithmetic, Conceptual Notation, Philosophical and Mathematical Correspondence, and Posthumous Writings, makes almost all Frege's known surviving work, both published and unpublished, available in English. (shrink)

Robert Burton's The Anatomy of Melancholy is one of the last great works of English prose to have remained unedited. The present volume inaugurates an authoritative edition of the work, which is being prepared by scholars on both sides of the Atlantic. It will be followed by two further volumes of text with textual apparatus, and two volumes of commentary. Burton concentrated a lifetime of inquiry into the Anatomy, describing and analysing melancholy and its causes - devoting especial attention (...) to love and religion - and recording possible cures. Primarily a scholarly study of morbid psychology, it is also a compendium of curious facts and anecdotes, and combines seriousness of purpose with a marked satirical vein. First published in 1621, it was a great success: four more editions were published in Burton's lifetime, in each of which new material was added, and a sixth, containing his final revisions, was published in in 1651, eleven years after his death. The textual complexity and Burton's extraordinary range of reference have hitherto deterred editors: this is the first scholarly edition to appear. The text is based on a complete collation of all six authoritative editions. (shrink)

The relationships between socioeconomic and biogenetic reproduction are always socially constructed but not always acknowledged. These relationships are examined as they apply to an instance of infertility and assisted reproduction presented in a seventeenth-century English play, Thomas Middleton’s 1613 comedy, A Chaste Maid in Cheapside. Middleton’s satirization of the effects of secrecy on the category of reproductive disability is analyzed and its applicability to our own time considered. The discussion is in four parts, focusing on: the attribution of disabled (...) status to one member of the couple, the wife; the use of this attribution to protect the husband’s reputation for sexual and reproductive health; the concealment of the nature of assisted reproduction; and the interests of the child conceived with such assistance. (shrink)

It seems that a Greek romance named Chaereas and Callirhoe—if it was in fact written about A.D. 50—might be the oldest extant romantic novel.1 Chaucer's Troilus, Chretien's Erec, Apuleius' Metamorphoses, and for all l know Homer's Odyssey have already blushed under this dubious accolade; and I do not mean to celebrate an old Greek book by thrusting an English genre-label upon it. But nothing quite like Callirhoe survives from an earlier period of western literature; and following our inclination to (...) comprehend such a phenomenon by fitting it into familiar categories we would call it a Greek romance because it is written in Greek, a novel because it is an extensive prose fiction of ordinary moral life that conforms to a recognizable canon of realism, and a romance because its admirable protagonists suffer the most serious threats to their lives and values but survive them all. Its author, a certain Chariton of Aphrodisia, a small city in the province of Caria in Asia Minor, places his book about Callirhoe in the Hellenistic genre of the erotikon pathematon—a story of erotic suffering. This is an accurate label and perhaps a bold one, as erotic pathemata were thought to be more suitable for epic or elegiac verse than for prose. In any case, I am not here concerned to argue that Callirhoe is the precursor of such entities as the novel, nor to speculate about its cultural origins, nor to point out its obvious likenesses to later narratives. I do want to discuss the habits of narrative art Chariton exploits in his book, and to explore a few of the ways he makes erotic suffering pleasurable for his readers—us, and the leisured, literate members of the bourgeois households that had for centuries flourished in the great Hellenic cities of the eastern Mediterranean basin. · 1. I accept the date accepted by Ben E. Perry, The Ancient Romances , p. 350. The standard edition is W.E. Blake's , whose translation I use throughout. Chariton's work did not see print until 1750, so it did not enjoy the vogue enjoyed by other Greek romances in the Renaissance. Arthur Heiserman is the author of several articles, short stories, and Skelton and Satire. 'Aphrodisian Chastity" will appear as a chapter in his forthcoming book, Romance in Antiquity: Essays and Discussions about the Beginnings of Prose Fiction in the West. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Ossian and the Invention of Textual HistoryKristine Louise HaugenIt is now controversial to call James Macpherson a forger or the poems of Ossian a hoax. 1 Encouraged by Derick Thomson’s 1952 demonstration that Macpherson’s Ossian indeed echoes authentic Gaelic verse, 2 a group of critics has undertaken to “rehabilitate” Macpherson, not least through a new critical edition of Ossian’s poems and related texts. 3 The edition makes it easier (...) than before to encounter Ossian directly:Morna, thou fairest of women, daughter of Cormac-Carbre? [sic] why in the circle of stones, in the cave of the rock, alone? The stream murmureth hoarsely. The blast groaneth in the aged tree. The lake is troubled before thee.... But thou art like snow on the heath. Thy hair like a thin cloud of gold on the top of Cromleach.... Thy arms, as two white pillars in the hall of Fingal. 4The authentic source of this passage seems to be the eighteenth-century commonplace that the savage and uneducated delight in figurative language, especially similes and metaphors—a commonplace enunciated often in the writings [End Page 309] of Hugh Blair, a literary critic deeply interested in Macpherson’s Ossianic productions. 5 As Harold Weinbrot and others suggest, the Ossian poems were celebrated largely because they confirmed readers’ most picturesque preconceptions about the “infancy of mankind.” 6There was room for disagreement. Many influential litterati were convinced of the poems’ antiquity, among them Goethe, Herder, Cesarotti, and a host of Scottish intellectuals. 7 But there were also detractors, mainly English—for example, Dr. Johnson and Edward Gibbon—although David Hume soon joined the skeptics, and the Scotsman Malcolm Laing issued the most crushing attack in the exchange several decades after Ossian’s first appearance in 1760. 8 The Ossian poems served a potent mixture of scholarly and political concerns, of which some were new but some were venerable. With a subtle but important shift in balance, the same mixture underlay the willingness of the most prominent eighteenth-century critics to discredit problematic texts and textual myths, even at the cost of an apparent reduction in historical knowledge. 9 For all parties Macpherson’s Ossian invited not only aesthetic delectation, but sustained thought about the relationship between early poetry and history and the value of early texts for reconstructing the past. [End Page 310]The question of British origins had preoccupied seventeenth-century antiquaries for a number of reasons, including Polydore Vergil’s unflattering Anglica Historia (first published 1546). 10 In the campaign to establish respectable national roots the Celtic druids had quickly become a kind of favorite example; they were presented early and often as heroes of British culture. The druids and their associates the bards had been described in their French setting by classical authors; William Camden, John Selden, and others transferred them easily to Celtic Britain. It was then straightforward to suggest further that the British Celts were the first discoverers of writing and philosophy, or at least discoverers concurrent with the ancient Hebrews, or both, this theory having been elaborated for the French Celts through Annius of Viterbo’s historical forgeries of 1498 and Annius’s French partisans. 11In fact this theory placed England at a disadvantage as Scotland, Ireland, and Wales had the more convincing joint claim to Celtic ancestry. Individual claims for Scotland and Ireland were frequently heard as well. The text most relevant to Ossian was the deist John Toland’s 1726 history of the druids, in which Toland both satirized the eighteenth-century clergy and argued that the ancient Celts of France and Scotland were colonists from Ireland—the original home of druidism, learning, and Toland. 12 In Toland’s version the theory made much of certain unpublished Irish manuscripts, supposedly dating from Cicero’s day and written in the “native” Irish alphabet. St. Patrick had burned hundreds of druidical religious books when he arrived in Ireland—proof that the Celts had a written language—but the bardic histories, couched in rugged verse, had escaped the evangelist’s flames. 13 Clearly, any respectable reply would need to draw on ancient manuscripts too.Even for readers unfamiliar with Toland, Macpherson’s texts... (shrink)

This authoritative edition was originally published in the acclaimed Oxford Authors series under the general editorship of Frank Kermode. It brings together a unique selection from the full range of Swift's fifty-year career - prose, poetry, and letters - to give the essence of his work and thinking. Jonathan Swift is best known as the author of Gulliver's Travels, which alone would have secured his place in the history of English literature. But in addition to this classic fictional satire, (...) Swift wrote numerous works concerning politics, religion, and Ireland, some savage, others humorous, and all suffused with his tremendous wit, inventiveness, and vigour. This anthology includes satirical works such as A Tale of a Tub and The Battle of the Books, political pamphlets, pieces for the popular press, poems, and a generous selection from Swift's correspondence. Presented chronologically, the anthology offers a new and clearer awareness of the unity as well as the complexity of Swift's vision, and the powerful bonds between disparate pieces. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more. (shrink)

I admire Robert Denham's enlightening and often very amusing response to my "Coherent Readers, Incoherent Texts" Critical Inquiry 3 [Summer 1977]:781-802). Not surprisingly, however, I remain unconvinced by its arguments, large or small. This may sound defensive, partly because it is, but I do wonder if his use of pluralistic sound sense is quite so fresh or so formidable as he takes it to be. . . . I think Denham understands quite accurately my use of "genre" as representing a (...) traditional structure for organizing plot, character, images, tones, and the like. I think it is true, also, that I use the word to refer both to narrative pattern and to what he calls "intention," that I use both Frye and Sacks as examples of convincing distinctions among ordering patterns. Of course Denham is right in saying that these systems are not necessarily coordinate, that they cover species and subspecies alike, and that the generic patterns are not of the same order. One might have a represented action that is comic, tragic, or even "serious." I wonder if all this really makes my argument "sometimes difficult to follow" . I had thought that I was signaling clearly the switch from Frye to Sacks, that neither was using "genre" in an unfamiliar or restrictive sense, and that both presented useful systems that were comprehensive and thus adaptable—as time has surely shown—for the labeling and pigeonholing needs of those seeking coherence at all costs. Since Frye sees narrative patterns as "pre-generic," it would not be difficult to work out coordination simply by saying that Sacks' three general categories of fiction could each exist in any of Frye's twenty-four phases. But things are not that simple, and more important, such devices would surely distract a reader I wanted to be in search of other game. Most of us switch freely from system to system, understanding "genre" to refer to a class that includes epic-drama-lyric-novel, a class that includes comedy-tragedy-romance-irony, a class that includes apologue-satire-represented action. As I see it, the only danger lies in mixing incompatible systems. James R. Kincaid is professor of English at the University of Colorado at Boulder. His works include Dickens and the Rhetoric of Laughter, Tennyson's Major Poems: The Comic and Ironic Patterns, and The Novels of Anthony Trollope. His contributions to Critical Inquiry are "Coherent Readers, Incoherent Text" , and "Fiction and the Shape of Belief: Fifteen Years Later". (shrink)

This essay reconsiders the haphazard arrangement of Donne's first printed collection of poems in relation to an elegy written for Donne by one Thomas Browne, published for the first and only time in that same volume. The earliest recorded response we have to Donne's verse considered as a complete body of work, Browne's elegy thematizes the readerly tendency to interpret this textual body in the light of "subjective" notions of "proper" desire. Through a close reading of Browne's poem, in which (...) I contextualize his key image of the bad reader as a "circumciser" within the theological and medical discourses of the period, I argue that Browne's response to Donne's text is at once instructively prescient -- providing a useful allegory of reading for the contemporary critic -- and also helpful in situating Donne at the cusp of a historical transformation between "medieval" and "early modern" conceptions of the sexual and the spiritual.IThe structural organization of John Donne's first printed book of poetry makes no obvious sense. Published posthumously in 1633, the collection eschews even the basic generic distinctions so familiar to Donne's modern audience: "Songs and Sonnets," "Satires," "Verse Letters," and "Divine Poems" . Several readers over the years have commented upon the disorderly configuration of Donne's 1633 text; and most recently, Leah Marcus has provided a detailed analysis of the collection in Unediting The Renaissance, itself an ambitious attempt to combine the traditional skills of textual bibliography with the insights of poststructuralist theory. Among other things, Marcus asserts that the very layout and internal composition of Donne's first collection constitute graphic evidence for the ultimate impossibility of "fixing" him within any reductively binary scheme. Indeed, for Marcus, the version of Donne projected by the 1633 Poems confirms not only her deconstructivist principles but also her aesthetic taste more generally. In her words, the collection is a striking melange of sacred and secular that refuses to separate John Donne from Jack. Verse epistles . . . jostle up against scurrilous amatory verses and evocations of human decay in a rough gallimaufry of mingled passions that projects a John Donne very like the Donne most of us value, a Donne for whom the sacred and secular are so closely entwined as to be inseparable.This reading would probably not be considered controversial in most quarters, and I too am in agreement with the main points of Marcus's argument, insofar as they go. However, I want to pause for a moment over one of the more undeveloped aspects of Marcus's interpretation, encoded in her use of the phrase "most of us." As the context makes clear, by "most of us" Marcus means a rather small band of nonreligious or liberal, professionalized, twentieth-century readers. Of course, Marcus is perfectly justified in assuming that her audience will be drawn from exactly this narrow demographic , but at the same time it must also be admitted that "most of us" therefore only refers to the tiniest portion of Donne's actual historical readership. Given that Marcus is performing an analysis of Donne's 1633 Poems, then, one obvious question emerges from her account: How might readers in 1633 have responded to the collection's juxtaposition of the religious with the secular? What might its disorganization have signified for them?One possible answer to this question has been suggested by Arthur F. Marotti, perhaps the most influential of Donne's textualist critics. In Manuscript, Print, and the English Renaissance Lyric, Marotti suggests, against Marcus, that Donne's first editors deliberately delay the readerly encounter with Donne's more earthly lyrics by burying them toward the back of the book. In other words, according to Marotti, the appearance of random disorganization that Marcus values is actually an intentional blind -- the result of a conscious attempt to "protect the reputation of Dean Donne from moral taint."However, this ingenious theory is not without flaws. For example, we are required to accept Marotti's contention. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:“Warn Me If I Approach the Melody” HELAINE L. SMITH In the 1950s on Saturday night TV, Sid Caesar performed comic sketches for a full hour. In one sketch Carl Reiner played Edward R. Murrow interviewing Caesar as the jazz musician Progress Hornsby. At a certain point Murrow asks Hornsby, “To what do you attribute your band’s great success?” and Hornsby answers, “Well, we have special equipment that warns (...) us if we get anywhere near the melody.” And so it must be with Nancy Worman and all those classicists who approach classics and literature as she does—special equipment to warn them whenever they get anywhere near a responsible reading of the text.* Her argument, cast in sentences whose words, like the amphisbaena, turn back on themselves or are unrecognizable as spoken or written English, boils down to (1) Greek men were colonialists and imperialists; (2) Greek tragedy celebrated men of this sort; (3) there arose, quite to the surprise and possibly to the consternation of its authors, women in their plays who were strong and violent rebels against the oppressive social order; (4) Virginia Woolf, whose feminism is not quite as pure as we’d like it, is not so bad after all because, if you look closely, pulling out the odd word here and there, decontextualizing it, inserting its decontextualized meaning elsewhere and mistranslating any Greek phrase that stands in your way, you discover—voila!—that she held views of Greece and Greek tragedy identical to those of radical feminism and shaped her novels, stories, and essays to reflect that view. Worman’s feminist audience, as familiar as it must be with feminist reception theory, would appear, from the unusual number of play summaries, elementary descriptions of the arion 28.1 spring/summer 2020 *Nancy Worman, Virginia Woolf’s Greek Tragedy. London and New York: Bloomsbury Academic, 2019. xii + 152 pages. $102.00. 150 “warn me if i approach the melody” origin and structure of Greek drama, and serious mistranslations in her book, to be unfamiliar with ancient drama, with basic Greek, and perhaps with Virginia Woolf as well. Her book has from such scholars received copious praise. But for those who begin less thematically burdened and who, as a colleague of mine liked to say, “worship at the altar of the text,” Worman’s methods turn scholarly inquiry on its head, not because of what they conclude, but because her conclusions are reached the same way the Queen of Hearts insisted trials be conducted: verdict first, evidence afterwards. Nor does Worman’s text have any discernible structure. Material within chapters bears fleeting connection to chapter titles and subheads. Points appear, vanish, and reappear, like the Cheshire cat, suggesting prior academic papers, here combined. This overall disorganization weakens the book, as does the non-linear quality of individual points. The organization of this review, therefore, is not thematic but chronological : it addresses those works of Woolf’s to which Worman gives attention, and presents them by date of publication. A Room of One’s Own appears nowhere in Worman’s text, and To the Lighthouse receives only minimal attention. Medea is nowhere mentioned in the favored categories of proto-feminist and fierce woman. While The Trojan Women and The Birds would both have served Worman well in arguing that Greek theatre reflected Athenian imperialism, they too make no appearance in her text. Instead, she casts Sophocles’ Electra and Antigone as fierce women and their plays, together with the Agamemnon, as emblematic of Athenian aggression and patriarchy. And so, in the forced nature of Worman’s translations and in the reductiveness of her assessment of Woolf, we see the consequences of a determination to bend texts to serve popular theories. “a dialogue upon mount pentelicus” (1906) woolf’s views of Greece reveal the complexity of great writing. Woolf frequently satirizes classicists who take their Helaine L. Smith 151 learning to be a sign of natural excellence, those for whom knowledge of Greek is simply a marker of position and rank. But for those who love such things for their own sake, or come to love them, as the tourists eventually do in “A Dialogue upon Mount Pentelicus,” she... (shrink)

The notions of enthusiasm and fanaticism, besides the fact that they were associated with the concrete phenomenon of religious zeal at the time of the Reformation, were also, throughout the 17th and 18th centuries, the object of a literature that built a specific image of the so-called enthusiasts, be they the English Puritans, the Huguenot prophets or the Jansenist convulsionaries. By constructing this image, literature – philosophical, medical or satirical – produced at the same time the specular image of (...) itself, sometimes as pure alterity in relation to the fanatic, sometimes relativizing this opposition. Our journey starts from some of these formulations in England at the beginning of the 17th century, and then pays attention carefully to the elaborations of Swift and Diderot about fanaticism and enthusiasm, from the beginning to the middle of the 18th century, showing that philosophy itself, often understood as the opposite of fanaticism or madness, can also become its other when it gives in to enthusiasm. (shrink)

Volume 1 of the Writings and Speeches of Edmund Burke presents Burke's early literary writings up to 1765, and before he became a key political figure. It is the first fully annotated and critical edition, with comprehensive notes and an authoritative introduction. The writings published here introduce readers to Burke's early attempts at a public voice. They demonstrate in a variety of ways how determined he was to become involved in the social and intellectual life of his times. The one (...) work of Burke's early life which has long been recognized as having prime critical significance, the Sublime and the Beautiful, is naturally found here. In addition the volume includes the first fully edited version of other works which have been neglected, notably the Vindication of Natural Society, a substantial satire on current philosophical and religious thought, the Abridgement of English History and the Hints for an Essay on the Drama. The volume also prints reliable texts of his early poems and prose `characters' as well as the first complete text of The Reformer since it was first published in 1748. This was a weekly paper devoted principally to the Dublin cultural scene and was edited by Burke shortly after he graduated from Trinity College, Dublin. (shrink)

This section contains four original articles addressing the matters of interaction, coexistence and representation of the human senses in various historical and cultural contexts. The multisensory experience of the world in relations to the past, the present and the future constitutes the main theme of the selected articles. The authors analyze how, in various cultural texts and historical moments, human experience was depicted through the prism of sensory perception, sometimes combined with sensory memory and the powerfulness/powerlessness of the (non)human corporeality. (...) The authors analyze a variety of historical and cultural sources to answer the question of the impact of multisensory experience on our view of the world: in the past, the present and the future. Nina C. Rastinger in her article “Capturing Extraordinary Multisensory Experiences in Writing: Reports on Natural Disasters in an 18th Century Newspaper Corpus” deals with written representations of natural disasters, which constitute extraordinary multisensory experiences, in historical newspaper texts. Natalia Giza in her study “Multisensuality in the Satirical Prints of the Georgian Era in England” shows how sensory perception enhanced visual humor in the satirical prints of Georgian England, examining how English caricaturists used various sensory elements such as sight, sound, smell, taste, and touch. Jules Sebastian Skutta in his paper “Tactile Vision and Othering: Ethnographic Engagements and Racial Differentiations in 19th Century Travelogues” demonstrates on the basis of ethnographic travelogues from German East Africa and from the time of German colonial rule that the transmission, emergence, and dissemination of features of racial differentiation are based on the interplay of different sensory perceptions. Finally, Bartosz Mroczkowski, in the article entitled “Designing the Future Through Touch” focuses on the sense of touch in the process of designing the future. The aforementioned articles illustrate that multisensuality is a multidimensional concept that requires a thorough analysis from different academic perspectives and with the use of various methodological approaches. (shrink)

Why, then, do we huddle in the dark around the campfires of our flickering narratives? There are obviously many different reasons for doing so. Yet, having heard various récits—whether "stories" or "accounts"—during the narrative conference, I am more inclined than ever to see self-assertive entertainment and self-transcending commitment as two kinds of ultimate motivation for our countless narratives. Stories and histories and other narrative or descriptive accounts help us to escape boredom and indifference—ours as well as that of other people. (...) Those nearly vacant states of mind at the zero degree of entertainment and commitment bring us frightfully close to the experience of nonexistence. Hence our desire to replace boredom by thrilling or gratifying entertainment and to replace indifference by the social or cosmic commitment either to change the world or to change ourselves. In a world of unmixed colors and pure literary genres, tragedy, comedy, satire, and romance might answer distinct needs for thrill, gratification, indignation, and admiration. But, as Roy Schafer and Victor Turner have reminded us, the private and social dramas underlying psychoanalytical and anthropological accounts are even less pure than most works of literature. Couldn't we conclude that life's internal and external dramas stem from a compound desire for self-assertion and self-transcendence—a desire which, in the realm of literary entertainment and commitment, motivates the emergence and appreciation of tragicomedy? Paul Hernadi teaches English and comparative literature at the University of Iowa. He is the author of Beyond Genre: New Directions in Literary Classification and the editor of What is Literature? and What is Criticism? His previous contribution to Critical Inquiry, "Literary Theory: A Compass for Critics," appeared in the Winter 1976 issue. (shrink)

This chapter presents the text of a lecture on Alexander Pope's literary satire Dunciad given at the British Academy's 2010 Warton Lecture on English Poetry. This text discusses the difficulty of Samuel Johnson in interpreting Pope's couplet in the Dunciad which depicts the Sea of Azov and the river that flows into it. It suggests that analysing the process through which Pope shaped this couplet can help provide a better understanding of the wider significance of the couplet's structure and (...) Pope's work more generally. (shrink)

A comprehensive anthology of Kierkegaard’s writings that offers an unmatched introduction to one of the most original and influential modern philosophers This is the most comprehensive anthology of Søren Kierkegaard’s works ever published in English. Drawn from the volumes of Princeton’s authoritative Kierkegaard’s Writings series by editors Howard and Edna Hong, these carefully chosen selections represent every major aspect of Kierkegaard’s extraordinary output, which changed the course of modern intellectual history with its mix of philosophy, psychology, theology, and literary (...) criticism. The anthology reveals the most important themes of his work, especially what it means to exist and to be human, and captures the unique character of his writings, with their shifting pseudonyms, complex dialogues, and powerful combination of irony, satire, sermon, polemic, humor, and fiction. A superb introduction and guide to the Danish philosopher, The Essential Kierkegaard vividly demonstrates why his work continues to speak so directly to so many readers. Traces the full span of Kierkegaard’s writings, from his early journals to his final work Features generous selections from all of Kierkegaard’s most important works, including Either/Or, Fear and Trembling, Works of Love, and The Sickness unto Death Presents selections from lesser-known writings, including Three Discourses on Imagined Occasions and The Lily of the Field and the Bird of the Air Includes an introduction to Kierkegaard’s writings and explanatory notes for each selection. (shrink)

A small, insignificant-looking intellectual with absurdly long legs, Søren Kierkegaard (1813-1855) was a veritable Hans Christian Andersen caricature of a man. A strange combination of witty cosmopolite and melancholy introvert, he spent years writing under a series of fantastical pseudonyms, lavishing all the splendor of his magnificent mind on a seldom-appreciative world. He had a tragic love affair with a young girl, was dominated by an unforgettable Old Testament father, fought a sensational literary duel with a popular satiric magazine, and (...) died in the midst of a violent quarrel with the state church for which he had once studied theology. Yet this iconoclast produced a number of brilliant books that have profoundly influenced modern thought. In this classic biography, the celebrated Kierkegaard translator Walter Lowrie presents a charming and warmly appreciative introduction to the life and work of the great Danish writer. Lowrie tells the story of Kierkegaard's emotionally turbulent life with a keen sense of drama and an acute understanding of how his life shaped his thought. The result is a wonderfully informative and entertaining portrait of one of the most important thinkers of the past two centuries. This edition also includes Lowrie's wry essay "How Kierkegaard Got into English," which tells the improbable story of how Lowrie became one of Kierkegaard's principal English translators despite not learning Danish until he was in his 60s, as well as a new introduction by Kierkegaard scholar Alastair Hannay. (shrink)

This volume provides an innovative approach to the referential process thanks to its focus on the relationship between conventions and discourse pragmatics. It brings together a cross-section of current research on referential conventions and pragmatic strategies, in a number of different fields (formal and theoretical linguistics, semantics, discourse analysis, psycholinguistics, interactional linguistics, natural language processing), in a variety of verbal and non-verbal languages (English, German, different varieties of French, Indonesian, Belgian sign language) and in a diversity of contexts (the (...) coining of names, language acquisition, second language learning, and various genres such as news articles, narratives, satire or game playing). The volume is meant as a series of thought-provoking studies which place speakers and addressees at the core of the referential act, thus providing evidence on how they negotiate and adjust, depending on the context. (shrink)

This is the most comprehensive anthology of Søren Kierkegaard's works ever assembled in English. Drawn from the volumes of Princeton's authoritative Kierkegaard's Writings series by editors Howard and Edna Hong, the selections represent every major aspect of Kierkegaard's extraordinary career. They reveal the powerful mix of philosophy, psychology, theology, and literary criticism that made Kierkegaard one of the most compelling writers of the nineteenth century and a shaping force in the twentieth. With an introduction to Kierkegaard's writings as a (...) whole and explanatory notes for each selection, this is the essential one-volume guide to a thinker who changed the course of modern intellectual history. The anthology begins with Kierkegaard's early journal entries and traces the development of his work chronologically to the final The Changelessness of God . The book presents generous selections from all of Kierkegaard's landmark works, including Either/Or, Fear and Trembling, Works of Love , and The Sickness unto Death , and draws new attention to a host of such lesser-known writings as Three Discourses on Imagined Occasions and The Lily of the Field and the Bird of the Air . The selections are carefully chosen to reflect the unique character of Kierkegaard's work, with its shifting pseudonyms, its complex dialogues, and its potent combination of irony, satire, sermon, polemic, humor, and fiction. We see the esthetic, ethical, and ethical-religious ways of life initially presented as dialogue in two parallel series of pseudonymous and signed works and later in the "second authorship" as direct address. And we see the themes that bind the whole together, in particular Kierkegaard's overarching concern with, in his own words, "What it means to exist . . . what it means to be a human being." Together, the selections provide the best available introduction to Kierkegaard's writings and show more completely than any other book why his work, in all its creativity, variety, and power, continues to speak so directly today to so many readers around the world. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:"MURTHER, BY A SPECIOUS NAME": ABSALOMAND ACHITOPHEVS POETICS OF SACRIFICIAL SURROGACY Gary Ernst Roger's State University d;,uring the late 1670's and early '80s, English political satirists 'participated in the endeavors of the rival factions, Dissenter or Whig and Royalist or Tory, to effect judicial violence. While juries condemned and the hangman executed Catholics as traitors during the Popish Plot persecution, John Oldham suggests in the "Prologue' to his (...) Satires upon the Jesuits that he writes to stoke the mass hatred fueling the slayings (2: 19-22). Such animosity powered this initial Dissenter effort to exclude Charles II's Catholic brother, James Stuart, Duke ofYork, from the throne, and left more than two hundred dead.' And Dryden's vituperative response to the striking of a medal to celebrate the grand jury's dismissal of high treason charges against Anthony Ashley Cooper, Earl of Shaftesbury, The Medall (pointedly subtitledA Satire againstSedition) seems to have a clear purpose of inciting Royalists to redouble their efforts to dispatch the opposition leadertothe gallows.2 Judicial slayings ofthis kind are perhaps not surprising in these years ofcrisis and fear. Dissenters like Oldham believed that English Catholics plotted to assassinate Charles, put James on the throne, martyr Protestants with the help of foreign Catholic armies, and destroy both the Protestantfaith and English culture itself; Royalists, on the other hand, saw as ever-looming Dissenter insurrection and another catastrophic civil war to take away their property, power, and perhaps the ' For studies ofthe Plot in this political context, see Miller 169-82; Jones 197-217; Greaves 5-32, and Kenyon's complete volume. 2 Harth studies The Medall as an example of Tory propaganda against the Whigs and supportive of Royal efforts to deliver the earl to the gallows (161-9). 62Gary Ernst life ofthe king.3 Duringthe bloodshed ushering in the two party system, the fatal goals ofsatirists seem quite realistic—and indeed may have been so. Thejudicial persecution ofCatholics consumed victims until the fervorthat Oldham labors to feed burnt out; and, in November 1682, eight months after The Medall found its first audience, Shaftesbury, accused by the crown of new treasons, went into hiding soon to flee England in mortal terror of successful Royalist prosecution. The greatest political satire of this turbulent period, Absalom and Achitophel, responds directly to the recent efforts of Charles's beloved, eldest natural son, the Protestant James Scott, Duke of Monmouth—now "Fir'd with near possession of a Crown " (684)—to displace York in the line of succession. The satire revolves around a depiction ofMonmouth's "War in Masquerade," his recenttour through the west ofEngland to gauge and gain support (682-725). Despite the factthatthe satire clearly posits the threat of national catastrophe, it hardly seems at first as intent upon the death ofthis target as either The Medall or Oldham's Satires seem oftheirs. But, to be sure, it is, although Dryden—committed firstly to York and secondly to king4—carefully conceals both his methods and his intentions against Charles's son. For the purpose ofleading his audience to imitate his attack and carry it from the printed page into the world of action and the courts, he conceives apoetics ofsacrifice that screens his hostilities toward Monmouth from the eyes ofthe very persons he undertakes to mobilized. By appropriating for his satire the cultural phenomenon defined by René Girard as the "scapegoat" or "sacrificial mechanism,"5 Dryden arouses and 3 According to Kenyon, in late 1678, the Commons' inflammatory speeches and addresses to the king gave the impression in the House of Lords that the members of the Commons "seemed intent on fighting the Civil Wars all over again" (129) 4 For a fuller discussion ofDryden's commitmentto York, see McFadden 91, 111 -202; Winn 243-75, and Erskine-Hill 22-5. Daly argues that Mac Flecknoe, written some three years before the beginning ofthe Exclusion Crisis of 1679-81, is an oblique but sustained attack upon Monmouth, a result ofthe laureate's concerns about the king's bestowals ofpower upon Monmouth and the possibility ofthe bastard's eventual succession (655-76). For another discussion that focuses upon Dryden's targeting ofMonmouth m Absalom and Achitophel... (shrink)

The many difficulties the book contains are not due to its translator; Miss Freeman's well-marshalled English seldom leaves us in search of the intended sense. They are due rather to the complex character of the author's mind and to the exigencies of the thesis he is defending. One encounters flights of imagination in which lyrical transports alternate or combine with bold dialectical constructions offered as sober interpretations, and multiple quotations from ancient thinkers and modern critics, confusingly blended with our (...) author's own comments. Signor Untersteiner displays an ability like that of the anatomist Cuvier, and can reassemble the entire structure of a lost sophistic writing from a single bone. He exhumes from the works of many other writers--Thucydides, Plato, Theophrastus, Demosthenes, Sextus Empiricus, Cicero--major conceptions, chapters, or whole treatises, mistakenly incorporated there by later editors, or borrowed without acknowledgment; these and sundry anonymous writings on relevant themes he confidently assigns to this or that beneficiary among the sophists. As the inevitable consequence of this process other thinkers, notably Socrates and Plato, are sadly diminished. Socrates becomes, indeed, almost a superfluity, in whose absence the history of Greek thought would have remained unimpaired. Plato's works serve as happy hunting-grounds for supposed incorporations of sophistic insights; for the rest, he is shown as stone-and-gravel blind to the merits of these rival thinkers. Now, some discounting of Plato's satirical portrayal of the sophists may be admitted as legitimate and necessary. Untersteiner, however, has so far exceeded his allowance here as to reach the counter-absurdity, of which his interpretation of Thrasymachus in the ne plus ultra: to a proper reading, we are told, Thrasymachus is far from being a cynical denier of the claims of moral obligation. On the contrary, he is a broken-hearted idealist, and in calling justice "the advantage of the stronger" he is offering not his own conception of justice but, out of his bitter disillusion, describing what men in their tragic folly have made of that noble virtue. (shrink)

This article considers a strange, understudied work of eighteenth-century musical theatre, Thomas D’Urfey’s Wonders in the Sun (1706). This highly intertextual, generically heterogeneous comic opera is a pastiche of literary and performative modes and ultimately a machine for generating wonder; it draws on elements from Aristophanes’ The Birds, seventeenth-century masque and semi-opera, as well as the lunar fictions. The article situates this play not only within a history of literary wonder and stage spectacle, but within the English tradition of (...) politicized animal fable. Discussing D’Urfey’s comic opera against selections from John Gay’s Fables, it argues that the utopian/dystopian animal in these imaginative satires reveals the period’s twinned fascinations with discovery and alterity, as well as emergent discomfiture with anthro- and Eurocentric Enlightenment beliefs. (shrink)

The reductive nature of Kincaid's undertaking comes into sharper focus when we compare his kind of critical inquiry with that, say, of [Sheldon] Sacks or [Ralph] Rader. Kincaid concludes where they begin. For Sacks, the identification of some type, such as satire, is what initiates the critical process. What then remains is to move beyond type, which exists at the highest level of generality, to form and finally to those detailed analyses which will account for the peculiar powers of unique (...) works. His types, as he says, are "only elementary distinctions," and he adds that "at some point in an adequate criticism of a single literary work, we will inevitably be discussing those variations which distinguish a particular literary work from all other literary works of its class, even if that class has been defined according to the most subtle and intricate combination of variables possible."1 Similarly for Rader, our intuitions about formal principles and intentions are but first steps in critical inquiry. "My theory, " he says, "attempts not to establish 'general laws' . . . but to render explicit the structural features of our tacit experiences of literature in a way that will allow us to bring all its implications to bear simultaneously upon our explanation of any particular literary work."2 Such procedures as these, which are designed to give us particular knowledge, are ruled out by Kincaid's program, the most specific formal principle of which is something quite general: the competition among narrative patterns. There is finally, then, very little knowledge to be shared, for our inquiries will always arrive at the same conclusion. Although readers, in his view, can intend one thing rather than another, writers cannot, and this assumption that agents are somehow set apart from the other members of the species means, I suspect, that Kincaid is right about one thing: his effort to mediate does indeed place him in a "no-man's land." · 1. Sheldon Sacks, Fiction and the Shape of Belief , pp. 25-26 n.· 2. Rader, "Explaining Our Literary Understanding," Critical Inquiry 1 : 905. Robert Denham, editor of Northrop Frye: An Enumerative Bibliography and the forthcoming Northrop Frye on Culture and Literature , is associate professor and chairman of the department of English at Emory and Henry College. In this essay Robert Denham replies to James R. Kincaid's "Coherent Readers, Incoherent Texts" Critical inquiry, Summer 1977. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Transgressing the Boundaries: An Afterword*Alan D. SokalAlas, the truth is out: my article, “Transgressing the Boundaries: Toward a Transformative Hermeneutics of Quantum Gravity,” which appeared in the spring/summer 1996 issue of the cultural-studies journal Social Text, is a parody. 1 Clearly I owe the editors and readers of Social Text, as well as the wider intellectual community, a non-parodic explanation of my motives and my true views. One of (...) my goals here is to make a small contribution toward a dialogue on the Left between humanists and natural scientists—“two cultures” which, contrary to some optimistic pronouncements (mostly by the former group), are probably farther apart in mentality than at any time in the past fifty years.Like the genre it is meant to satirize—myriad exemplars of which can be found in its reference list—my article is a mélange of truths, half-truths, quarter-truths, falsehoods, non sequiturs, and syntactically correct sentences that have no meaning whatsoever. (Sadly, there are only a handful of the latter: I tried hard to produce them, but I found that, save for rare bursts of inspiration, I just didn’t have the knack.) I also employed some other strategies that are well-established (albeit sometimes inadvertently) in the genre: appeals to authority in lieu of logic; speculative theories passed off as established science; strained and even absurd analogies; rhetoric that sounds good but whose meaning is [End Page 338] ambiguous; and confusion between the technical and everyday senses of English words (for example: linear, nonlinear, local, global, multidimensional, relative, frame of reference, field, anomaly, chaos, catastrophe, logic, irrational, imaginary, complex, real, equality, choice).I should emphasize that all works cited in my article are real, and all quotations are rigorously accurate; none are invented. Indeed, the most hilarious passages in my article were not written by me: they are direct quotes from the Masters.But why did I do it? I confess that I’m an unabashed Old Leftist who never quite understood how deconstruction was supposed to help the working class. And I’m a stodgy old scientist who believes, naively, that there exists an external world, that there exist objective truths about that world, and that my job is to discover some of them. (If science were merely a negotiation of social conventions about what is agreed to be “true,” why would I bother devoting a large fraction of my all-too-short life to it? I don’t aspire to be the Emily Post of quantum field theory.)But my main concern isn’t to defend science from the barbarian hordes of lit crit. Rather, my concern is explicitly political: to combat a currently fashionable postmodernist/poststructuralist/social-constructivist discourse—and more generally a penchant for subjectivism—which is, I believe, inimical to the values and future of the Left. 2 Alan Ryan said it well:It is, for instance, pretty suicidal for embattled minorities to embrace Michel Foucault, let alone Jacques Derrida. The minority view was always that power could be undermined by truth.... Once you read Foucault as saying that truth is simply an effect of power, you’ve had it.... But American departments of literature, history and sociology contain large numbers of self-described leftists who have confused radical doubts about objectivity with political radicalism, and are in a mess. 3Likewise, Eric Hobsbawm has decriedthe rise of “postmodernist” intellectual fashions in Western universities, particularly in departments of literature and anthropology, which imply that all “facts” claiming objective existence are simply intellectual constructions. In short, that there is no clear difference between fact and fiction. But there is, and for historians, even for the most militantly antipositivist ones among us, the ability to distinguish between the two is absolutely fundamental. 4 [End Page 339](Hobsbawm goes on to show how rigorous historical scholarship can refute the fictions propounded by reactionary nationalists in India, Israel, the Balkans and elsewhere.) And as the acerbic sociologist Stanislav Andreski noted long ago,So long as authority inspires awe, confusion and absurdity enhance conservative tendencies in society. Firstly, because clear and logical thinking leads to a cumulation of knowledge (of which the progress of... (shrink)

Charles Chaplin, like Charles Dickens, knew the deep allegiance between theme and visual symbol, and the greatest popular genius of our century, when he began a film called Modern Times with a nondescript clockface upon which the second hand inexorably spins, negotiated this alliance between satiric narrative and its props with the bold assurance of the nineteenth-century master. To have seen Modern Times again for the first time in nearly a decade, as I did recently, after in the interval having (...) reread, taught, and written about Dickens' Hard Times, was to see Chaplin's masterpiece virtually for the first time—and to wonder anew at the critics. I will shortly return to the symbolic devices by which the pervasive motif of modern time is propped and propelled in both Chaplin's film and Dickens' novel, but it is important to question first why the very thirst for overt social satire which draws a certain kind of reader to Hard Times, often one who has little converse with the other and greater Dickens novels, tends to go bafflingly unsatisfied where Modern Times is concerned. In the most recent book-length study of Chaplin, by noted film historian Roger Manvell, we hear that "Though highly entertaining, Modern Times had little social comment and no political party implications whatsoever."1 To grieve over this would be like dying of thirst in a rainstorm. Although Walter Kerr, in his far more searching treatment of Chaplin in The Silent Clowns, observes "at least two dazzling opportunities for the ironic social comment" in the opening factory sequence, on the whole he decides that "Chaplin's true theme lies elsewhere and is much more personal."2 Yes and no; more than any other artistic predecessor, Dickens can help us see the deeply-rooted grip of industrial satire on the apparent discrete, episodic comedy of Modern Times. · 1. Roger Manvell, Chaplin , p. 143.· 2. Walter Kerr, The Silent Clowns , p. 357. Garrett Stewart, associate professor of English at the University of California, Santa Barbara, is the author of Dickens and the Trials of Imagination, Film on Film, and a book on the symbolism of death in modern British fiction, Point of Departure: The Death Scene since Dickens, as well as essays on film. He has contributed "Coppola's Conrad: The Repetitions of Complicity" to Critical Inquiry. (shrink)

Clandestine philosophical manuscripts, made up of forbidden works including erotic texts, political pamphlets, satires of court life, forbidden religious texts, and books about the occult, had an avid readership in the seventeenth and eighteenth centuries, becoming objects of historical research by the twentieth century. The purveyors of the clandestine could be found in the Dutch Republic, Switzerland, Denmark, Spain, and not least in Paris or London. Despite the heavy risks, including prison, the circulation of these manuscripts was a prosperous venture. (...) After Ira Wade's pioneering contribution (1938), Clandestine Philosophy is the first work in English entirely focused on the philosophical clandestine manuscripts that preceded and accompanied the birth of the Enlightenment. Topics from philosophy, political and religious thought, and moral and sexual behaviour are addressed by contemporary authors working in both America and Europe. These manuscripts shed light on the birth of pornography and provide an important avenue for investigating philosophical, religious, political, and social critique. (shrink)

It is well established that discursive innovations in literature and philosophy encouraged pro-animal sentiments in 18th-century England. Far less well known in this regard is the "animal turn" in the graphic arts. This article seeks to redress this imbalance by documenting the extensive representation of animals in the paintings, drawings, and printed engravings of the English artist William Hogarth. It outlines the four chief ways in which Hogarth pictured animals-namely, as hybrids, as edibles, as "pets," and as signs of (...) satire. In so doing the article asks, how did Hogarth see animals? How should we see Hogarth’s animals? (shrink)

Samuel Butler is usually remembered for Erewhon, widely considered among the best English satires. He also contributed to philosophical biology in works that collectively compose the nineteenth century's finest statement of the evolutionary argument associated with the name of Lamarck. In writing on evolution, Butler was not presenting science for a popular audience but deliberately intervening in the scientific argument about Darwinism. Surprised by the success of his first venture in philosophical biology, Life and Habit, Butler committed himself to (...) the project of developing an alternative to Darwinism, which he did in three additional volumes, and these are the works canvassed in this “delayed book review.”. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:J. H. Hexter 1910–1996Donald R. KelleyJ. H. Hexter, one of the leading intellectual historians of this century and a close associate of this Journal, died on 8 December 1996. Jack Hexter was a great scholar, talented writer and polemicist, devoted baseball fan, and authentic American humorist, who made wit and facetiousness part of his historiographical tool-kit. He was also an American character, as he made insistently clear in his (...) writings, especially his autobiographical account, “By Any Other Name,” which explained (among other things) why he came to be called “Jack,” why he resisted advice to change it, and other onomastic adventures.Jack taught at Queens College (N.Y., not, he pointed out, the one in South Carolina), 1939–57; Washington University (St. Louis, not Seattle or George Washington U.), 1957–64 and again 1978–86; and Yale University (one did not have to add, “New Haven”) 1965–85, where he was Director of the Center for Parliamentary History. At Washington University he was founding Director of the Center for the History of Freedom, which was devoted to a collaborative, multi-volume study of the history of liberty in the West that would realize the dream that Lord Acton called his “madonna of the future”—the difference being that Jack’s vision is already on the way to fulfillment, with the publication of the volume edited by him on Parliament and Liberty from the Reign of Elizabeth to the English Civil War (1992), followed by seven more volumes up to 1996, with more to come.Hexter published books and articles in a variety of fields, finding notoriety especially in his essay of 1958, “Storm over the Gentry,” and later in public jousts with Christopher Hill and others and more retrospective censures of (among others) A. W. Pollard and R. H. Tawney; and he was a master of the Macaulayan art of the review-essay (collected in On Historians, 1979). His article on “Braudel and le monde braudelien” was a mischievous masterpiece of satire which, according to a private communication to Jack, Braudel himself enjoyed in his Olympian way, including the good-natured charge of excessive appetite for facts—“Je vais me dire: ne joue pas trop au Rabelais, sois sage, ne mange pas tout, n’aie les yeux plus gros que le ventre!” (personal letter, 8 February 1973). Several generations of graduate students learned what was involved in doing history from his “The Historian and his Day” (1954), which (like “Storm”), he enjoyed recalling, was rejected by the AHR. He was amused, too, at learning that his article on “The Rhetoric of History” (written for the International Encyclopedia of the Social Sciences) was a harbinger of the rhetorical turn taken a few years later signalled by the historiographical work of Hayden White and others. He was a pioneer, too, in the intensive study of political languages (Visions of Politics on the Eve of the Reformation, 1973), though he lamented the fact that his work on Machiavelli’s and Seyssel’s political vocabulary had to be carried out before the age of computer technology.My first contact with Jack came through my mentor Garrett Mattingly, who was the contemporary historian Jack “most admired” (as he made plain in his contribution to Mattingly’s festschrift). In 1962 Mattingly told me that the plan to publish Hexter’s translation of Seyssel’s Monarchy of France for the Columbia Records Series had to be abandoned because of the first (I think) of Jack’s several heart attacks. I was able to use the mimeographed version for some years before Jack asked me to take over this project, originally visited on him by C. H. McIlwain. It was his suggestion that [End Page 349] we dedicate the collaborative volume, with nice ambiguity, to both McIlwain and Mattingly (who had also been a student of McIlwain) from “two of their deeply devoted students.”In this brief and perhaps overpersonal note (though nothing could be “too personal” for Jack) I will not add further to the store of Hexterian anecdotes, which I began collecting at Queens College, where Jack had already left the makings of a legend in the 1950s. I would just add... (shrink)

Humor, as a source of fun, provides panacea from stress. There are writers whowrite humorous stories, but few use humor as a literary device. Alejandro Roces isone of the few, but no literary critical evaluation is made about his fiction because heis more popular as Filipino journalist. Thus, this study, entitled “Humor in AlejandroRoces’ Short Fiction”, aims to ignite aesthetic stimulation by critical analysis toassess its literary merits. His fiction, “We Filipinos Are Mild Drinkers,” “Of Cocksand Hens,” “Of Cocks and (...) Kings,” “Of Cocks and Battle Cocks,” and “Of Cocksand Super Cocks”, as qualitative research work, leans on formalistic and mimeticapproaches to Literature. Consequently, the key findings illustrate how humordevelops an uncommon conflict of an inveterate gambler-protagonist because insteadof feeling burdensome of his struggle, readers experience relief and release of tension.Moreover, some collective satirized peculiar Filipinism include English speechaffectations, gambler’s inveteracy, Hispanic cultural attitudes and traditionalism.Hence, Roces’ characterizations and themes inherently reveal humor that satirizespeculiar Filipinism. For deeper aesthetic stimulation, this study should be comparedand contrasted with the fiction of local and foreign humorists. Keywords: Literature and Communication, humor, inveteracy and satirized peculiarFilipinism, fiction, content analysis, Philippines. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Bernard Mandeville and the Therapy of “The Clever Politician”Harold J. CookAs the institutional authority of the learned physicians of Augustan London waned, new threats to the classical foundations of medical practice appeared. 1 Patients had more freedom to chose from a variety of practitioners and practices, giving both consumer demand and the advertising skills of suppliers an even more powerful hand in medical affairs. While the burgeoning medical marketplace (...) developed mostly because of the profound socio-economic and political changes of the late Stuart period, intellectual transformations were at play, too. The new science appeared to encourage empiricism and the development of new remedies based on experimentation, devaluing university education in medical classics, but conversely the new science could strengthen physicians’ claims to superiority over mere patients and practitioners. Medical materialists, for instance, could turn the classical advisor/client relationship into that of an expert contolling a passive recipient (patient) for his or her own good.One contemporary debate that shows the implications of materialism for medical relationships is the theory of the passions. The passions linked mind and body. According to most classical accounts, one could (or should) control the passions by applying reason, resulting in both a virtuous and a healthy life. But according to a strong version of materialism, the mind could not hope to control the passions. A doctor therefore could no longer appeal to patients’ reason; rather, he had to manipulate the patient’s passions for his or her own good. Hence for a materialist, the doctor was not an adviser to the patient but an expert therapist, not a teacher of health and virtue but a “clever politician” who ordered bodily passions. Some versions of the new science, then, favored [End Page 101] the expertise of physicians while undermining older views about learned authority. Such an outlook is clear in the work of Dr. Bernard Mandeville, whose famous Fable of the Bees shows how the “clever politician” played on passions to make the body politic run smoothly. Mandeville held coherent views on politics, economics, moral philosophy, and medicine. Like many doctors of his time, he fought to establish his expertise in the new science. His views are expressed most clearly in the theory of the passions. By examining his discussion of the passions in both his social commentary and his medical dialogues, we can note similarities among his various writings and glimpse one of his fundamental positions on medicine and humanity.The Fable and its CriticsTo many English minds of the early eighteenth century, no one exemplified materialism’s threat better than Dr. Bernard Mandeville. Mandeville’s famous slogan, the subtitle of his Fable of the Bees—“private vices, public benefits”—seemed to epitomize materialism’s inherent immorality. The book seemed to argue that what most people recognized as human vices were the main engines of the collective good. Mandeville’s famous book pictured human nature as animalistic, in which the passions held sway over reason. In Mandeville’s world, it appeared, reason became little more than the ability to rationalize, the instrument of hypocrisy, merely letting people cover their true motives (grounded as they were in the passions) with empty words pretending to more exalted ends.His Fable had begun as a little, anonymous, satirical poem in 1705, titled “The Grumbling Hive: or, Knaves Turn’d Honest.” It began by speaking of “A Spacious Hive well stockt with Bees, / That liv’d in Luxury and Ease.” Many of the bees were knaves, with no calling free of deceit, but while “every Part was full of Vice, / Yet [was] the whole Mass a Paradise; /... Such were the Blessings of that State; / Their Crimes conspir’d to make them Great.” Avarice, prodigality, luxury, pride, envy, vanity, folly, fickleness, and inconstancy employed millions, encouraging ingenuity and industry and creating pleasures and comforts “To such a Height, the very Poor / Liv’d better than the Rich before.” But many of the thriving bees complained, shouting for honesty and virtue. When Jove “rid / The bawling Hive of Fraud,” economic collapse followed, with the consequent end of arts and sciences as well; population declined; the hive’s territory decreased; and the remaining bees toiled long and... (shrink)

Lucius Annaeus Seneca was a Roman Stoic philosopher, dramatist, statesman, and adviser to the emperor Nero, all during the Silver Age of Latin literature. The Complete Works of Lucius Annaeus Seneca is a fresh and compelling series of new English-language translations of his works in eight accessible volumes. Edited by world-renowned classicists Elizabeth Asmis, Shadi Bartsch, and Martha C. Nussbaum, this engaging collection restores Seneca—whose works have been highly praised by modern authors from Desiderius Erasmus to Ralph Waldo Emerson—to (...) his rightful place among the classical writers most widely studied in the humanities. _ Anger, Mercy, Revenge _comprises three key writings: the moral essays _On Anger_ and _On Clemency_—which were penned as advice for the then young emperor, Nero—and the _Apocolocyntosis_, a brilliant satire lampooning the end of the reign of Claudius. Friend and tutor, as well as philosopher, Seneca welcomed the age of Nero in tones alternately serious, poetic, and comic—making _Anger, Mercy, Revenge_ a work just as complicated, astute, and ambitious as its author. (shrink)