Showing papers on "Lust published in 1998"

The Red Thread: Buddhist Approaches to Sexuality

Abstract: Introduction The Two Roads Buddhist Sexualities Ch. 1 The Hermeneutics of Desire Protean Desire The Buddhist Economy of Desire Ascetic Lust The Trend Reversal The Ambivalent Body Ch. 2 Disciplining Sex, Sexualizing Discipline Law, Order, and Libido Sexual Offenses The Rise of Mahayana Precepts Ch. 3 The Ideology of Transgression The Rule of Antinomianism Crazy Cloud Transgression - Sublime or Sublimated? Ritual Infractions Feminine Transgression Ch. 4 Clerical Vices and Vicissitudes Monastic Decline and Anticlericalism The Demonic Priest The Juridical Background Nyobon Order or Freedom Ch. 5 Buddhist Homosexualities The New Sodom The Social and Cultural Context(s) The Quest for Origins Ch. 6 Boys to Men The Literary Tradition of the Chigo The "Divine Child" Mystique Head or Tail Afterthoughts Glossary Bibliography Index

Romantic Love and Sexual Behavior: Perspectives from the Social Sciences

Abstract: Introduction by Victor C. de Munck Theory The Future of Love by Charles Lindholm Ideologies of Lovestyle and Sexstyle by John Alan Lee Love Madness by Dorothy Tennov The Psychology of Love and Sexual Desire Romantic Love and Sexual Desire by Pamela Regan Romantic Love and the Psychology of Sexual Behavior: Open and Closed Secrets by Duncan Cramer and Dennis Howitt Evolutionary and Investment Models Divorce as a Consequence of Spousal Infidelity by Todd K. Shackelford Race, Gender, and Romantic Commitment by Michael J. Strube and Larry E. Davis Romantic Ideals as Comparison Levels: Implications for Satisfaction and Commitment in Romantic Involvements by Gregory Morrow and Chris O'Sullivan AIDS and Cultural Narratives Narratives of Love and the Risk of Safer Sex by Elisa J. Sobo Contemporary Youths' Negotiations of Romance, Love, Sex, and Sexual Disease by Susan M. Moore and Doreen A. Rosenthal Cross-Cultural Studies of Love and Sex Love and Limerence with Chinese Characteristics: Student Romance in the PRC by Robert L. Moore Lust, Love, and Arranged Marriages in Sri Lanka by Victor C. de Munck

Of lust and love: Beliefs about the role of sexual desire in romantic relationships

Abstract: Little is known about the beliefs that men and women have about the role of sexual desire in romantic relationships, despite the interpersonal and individual significance of those beliefs Three experiments conducted with students from a university in the midwestern United States examined both the perceived consequences of sexual desire for romantic relationships and beliefs about the association between sexual desire and romantic love Men and women believed that dating partners who desire each other sexually are more likely to experience romantic love and other “positive” interpersonal events and less likely to experience “negative” events than partners who do not desire each other sexually, regardless of their level of sexual activity (Experiment 1) Similarly, partners who are romantically in love were viewed as more likely to desire each other than were partners who love or who like one another, and desire was perceived as equally likely to occur in loving and liking relationships; that is, sexual desire did not differentiate these two affective syndromes (Experiment 2) In couples with a mismatched sexual desire pattern, the high-desire partner was perceived as more likely than the sexually uninterested partner to be in love, satisfied, committed, happy, and jealous, whereas the low-desire partner was viewed as more likely to terminate the relationship and to be unfaithful (Experiment 3) These results suggest that sexual desire is viewed as an important feature of romantic love, and that its presence or absence in a dating relationship is believed to have implications for the emotional tenor and interpersonal dynamics of that relationship

Love and Eroticism: An Introduction

Abstract: Love and Eroticism - Mike Featherstone An Introduction On the Postmodern Uses of Sex - Zygmunt Bauman The Sexual Citizen - Jeffrey Weeks On the Way to the Post-Familial Family - From a Community of Need to Elective Affinities - Elizabeth Beck-Gernsheim On the Elementary Forms of Socioerotic Life - Sasha Weitman Bohemian Love - Elizabeth Wilson Otto Gross and Else Jaff[ac]e and Max Weber - Sam Whimster with Gottfried Heuer The Lost Innocence of Love - Eva Illouz Romance as a Postmodern Condition Balancing Sex and Love since the 1960's Sexual Revolution - Cas Wouters Citysex - Henning Bech Representing Lust in Public Love and Structure - Charles Lindholm 'Falling in Love with Love is Falling for Make Believe' - Mary Evans Ideologies of Romance in Post-Enlightenment Culture Introduction to Georg Simmel's 'On the Sociology of the Family' - David Frisby On the Sociology of the Family - Georg Simmel Sex and Sociality - Laura Rival, Don Slater and Daniel Miller Comparative Ethnographies of Sexual Objectification The Nazi Eye Code of Falling in Love - Andrew Travers Bright Eyes, Black Heart, Crazed Gaze 'On Me, Not In Me' - Cindy Patton Locating Affect in Nationalism after AIDS Seductions of the Impossible - Michael Richardson Love, the Erotic and Sacrifice in Surrealist Discourse The Lesson of Fire - Maria Esther Maciel Notes on Love and Eroticism in Octavio Paz's The Double Flame Love, Gender and Morality - Mike Hepworth Stephen Kern's 'Eyes of Love' Bodies, Sex and Death - Arthur W Frank

Citysex Representing Lust in Public

Abstract: Discussions focusing on the relation between city and sexuality are rare in social and cultural studies. In this article I argue that the modern city is inherently and inevitably sexualized, and th...

Balancing Sex and Love since the 1960s Sexual Revolution

Abstract: The longing for an enduring intimate relationship and the longing for sex are connected, but not unproblematically. Throughout this century, a `sexualization of love' and an `eroticization of sex' have continued, but only since the Sexual Revolution the traditional lustbalance of a lust dominated sexuality for men and a complementary (romantic) love- or relationship-dominated sexuality for women has come under attack. The article describes and interprets these developments, focusing on the (difficulties accompanying) relational and psychical processes. It argues, for example, that the emancipation of women and their sexuality (complement of the accommodation of men and their sexuality) has intensified both erotic and sexual awareness as well as both types of longings. The article is divided into two longer sections. The first is subdivided according to the four phases that are distinguished. The second attempts to interpret and explain these changes by presenting them as regularities in all processes of i...

The Curious Genre: Female Inquiry in Amatory Fiction

Abstract: Curiosity, particularly sexual curiosity, is an impulse traditionally attributed to women. From Pandora's peeking and Eve's eating to Alice's anxiety in Wonderland, female curiosity in religion, myth, popular culture, and high literature has meant a perverse desire to spy things out. Traditionally, however, it has entailed a complex of impulses--exploration, penetration, investigation, and perception--that aroused hostility as the misuse of the mind and spirit for worldly instead of divine things. In early modem culture, it was depicted as a waste of the wealth and energy that should be spent serving God rather than indulging the selfish appetite for novelty, beauty, material items, and pleasure, all roundly characterized as the "lust of the eyes." For women, these arguments had particular resonance: defined by their sex, they were adjured not to use their bodies either to excite visual lust or for private recreation in place of the social ends of procreation. Such ideas were rooted in the biblical story that Eve was responsible for man's fall, and for the discovery of carnality(1) Steeped in this cultural construction, early writers represented female curiosity as the destruction of a spiritual definition of man's nature, and the self-pleasuring perception of its true heritage of flesh and decay, sex and death. In the late seventeenth and eighteenth centuries, however, Aphra Behn, Delarivier Manley, and Eliza Haywood find a cultural space for this spying in the novel. They use the contemporary endorsement of inquiry in the New Science to eXploit new kinds of visual lust and new representations of peeping, and to provide an ideology for the publication of sexual novels, works vaunting empirical exploration, sensation, and novelty itself. As many critics have noted in connecting females and fiction, novels often valorize romantic empiricism, but these amatory writers manifest this enterprise as experimentation in love.(2) They exploit the generic link in the novel between two kinds of exploration of the unknown for personal gratification--the desire to find something out, curiosity, and the desire to be aroused--and they use the technology of the novel to represent these impulses visually. In their novels, Behn, Manley, and Haywood endow female or feminine narrators with a scientific posture of objective analysis to lend public authority to previously censored explorations of a physical nature equivalent to--but different from that examined by natural philosophers. This physical nature comprises both sensual experience and the material items, including literature, that induce them. Like other eighteenth-century fictions, therefore, their novels dwell on fashionable details and draw attention to their own textuality as aspects of an empirical reality confuting old-fashioned metaphysical and Petrarchan ideals of love and experience. In both matter and manner, these novels triumphantly provide a feast for the physical senses, and particularly for the eyes. Contemporary newspaper discourse supplied a context for these writers that addressed women's inquiry. Since early-modern scientific institutions excluded women, print became the only public venue for women's questions. Even the curious Margaret Cavendish, duchess of Newcastle, expressed her theories and queries about "Atomes" and other scientific matters through poetry, not fellowship in the Royal Society.(3) No one saw the opportunity created by these restraints more clearly than John Dunton. When he created the Athenian Mercury, he explained his purpose as providing a forum "to satisfy all ingenious and curious Enquirers in to Speculations, Divine Moral and Natural, Etc. and to remove those Difficulties and Dissatisfactions, that shame or fear of appearing ridiculous by asking Questions may cause."(4) By answering private inquiries in public and preserving the anonymity of both the inquirer and the replier, Dunton opened a new printed venue for curiosity intriguingly parallel to the novel itself. …

Lust for Life

Abstract: A nurse who lost both legs and an arm after developing sepsis is preparing for globe-trotting adventures following her recovery.

Shepherding the Weak: The Ethics of Redemption in Quentin Tarantino's Pulp Fiction

Abstract: Although a number of critics in the popular pressl laud Quentin Tarantino's Pulp Fiction (1994) for its non-linear narrative, quirky performances, and oddly resonant dialogue regarding such issues as hamburgers, television pilot episodes, and foot massages, critics in other circles such as Anthony Lane (The New Yorker) and Tom Whalen (Literature/Film Quarterly) deride Tarantino's creation for its extreme violence and lack of moral clarity. In "Degrees of Cool," Lane maligns the film for the director's over-arching reliance upon popcultural minutiae and its "blank morality and wicked accoutrements" (97), while in "Film Noir: Killer Style," Whalen argues that Pulp Fiction functions upon a cinematic tableau devoid of meaning and further suggests that the characters who populate Tarantino's oeuvre live in a world that operates beyond the strictures of morality. Whalen writes, "Greed and drugs, chance and what wits these characters have left after their ears have been deafened by the gun blasts are what they live by" (2). Such critical assessments of the film, however, neglect to account for the remarkably palpable elements of metamorphosis involved in the redemption of the character who functions largely as Pulp Fiction's moral axis, Jules Winnfield (Samuel L. Jackson). His dramatic struggle with the notion of divine intervention in the film's final reel-in addition to the ethical crises that confront Butch Coolidge (Bruce Willis) as he maneuvers through Pulp Fiction's labyrinthine middle-third-belies any rudimentary evaluation of the film as a morally vacuous vehicle that emphasizes Tarantino's lust for the flashy entrails of pop culture over the sublime qualities of artistic substance. By using the interpretive strategies established by the ongoing project of ethical criticism, promulgated by such figures as Wayne Booth, Martha C. Nussbaum, and J. Hillis Miller, we will reveal the manner in which Tarantino utilizes the otherwise mundane moments of conversation and reflection in the lives of gangsters-perennially employed as mere plot devices in the annals of American cinema, but rarely depicted as fully realized characters engaging in workaday human experience-as a means for exploring ethical and philosophical questions regarding faith, morality, commitment, and the human community. In his prodigious volume, The Company We Keep: An Ethics of Fiction, Booth advocates a form of criticism that examines a work of art in order to discover and make explicit the moral sensibility informing that work. If we are to accept the proposition that narratives reflect human experience while at the same time they affect human experience, that narratives are both a product of the social order and help establish and maintain that social order, it becomes clear that-in its desire to examine the moral and ethical nature of a work of art-ethical criticism establishes an important bond between the life of the narrative and the life of the reader. Patricia Meyer Spacks contends that while fictional narratives offer opportunities for ethical reflection, they are not imperatives for behavior; rather, according to Spacks, "paradigms of fiction provide an opportunity for moral playfulness: cost-free experimentation" (203). While the conditions of the visual experience inherent in film underscore the remarkable power of narratives to impinge upon human experience, or what Spacks calls the "experience of agency or its illusion" (203), those experiences acquired through cinematic representation-although powerful and affecting-may be understood as activities that afford experimentation, the trying on of new possibilities without the finality or consequences of life beyond the comforting walls of the cineplex. Although Pulp Fiction's detractors might balk at the very notion of "cost-free experimentation" within the nefarious context of the gangster milieu, as Michael Wilmington remarks, Pulp Fiction "doesn't feel like the usual high-tech, nasty blood-and-guts thriller, those mercenary super-trash studio hits pumped out by Arnold Schwarzenegger, Sylvester Stallone, or Steven Seagal" (C). …

A Startling Voice: Woman's Desire in the Song of Songs

Abstract: The current article examines the use of horticultural metaphor in detailing lust between the two lovers in the Song of Songs. It suggests that the metaphor's vehicle, that is, the image used, has to be grasped before the possibilities of its tenor, i.e., what that image can represent, become apparent. Once the metaphor's vehicle is properly understood, its aptness for conveying female bodily arousal is readily, even shockingly apparent. The benefits of this metaphoric study are essentially twofold: one an interpretive gain and one feminist. They yield a deeper appreciation of the poetry of this biblical songbook and give a long overdue hearing for a startlingly bold, female voice in the Bible.

Wordsworth and the Polemic Against Hunting: "Hart-Leap Well"

Abstract: Increasing compassion for animals led in Wordsworth's era to a polemic against hunting. Wordsworth's "Hart-Leap Well" is part of this campaign. Wordsworth's strategy and arguments in the second part of "Hart-Leap Well" are typical of the discourses that attacked hunting, chiefly for its cruelty, but Wordsworth was unusual in also leading readers in the first part of the poem to sympathize with the hunter's emotions, and he illustrates in the figure of Sir Walter the warrior virtues that hunting was said by its defenders to inculcate. The poem reaches more deeply, however, to explore irrational grounds of hunting's appeal in Sir Walter's enlarged sense of secure dominance, power, lust, and megalomania in the aftermath of the chase. As with Coleridge's Ancient Mariner, egoistic self-assertion expresses itself in killing an animal and is figured as solitude. Just as Sir Walter embodies "the coarser pleasures of my boyish days" (as Wordsworth represents them in various poems), the figure of the poet possesses the more reflective, sensitive, and profound awareness that Wordsworth credits to his adult self. In "Hart-Leap Well" Sir Walter's mentality is that of the historical past, and the poet's represents the future. The poem offers a version of the Enlightenment plot of history as the moral progress of mankind. But in the end the poem may contemplate, with pleasure, the vanishing of mankind from the face of the earth, while nature remains in its beauty.

Myths of Mixture in Phèdre and the Sun King's Assimilation Policy in the New World

Abstract: MODERN READERS OF RACINE'S PHAˆDRE often view this text as if it were a marble statue in a museum. They admire its perfect- ly sculpted surface, but often find it remote and inaccessible. Roland Barthes sees Racinian drama as foreign: "Comme pour le thA©A¢tre antique, ce thA©A¢tre nous concerne bien plus par son A©trangetA© que par sa fami- liaritA©: son rapport A nous, c'est sa distance.'" Similarly, the twentieth-century Russian poet Osip Mandelstam described the distance he experienced while viewing PhA¨dre: "The theater of Racine! A mighty curtain/Divides us from the other world;/Between that world and us a curtain hangs/And stirs with its deep furrows.'" The element most frequently cited to account for the "curtain" that sepa- rates us from Racine's theater is his use of myth.3 In PhA¨dre the mythical sto- ries of bestiality and monster slayings, for example, are so fantastic that they distance the reader. How are we to account for the puzzling fact that PhA¨dre's mother, PasiphaA©, had an all-consuming lust for a bull, a lust so desperate that she asked Daedalus, an artist-craftsman, to construct for her the ultimate in designer wear—a cow frame—to seduce the bull? And what about the Minotaur, the monster bom from this unusual sexual union? To the extent that scholars have asked these questions, they answer them with general observa- tions that PasiphaA©'s unnatural, perverse love dooms her daughter to fall into an equivalently forbidden kind of love—incest.4 But is there not something more specific to the particular nature of PasiphaA©'s mating with a bull that would help us understand this bizarre myth? And how is this mythic story connected to its sequel, where the Minotaur is placed in a labyrinth and terrorizes the city? ThA©sA©e, with the aid of Ariane, enters the labyrinth and slays the Minotaur. This incident is viewed as the founding act of civilization. The narrative connection between these two sequences is clear: the first story of bestiality sets up the condition for its sec- ond part by producing a monster sufficiently worthy for ThA©sA©e to demon- strate his heroic prowess by killing it. But the logic behind this narrative is not so evident. Why is the glorious story of Athens' founding act linked to the inglorious story of PasiphaA©'s

The red thread: Buddhist approaches to sexuality

Abstract: Introduction The Two Roads Buddhist Sexualities Ch. 1 The Hermeneutics of Desire Protean Desire The Buddhist Economy of Desire Ascetic Lust The Trend Reversal The Ambivalent Body Ch. 2 Disciplining Sex, Sexualizing Discipline Law, Order, and Libido Sexual Offenses The Rise of Mahayana Precepts Ch. 3 The Ideology of Transgression The Rule of Antinomianism Crazy Cloud Transgression - Sublime or Sublimated? Ritual Infractions Feminine Transgression Ch. 4 Clerical Vices and Vicissitudes Monastic Decline and Anticlericalism The Demonic Priest The Juridical Background Nyobon Order or Freedom Ch. 5 Buddhist Homosexualities The New Sodom The Social and Cultural Context(s) The Quest for Origins Ch. 6 Boys to Men The Literary Tradition of the Chigo The "Divine Child" Mystique Head or Tail Afterthoughts Glossary Bibliography Index

Dante and Cavalcanti (On Making Distinctions in Matters of Love): Inferno v in Its Lyric Context

Abstract: lyric context of Inferno v is a great deal richer and more complex than the routine citations of Guido Guinizzelli's Al corgentil rempaira sempre amore vis-a-vis Francesca's Amor cWal corgentil ratto s'apprende would suggest.1 While we have integrated Francesca's self-congratulatory exploitation of Guinizzellian principles on love and inborn nobility into our reading of Inferno v, her blatant citational tactics seem to have obscured the importance of the lyric tradition for other parts of the canto. I will attempt in this essay to cast a wider net with respect to Inferno v and the Italian lyric tradition, and to explore how Dante fashions the canto as a meditation on that tradition and that discourse quintessentially a discourse of desire. The choice of a lyric context for the treatment of lust is in itself unusual and should not be taken for granted; it is important to note that a treatment of lust need have little or nothing to do with a discourse of desire. The souls of Canto v are explicitly defined as peccator camali, and yet Dante's treatment of them differs enormously from the treatment of carnal sinners in vision literature or in moral didactic poetry like that of Bonvesin da la Riva. The visions give us a richer sense of the cultural options available to Dante as he designed his underworld and thus provide a context which, though typically ignored by the Commedicts commentators, both ancient and modern, is extremely useful for putting what Dante does in perspective.2 The visions tend to treat the sins of incontinence with particular asper-

Gower's Two Prologues to Confessio Amantis.

Abstract: Mahoney examines the passages at the beginning and ending of CA that exist in two versions, one written for Richard II (Macaulay's recension "one") and the other for his successor Henry of Lancaster (Macaulay's recensions "two" and "three"). Each creates a different "liminal frame" that shapes the reader's view of the entire poem. The Ricardian frame begins with the charming account of the poem's commissioning (which Dahoney discusses with reference to its analogues as an example of an Auftragstopos). Gower expresses hope both in his young king and in the "newe thing" that he offers him; and as he offers to follow a middle way, "somwhat of lust, somwhat of lore," he presents a self-confident and trustworthy persona. The epilogue contains Venus' compliment to Chaucer and a prayer for the king that emphasizes loyalty and obedience; and it attributes the poet's renunciation of love poetry to his realization of his age and the restoration of wholeness that occurs with his "healing." The Lancastrian prologue is less personal and more monitory; the emphasis shifts from promise to degeneration; and the poet's devotion to Richard is replaced by an extended moral and social critique. The renunciation of love at the end of this version is not founded on the contrast of youth to age but on "a more general, one-note, condemnation of secular love, which is blind, opposed to reason, a cause of division in the self" (p. 32), culminating in a contrast between secular and heavenly love. There is less sense of the presence of the court, and Gower himself "becomes less an observer, less a poet, and more a prophet" (p. 33). The later revision has been privileged by modern editors, and thus "it is not surprising that the official version of Gower is the 'moral' Gower" (p. 34). Dahoney presents the alternative versions as equally authoritative, but it is clear that she has strong reasons for preferring the former and for urging it upon our attention. She points out that it was still widely circulated, even after Richard's death. She argues that it was probably not as offensive as modern readers, influenced by Lancastrian propaganda, have believed, and that its dedicatory passage had an "authorizing value" that extended beyond political considerations and even beyond considerations of historical fact. [PN. Copyright The John Gower Society. JGN 18.1]

Lust in Hogarth's Sleeping Congregation - Or, How to Waste Time in Post-Puritan England

Abstract: The intention of this essay is to explore the complex literary and pictorial background to William Hogarth’s engraving The Sleeping Congregation (1736) in order to deepen our understanding of its satirical point. The print ironically castigates three faults of the Anglican Church of the time: boring sermons (which put everyone to sleep), lewd feelings in places of worship, and the sorry state of Church art. The essay suggests, however, that the overriding theme of the engraving is Hogarth’s post-Puritan view of the old vice of Acedia, or indolence. The print, in Hogarth’s typical irony, updates a long pictorial tradition of sleep in church during a sermon; sleep, the characteristic mark of indolence connected with lustful thoughts, a vice with which a hard-working member of the rising middle class like Hogarth would have had little patience.

Titian's Pastoral Scene: A Unique Rendition of Lot and His Daughters

Abstract: Titian's drawing called Pastoral Scene or Landscape with a Sleeping Nude and Animals is no ordinary landscape, its unordinariness underscored by an unusual combination of elements, which I maintain reveals a new and unique version of Lot and His Daughters. I contend that the large, naked woman in the right foreground is one of Lot's daughters; the two small figures resting or sleeping beneath the trees are Lot and his other daughter; the thatched houses in the middle left represent the little town of Segor where Lot first fled; the sheep represent livestock that Lot brought out of Sodom, as do the boar and goat; the boar and goat, however, also serve as symbols of lust and lechery; and the distant city with burning buildings in the city's right quarter is Sodom. Titian's inventiveness created an iconographic variation of an ancient theme.

Speaking in Tongues

Abstract: Winner of the 1997 AWGIE for Best Stage Play, this is a compelling and sophisticated drama exploring betrayal, lust and love between men and women inthe 1990s Andrew Bovell is the acclaimed author of "After Dinner" and "Scenes from a Separation"

Love: A Century of Love and Passion

Abstract: Love is a many splendoured thing, a diverse jewel, and nowhere is that more evident than in this unique publication. Offering a most distinctive take on its subject, Love lets us walk hand in hand through the twentieth century with some of its most famous couples. Their desire might have been to make a private world together, but they are also among those who have reformulated our ideas of what relationships could be, who have found equal status as independent but supportive partners, both making a difference to their times. Sometimes seen as threatening, they nevertheless show that, whether heterosexual or gay, there is no secret recipe to emotional success, no genetic elixir save commitment and trust. Presented in the context of their age, year by year and couple by couple, we watch the world change through their eyes, and learn at the same time about related topics like the Kinsey Report, psychoanalysis, lingerie, the role of the church, femmes fatales, and sex in pop music and the cinema. Whether you're JFK and Jackie O, Kurt and Courtney or Hillary and Bill, success in love remains the great unknown, and whether you're after lust or dreamy romance, you'll love this book.

My Heart Laid Bare

Abstract: My Heart Laid Bare is a striking departure for Joyce Carol Oates: a sweeping saga of the fortunes and misfortunes of a family of enterprising confidence artists in 19th-century America. Mythic in scope, ballad-like in the telling, it is Oates's most daring work yet -- a stunning tale of crime and transgression -- with profound moral consequences.Oates's picture of America as a land of opportunity to immigrants and settlers takes on a dark tone as we see these veritable shape-shifters exploit the unsuspecting rich by appealing to their deepest flaws. Yet recognizing the sins of greed, lust, pride, and small-mindedness in others does not prevent the patriarch and his brilliant children from being laid low by the same faults.

Images of class in the poetry and prose of Hugh McCrae

Abstract: From the 1890s to the 1920s Hugh McCrae represented a form of literary republicanism and radical social criticism that described and analysed power relations and class inequalities in terms of cultural differentiation, rather than economic structures based on the ownership of property and relations of production. He probed the corruption and hypocrisy of the established church and employed irony to illustrate the absurdity of the divine right of kings. He lampooned knighthoods and feelings of imperial superiority by playing on the notion of blue blood. Although McCrae was part of the society of radical nationalist clubs and journals that were arenas of materialist programs for reform, he drew attention to the role of sculpture, portraits, upper class codes of conduct and patterns of demeanour that promoted a sense of separateness and excluded the lower classes. When the cultural and psychological boundaries of class were transgressed reversals could occur in power relations, so that those with the advantages of wealth, education and breeding experienced embarrassment, humiliation and anxiety. Satire, humour and paradox were used to strip away the pretensions and false virtues of the rich and powerful. He poked fun at those who believed that they could buy the status attributed to persons of culture. For McCrae it was the avarice of merchants that defined the modern economy rather than the effects of the tendencies and contradictions of the capitalist mode of production. It was the lust for money as a kind of fetishism that reduced love, marriage and authentic human relations to a cash value. McCrae contrasted the refined world of the elite with a proletarian underworld, which contained hopes and possibilities that he presented through the exploration of the meanings that could be deciphered in a boxing match.

The Seven Deadly Sins in El Abuelo

Abstract: The doctrine of the Seven Deadly Sins, which constituted the principal vehicle of the moral tradition of the West in the age of Dante, Langland and Chaucer, was incorporated into the Roman Catholic catechisms of the sixteenth century. In the process two significant changes occurred: the hegemony of the doctrine was lost as primacy was given instead to the Ten Commandments; and the pecking order of the Deadly Sins was changed to give greater prominence to the sins of concupiscence i.e. Avarice and Lust were promoted at the expense of Envy and Anger. The sins, and their antidotes or antitheses, were enumerated according to a mnemonic method, which in the Spanish version of the catechism, gave the word SALIGEP from the initial letters of the vices listed in the following table:

The best poor man's country as middle ground? Mainstreaming Indians in early American studies

Abstract: It has been a quarter century since Gary B. Nash's Red, White, and Black: The Peoples of Early America (1973) launched what proved to a fundamental shift in early American historiography. Drawing on the still very "new" social history, new approaches to colonial slavery, and a far less developed historical literature on American Indians, Nash articulated a vision of early America as fundamentally fractured along lines of color and race as well as class. From their, at best, marginal presence in conventional histories, Africans and Native Americans emerged as central, forceful players on the historical stage whether devising strategies for maintaining political or cultural autonomy, sustaining one or another form of resistance, or enduring the humiliations and despair of defeat and oppression. If the "red" component of Nash's tripartite portrait was supported by a less robust historiography than the other two, that deficiency began to be addressed two years later with the appearance of Francis Jennings' The Invasion of America: Indians, Colonialism, and the Cant of Conquest (1975). Like Nash, Jennings boldly proclaimed his revisionist intentions in his title, and was even less temperate in stating his argument. Whereas Nash understood intercultural relations as embedded in historic processes and ideologies as necessary byproducts of these processes, Jennings had little patience with process and even less with ideology. He regarded the constructions of "civilized" and "savage," by which Europeans conventionally distinguished themselves from Indians as the crude means by which historical actors (with the support of modem scholars) disguised their greed, lust for power, theft, and mass murder.