Showing papers on "Lust published in 1969"
TL;DR: In their of John attitude Ford toward has nearly his subplots always been and restricted comic sequences, his critics go beyond a tacit wish that he had not written them,1 or at most an acknowledgment that his baser characters ometimes act as foils to the noble ones.
Abstract: Criticism to his main of the plots. plays In their of John attitude Ford toward has nearly his subplots always been and restricted comic sequences, his critics eldom go beyond a tacit wish that he had not written them,1 or at most an acknowledgment that his baser characters ometimes act as foils to the noble ones.2 1 do not intend to defend Ford's frequently maladroit attempts at comedy nor the distorted melodrama of such plots as those concerned with Ferentes in Love s Sacrifice or Hippolita in ' Tis Pity She's a Whore; nevertheless, his plays are worth considering as whole units, because it is evident that he was consciously using a structural pattern which he intended to have thematic significance. Not just once, but repeatedly, Ford bases the structure of his plays on a pattern of
7 citations
TL;DR: The play Exiles as discussed by the authors is an Ibsenesque interlude between Joyce's Icarian-Daedalian and Odyssean transplantations, and it bears the indelible imprint of the Irish master and serves a vital function in any critical plotting of the Joycean graph.
Abstract: Between the completion of his Portrait and the inception of Ulysses James Joyce undertook to create the only extant drama of his literary career, the enigmatic play entitled Exiles. No Greek maiden between two Norse gods, Exiles is more often thought to be a strange Norse maiden between Grecian gods, an Ibsenesque interlude between Joyce's Icarian-Daedalian and Odyssean transplantations; yet in innumerable ways it bears the indelible imprint of the Irish master and serves a vital function in any critical plotting of the Joycean graph. Oddly enough, the play's significance was most highly rated by Joyce's most important commentator, Joyce himself, who took pains to treat his "lesser" piece with particular care; like the parent of an unfortunate child he favored it with special attention, yearned for its stage production and worried over its translation into other languages. Richard Ellmann records the instances of Joyce's paternal concern: in 1915 Joyce hoped for an Abbey Theatre production of Exiles and a French version in Geneva, and asked WV. B. Yeats and William Archer for their aid, as well as commenting on a Russian translation; in 1916 he offered it to the Stage Society in London, sent a typescript to New York, hoped for an Italian production in Rome or Turin and a production in Zurich or Bern; in 1918 he had the play published in England and America; in 1919 he was sending out press notices to Harriet Weaver, writing to Carlo Linati about an Italian translation, and brooding over the failure of the Munich production; in 1920 he was attempting to get it performed in Paris; in 1925 he was expressing delight over the New York production's 41 performances; in 1926 he was urging London friends to see the Stage Society's version and forcing the play upon friends in Paris, asking, " Is it as good as Hauptmann? '> 2
2 citations
TL;DR: The typical play by Eugene O'Neill recapitulates the ritual conflict of winter and summer, death and rebirth which both the early Greek and Christian drama inherited and extended as mentioned in this paper.
Abstract: Seen from the inside the typical play by Eugene O'Neill recapitulates the ritual conflict of winter and summer, death and rebirth which both the early Greek and Christian drama inherited and extended. Found out in his lust for a forbidden love object, a son figure is expelled from his primal social group. In order to return and grasp his never fading Edenic vision of purity, he embarks on a quest pursued by inner and outer erinyes. As O'Neill has commented in his "Memoranda on Masks," "One's outer life passes in a solitude haunted by the masks of others; one's inner life passes in a solitude bounded by the masks of oneself." His dark voyage may take him inward through the spiraling entrails of the racial unconscious or outward through the labyrinthine windings of a Necropolis, figured scenically as an urban slum, ship, brothel or home. In his role as marked down prey, he vicariously enjoys the law-giver's power and endures the criminal's aggrieved sufferings. Finally exhausted but clear eyed, he achieves a blissful Liebestod with the long sought mother breast. Most critics have recognized that O'Neill's career began with an early period of seascape realism, evolved through a most uneven middle stage of sometimes labored symbolism, and returned finally to the conventions of his beginnings. Yet the pervasive thrust of his drama is non-realistic and negative, sadistic and melodramatic, as Leslie Fiedler has characterized American fiction. Even when his
TL;DR: Deacon as mentioned in this paper examined the social forces which may be responsible for variations in the incidence of adultery in Melanesia and found that there is a higher incidence of infidelity in Polynesian societies with a hierarchical structure.
Abstract: adultery simply a form of marital deviance ? Because of the lack of statistical information, any attempt to answer this question authoritatively is foredoomed to failure. However, in the incidence of adultery between societies there appear to be differences which are not altogether satisfactorily explained by ideas of tension stemming from matrilocal residence (Fortune, p. 49), permissiveness, sexual aggression, etc. In Melanesia, for example, there is apparently a higher incidence of adultery than in Polynesian societies with a hierarchical structure (Firth, p. 569). Prima facie, doubt can exist as to whether one society has more than its share of libido or lust. At present little work has been done in Melanesia on examination of social forces which may be responsible for variations in the incidence of adultery. The conventional approach has been to examine the legal implications, i.e. the kinds of action taken when adultery has been committed, or emotional issues, i.e. why adultery should have taken place at all. Both approaches fail to explain significant features in the context of Melanesian society generally. If adultery is simply thought of as a delict, then how can one explain the failure to enforce sanctions against weak men, a fact reported by Deacon for Malekula which can be supported by San Cristobal data (Deacon, p. 168). Secondly, it is impossible to explain why, if only compensation is involved, men did not frequently commit adultery with a woman they desired, reducing her to the level of a prostitute ? In most Melanesian societies adultery appears to have been a once-and-for-all affair, but when compensation was paid why should it not have been open season ? The thing that is preventive about law is an idea, and men usually refrain from indulging in conduct which will be painful. In dealing with adultery in Melanesia are we really dealing with a legal concept, since it was virtually inevitable in most cases that commission of adultery would be detected ? It is for these reasons that I have spoken of a conflict between law and sexual mores. Analysis of adultery in Melanesia should take into account the general nature of relationships between the sexes. Here there has been a tendency to explain male and female interaction in psychological terms (Berndt, 1962). Taking a different approach, Meggitt attempted to explain male and female relationships in the New Guinea Highlands with reference to social factors : " Where there is no persisting animosity between affmally related groups, there is also little or no fear of feminine pollution or sexuality." Although outlining variations in male-female aggression,