By Graham Gargett
This quantity, triggered by way of the book in 1999 of Moya Longstaffe’s amazing examine, Metamorphoses of ardour and the Heroic in French Literature: Corneille, Stendhal, Claudel, extra investigates and analyses the a number of appearances of ardour and Heroism in literature. It pursues the exploration of those issues in quite a few cultures (English, French, German, Spanish), genres, and important methods. moreover, the chronological span represented is very vast. Contributions diversity from l. a. Fontaine, Moli?re and Voltaire to Rimbaud and Camus; from Baudelaire to Beckett; from Wagner to Goytisolo. This very range offers invaluable context, delivering scope for mirrored image and research. even though ardour turns out undying, can heroism have any actual which means – except anyone and existential one – in our postmodern age? Has a concept on the centre of ecu tradition for therefore many centuries relatively disappeared from our highbrow and cultural universe? This quantity could be of curiosity to all scholars of literature, no matter what their serious or linguistic allegiance, because it makes a speciality of the various manifestations of 2 very important parts of all societies and cultures.
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Extra resources for Heroism and Passion in Literature: Studies in Honour of Moya Longstaffe (Internationale Forschungen zur Allgemeinen und Vergleichenden Literaturwissenschaft 77)
Harrison’s Phædra Britannica (London: Rex Collings, 1975) is set in the India of the Raj, the Phædra-Hippolytus couple being the Governor’s wife and his son by an earlier cross-cultural union.
Titus, however, fulfils his duty only with regret: it is his ‘triste devoir’ (997), his ‘austère devoir’ (1365). In a variant of the 1671 edition, he cites examples of such sacrificial duty performed by his heroic predecessors: Vous les verriez toujours, jaloux de leur devoir, De tous les autres nœuds oublier le pouvoir. ) 24 28 Cf. P. 149-51. The ties of duty take precedence over all others, love of life, of sons, and, for Titus, of Bérénice. 25 He can find no release from duty if his ‘gloire’ is to be preserved.
Cf. M. 67-79. of the regions of the body in tragedy25 showed that the throat was the privileged mode of death for women. Loraux suggests that the throat is metonymic with the sexual orifice; I would further suggest that this site of women’s vulnerability is also the site of the voice, carrier of tragic signification. The problem of incest-taboo in the Phædra mytheme has been the object of much comment. 1613-14) how Racine maintained the identity of Phèdre as Thésée’s wife, rather than softening the plot to meet the delicate scruples of the period by making her Thésée’s fiancée, thus engaging a problematic of incest which is absent in Euripides, but present in Roman sources because of Roman law with regard to adoption and marriage, therefore present in Canon law.