scispace - formally typeset
Search or ask a question

Showing papers in "Modern Language Review in 2015"








Journal ArticleDOI
TL;DR: The authors consider the dedicatory prefaces that frame Ronsard's and Garcilaso's pastoral works as an articulation of these poets' divergent political and lyrical visions of bucolic poetry.
Abstract: This article considers the dedicatory prefaces that frame Ronsard’s and Garcilaso’s pastoral works as an articulation of these poets’ divergent political and lyrical visions of bucolic poetry. While there is often a tendency to overlook prefatory matter as somehow extraneous to the text, this article argues that Ronsard’s ‘A treshaut et tresvertueux Prince Francois de France, Duc d’Anjou, fils et frere de Roy’ and Garcilaso’s dedications in the ‘Egloga primera’ and ‘Egloga tercera’ are essential documents in understanding these poets’ use of pastoral.

2 citations



Journal ArticleDOI
TL;DR: In this article, the authors present a model-agnostic approach to model-based research in the Modern Humanities Research Association (MHRA), which is available from the MHA website.
Abstract: This is the author accepted manuscript. The final version is available from Modern Humanities Research Association via http://dx.doi.org/10.5699/modelangrevi.110.4.1011

2 citations





Journal ArticleDOI
TL;DR: The authors explored the relationship between body and uniform as one of two competing narratives of masculinity in literature and film depicting the Nationale Volksarmee of East Germany (NVA) depicting uniform's narrative of ideal military masculinity in conflict with a more natural narrative of masculinity written on the body.
Abstract: This article explores the relationship between body and uniform as one of two competing narratives of masculinity. Literature and film depicting the Nationale Volksarmee of East Germany (NVA) present uniform's narrative of ideal military masculinity in conflict with a second, apparently more natural narrative of masculinity written on the body. Claus Dobberke's Ein Katzensprung (1976) and Jurgen Fuchs's Fassonschnitt (1984) explore ways that the body might subvert the effects of uniform. Ultimately, however, these two works depict the uniform transforming body and psyche and unsettling existing narratives of masculinity, even disrupting the narrative text itself.





Journal ArticleDOI
Abstract: Geoffrey Hill's ethical anxieties turn on a tension between aesthetic autonomy and engagement with the polis, a tension illuminated by his adumbration of an exemplary poetics. ‘Exemplarity’ is characterized by a similar tension between intransitive and transitive activity, so that a poem can be ‘exemplary’ through its independent merit but also because it influences others. Exemplarity has become especially significant in Hill's ‘late style’: his intensifying rehearsals of despair at the degradation of public language have made the models offered by figures from the past (and the exemplary influence of his own work) an increasingly revealing element in his writing.



Journal ArticleDOI
TL;DR: In this article, a rereading of Disraeli's novel Sybil is presented, arguing that the novel engages in the construction of authority as a lost origin which is also projected into the future as a political goal.
Abstract: This article undertakes a rereading of Disraeli's novel Sybil (1845), arguing that the novel engages in the construction of authority as a lost origin which is also projected into the future as a political goal. The essay draws on Derrida's concept of the ‘supplement’ to trace how the text combines names, buildings, and documents in ‘archi-textual’ structures that seek to establish and secure this lost authority. The tension between the need to construct authority and the need to project it as a pre-existing origin can never be settled and operates as a driving force within the text.

Journal ArticleDOI
TL;DR: This article used the theoretical framework of James C. Scott's Domination and the Art of Resistance (1990) to analyse the trial and execution of Giulio Cesare Vanini (1585-1619).
Abstract: This article uses the theoretical framework of James C. Scott's Domination and the Art of Resistance (1990) to analyse the trial and execution of Giulio Cesare Vanini (1585–1619). It argues that Vanini's final actions were subversive acts of rebellion and libertinage against Catholic authority during the typically politicized capital punishment of an atheist. By examining accounts of his public and private speech and the reliability of contemporary sources, it demonstrates how Vanini allowed his mask of conformity to drop at his execution in order to enjoy a final moment of freethinking which justifies his contemporary and modern-day reputation as a libertin author and thinker.




Journal ArticleDOI
TL;DR: The authors argued that waste not only fulfils a narrative function, but also constitutes what Bruno Latour terms a network, a web of interactions between discursive, natural and social processes.
Abstract: Refuse is a key theme, image and structural device in the Spanish-Argentine writer Andres Neuman’s novel Bariloche (1999), whose protagonist is a waste collector in Buenos Aires. My contention, though, is that waste not only fulfils a narrative function, but in fact constitutes what Bruno Latour terms a ‘network’, a web of interactions between discursive, natural and social processes. Bringing together close literary analysis with insights from environmental criticism (Stacy Alaimo and Jane Bennett) and sociology (Zygmunt Bauman and Martin O’Brien), this paper reveals the complex interactions between the human and non-human world in the novel’s urban setting.


Journal ArticleDOI
TL;DR: In this paper, the authors focus on the representation of Wehrmacht soldiers who entertain relations with the Soviet enemy and are therefore seen to betray their nation, and show that these "traitors" have a highly ambivalent function: their narrative punishment is part of German post-war exculpation, yet they are also reminders of German guilt and ethical responsibility towards the "other".
Abstract: The article looks at the figure of the traitor in 1950s’ West German films about World War II. It focuses on the representation of Wehrmacht soldiers who entertain relations with the Soviet enemy and are therefore seen to betray their nation. The discussion of three well-known films – 08/15, Der Arzt von Stalingrad, and Unruhige Nacht – shows these ‘traitors’ to have a highly ambivalent function: their narrative punishment is part of German post-war exculpation, yet they are also reminders of German guilt and ethical responsibility towards the ‘other’.

Journal ArticleDOI
TL;DR: The authors analyzed the differences between Verga's novella "La Lupa" (1880) and its transformation into a play in 1896, and found that the use of dialogue in the theatrical adaptation enabled Gna Pina to break away from her traditional identification and to voice the concerns and aspirations of socially committed late nineteenth-century women in Italy.
Abstract: This article analyses the differences between Verga's novella ‘La Lupa’ (1880) and its transformation into a play in 1896. While the femme fatale, Gna Pina, is a silent figure in the narrative, consumed by the desire to seduce her son-in-law, in the play she becomes an articulate character. The use of dialogue in the theatrical adaptation enables Gna Pina to break away from her traditional identification and to voice the concerns and aspirations of socially committed late nineteenth-century women in Italy—becoming one of the first New Women to appear on the Italian stage at the turn of the century.

Journal Article
TL;DR: This paper analyzed the differences between Verga's novella "La Lupa" (1880) and its adaptation as a play in 1896, and found that the use of dialogue in the theatrical adaptation enabled Gna Pina to break away from her traditional identification and to voice the concerns and aspirations of socially committed late nineteenth-century women in Italy, becoming one of the first New Women to appear on the Italian stage at the turn of the century.
Abstract: This article analyses the differences between Verga’s novella ‘La Lupa’ (1880) and its adaptation as a play in 1896. While the femme fatale, Gna Pina, is a silent figure in the narrative, consumed by the desire to seduce her son-in-law, in the play she becomes an articulate character. The use of dialogue in the theatrical adaptation enables Gna Pina to break away from her traditional identification and to voice the concerns and aspirations of socially committed late nineteenth-century women in Italy—becoming one of the first New Women to appear on the Italian stage at the turn of the century.