If the tragic interpretation of experience is still so current, despite its disastrous ethical consequences, it is because it shapes our subjectivity. Instead of contradicting the ideals of autonomy and freedom, a modern subjectivity based on self-victimization in effect enables them. By embracing subjection to an alienating other (the Law, Power) the autonomous subject protects its sameness from the disruption of real people. Seductions of Fate stages a dialogue between this tragic agent of political emancipation and the unconditional ethical demands it seeks to evade.
From its beginnings in the 1670s through the eve of the Revolution, French serious opera (tragedie en musique, or lyric tragedy) was closely associated with absolutist monarchical power and with the representation of that power on the operatic stage. Real-life monarchs, legendary rulers and gods, images of sovereign glory abound in operas from Lully to Rameau and Gluck. Spectacle and allegory were at the core of this repertory: from the visual splendor of sumptuous costumes and decors, including the use of elaborate stage machines, to the presence of extensive choral and choreographic sequences. And yet, this book argues that there was more to pre-revolutionary French serious operas than a contemplation of absolute rule and sovereignity. The operas also presented a more complex and aspirational 'political imaginary', shared by composers and audiences, which included themes of justice, freedom, the public good, the rule of law, and available modes of participation in public life. They did so primarily by staging recurring scenes of mourning, confession, punishment, and judicial pardon. As the author guides us through the musical and dramatic handling of these scenes by composers from Lully to Gluck, we are able to detect glimpses of the collective political experience and aspirations of French society during the long decades of the ancien regime. The book is a study of political representation in serious French opera ('lyric tragedy') from the reign of Louis XIV through the decades prior to the Revolution. It offers a critical analysis of political themes--as seen pragmatically in staged political interactions--in the repertory spanning Lully's tragedies en musique of the 1670s and '80s through the resurgence of tragic opera with Gluck's works for Paris in the 1770s." The book's central aim is "to expand our understanding of the presence of the political in pre-Revolution French opera by going beyond its long-recognized absolutist orientation. If absolutism furnished the immediate political context and discursive framework for this quasi-official operatic form, it did not exhaust the period's political thought or its political cultural imaginary. Lyric tragedy engaged meaningfully with political ideas beyond absolutist sovereignty, including themes of justice, freedom, the public good, and the rule of law. The book argues that it did so most pervasively and compellingly not in its ideological prologues or its veiled allegories, but in dramatized political relations among its characters and choruses."
Is freedom our most essential belonging, the intimate source of self-mastery, an inalienable right? Or is it something foreign, an other that constitutes subjectivity, a challenge to our notion of autonomy? To Basterra, the subjectivity we call free embodies a relationship with an irreducible otherness that at once exceeds it and animates its core. Tracing Kant’s concept of freedom from the Critique of Pure Reason to his practical works, Basterra elaborates his most revolutionary insights by setting them in dialogue with Levinas’s Otherwise than Being. Levinas’s text, she argues, offers a deep critique of Kant that follows the impulse of his thinking to its most promising consequences. The complex concepts of freedom, autonomy, and subjectivity that emerge from this dialogue have the potential to energize today’s ethical and political thinking.
This book proposes a conversation between Immanuel Kant's first two Critiques and Emmanuel Levinas's Otherwise than Being to reflect on the ideas of freedom, obligation, subjectivity, ethics, autonomy and thinking.
This volume looks at the shifting role of aesthetics in Latin American literature and literary studies, focusing on the concept of 'ethical responsibility' within these practices. The contributing authors examine the act of reading in its new globalized context of postcolonial theory and gender and performance studies.
We have all surrendered ourselves to the world that writing creates. Eudora Welty once observed that her mother read the works of Charles Dickens in the same spirit with which she would have eloped with him. Some of us remember our first novel with more pleasurable vividness than our first kiss. Many of us go to on-line chat rooms, looking for love with our keyboard. And most of us have tried to seduce with words--reciting that Shakespeare sonnet or composing that Valentine's Day poem with tremulous hope. All writing seeks to ensnare the reader in its embrace. As Frances Wilson also proves in this engaging, enlightening, and provocative new book, writing can also ensnare the writers themselves. Highlighting the lives and loves of celebrated literary couples, Literary Seductions reveals the depth of their passion for language--their own as well as their partner's. Taking as a point of departure the legendary courtship of Robert Browning and Elizabeth Barrett, a courtship conceived on the printed page, Wilson explores how easily, how seductively, literary desire becomes sexual desire and vice versa. "Literary seductions," she writes, are "violent, extreme, and irreversible." Not all reading seduces, not all writing inflames. But when they do, what is written ceases to be merely an arrangement of symbols on a page. The word has been made flesh. Lady Caroline Lamb and Lord Byron, Anaïs Nin and Henry Miller, Laura Riding and Robert Graves, Osip and Nadzheda Mandelstam, W. B. and Georgie Yeats were all in the grip of a compulsion for writing and reading, enmeshed in words. Miller called his relationship with Nin, a "literary fuck-fest"; for Riding and Graves, it took on the self-destructive (and self-conscious) melodrama of a Russian novel; for the Mandelstams, it was a life-giving (if self-sacrificing) bond in a precarious world; for George and W. B. Yeats, it offered sexual stimulus. The couplings of verbs and nouns do more than precede coupling; they comprise it. Literary Seductions is itself a seductive book. The elegant power of Wilson's arguments, the rigor of her research, and the delights of her prose enthrall the reader. Here is intellectual engagement and readerly pleasure rolled into one.
Malcolm of Dunroch is a newly chosen Master, a novice to his extraordinary—and dangerous—powers. But he has already broken his vows—and a young woman’s death is on his hands. Malcolm is determined to fight his darkest desires, denying himself all pleasure…until fate sends him another Innocent, the beautiful bookseller Claire Camden. Since her mother’s murder, Claire has done everything possible to make a safe, secure life for herself in a city where danger lurks on every street corner, especially in the dark of night. But nothing can prepare her for the powerful and sexual medieval warrior who sweeps her back into his time—a treacherous, frightening world where the hunters and the hunted are one and the same. Claire needs Malcolm to survive, yet she must somehow keep the dangerously seductive Master at arm’s length. For Malcolm’s soul is at stake—and fulfilling his desires could prove fatal….
A box set of five paranormal romance novels that will slay you! Dark Awakening, by Kendra Leigh Castle When a feud among the immortals escalates into all-out war, Tynan MacGillivray is ordered by his ruthless queen to locate a Seer who can secure victory for their clan. Ty's search leads him to a quiet New England town, but once he has the Seer in his grasp, her touch awakens within him a hunger like he's never known . . . Pleasure Unbound, by Larissa Ione Tayla Mancuso is a demon-slayer who lands in a hospital run by demons in disguise. The head doctor, Eidolon, makes her body burn with unslakable desire, but she knows she must betray the surgeon who saved her life. Eidolon cannot resist this fiery, dangerous woman, yet she could very well be the hunter who has been preying upon his people. With his need to find the perfect mate before a horrific transformation claims him forever, will Eidolon dare the unthinkable-and let Tayla possess him, body and soul? Dragon Fall, by Katie MacAlister Aoife Dakar sees extraordinary things . . . too bad no one else believes that she witnessed a supernatural murder. Returning to the scene for proof, Aoife encounters a gloriously naked man who can shift into a dragon. Kostya has no time for a human woman, no matter how gorgeous she is. But to survive the coming battle for the fate of his race, he needs a mate of true heart and soul . . . Accidentally in Love with a...God?, by Mimi Jean Pamfiloff Emma Keane is your average city girl. There's just one thing setting her apart: the disembodied male voice speaking to her through her mind. Sounds kind of crazy? But crazy turns downright deadly when the voice persuades her to travel to the wilds of the Mayan jungle. There she will free his body-his incredibly hot, muscled, naked body.
Law in the Courts of Love traces the literary history and diversity of past legal systems. These 'minor jurisprudences' range from the spiritual laws of the courts of conscience to the code and judgements of love handed down by women's courts in medieval France. Professor Goodrich presents the 15th Century Courts of Love in Paris as one instance of an alternative jurisdiction drawn from the diversities of the legal and literary past. Their textual records are correspondingly mixed in genre, being in the form of poems, narratives, plays, treaties and judicial decisions. More broadly, these studies trace certain boundaries of modern law and make up one of many forms of legal knowledge which escape today's vision of a unitary law. The author believes that the unquesionable faith in a unity law and its distance from person and emotion is precisely what makes impossible the attention to the individual that justice ultimately requires. Law in the Courts of Love shows how the historical diversity of forms and procedures of law can competently form the basis for critical revisions of contemporary legal doctrine and professional practice. This book will be of interest to undergraduate and postgraduate students of law and literature, critical legal studies and legal history, or anyone wishing to specialise in feminist legal theory.
What do our cities say about us? What have we made them, and how ought they to be? How has our vision of the city evolved over time, and can we really influence change and effect improvements? In this vibrant cultural history of the city, Joseph Rykwert explores the great cities of the modern world, examining their fabric and assessing how successfully they have met the needs of their inhabitants. From the teeming city centres of the industrial revolution to the exclusive gated suburbsof the 21st century, from the Parisian boulevards of Haussmann to the 'green' architecture of Emilio Ambasz, Rykwert charts the complex story of the growth of the city, setting architectural development firmly within a political, economic, social, and cultural context. Drawing on examples from Brasilia to Islamabad, Shanghai to Houston, Rykwert presents a fascinating analysis of urban growth, arguing forcefully that as voters and consumers we need to consider the economic, social, and cultural implications of developments and demonstrate our resistance to them if necessary. The arguments over the future of the Ground Zero site in Manhattan encapsulate the conflicting demands of civic pride and public utility set against private gain that vie for dominance in the 21st century, and exemplify the choices that, as citizens, we must all eventually make.
Wars against Freud were waged along virtually every front in the 1980s. In Freud and His Critics, Paul Robinson takes on three of Freud's most formidable detractors, mounting a thoughtful, witty, and ultimately devastating critique of the historian of science Frank Sulloway, the psychoanalyst Jeffrey Masson, and the philosopher Adolf Grünbaum. Frank Sulloway contends that Freud took most of his ideas from Darwin and other contemporary thinkers—that he was something of a closet biologist. Jeffrey Masson charges that Freud caved in to peer pressure when he abandoned his early seduction theory (which Masson believes was correct) in favor of the theory of infantile sexuality. Adolf Grünbaum impugns Freud's claim to have grounded his ideas—especially the idea of the unconscious—on solid empirical foundations. Under Robinson's rigorous cross-examination, the evidence of these three accusers proves ambiguous and their arguments biased by underlying assumptions and ideological commitments. Robinson concludes that the anti-Freudian writings of Sulloway, Masson, and Grünbaum reveal more about their authors' prejudices—and about the Zeitgeist of the 1980s—than they do about Freud. Indeed, they fundamentally distort and diminish Freud, pointedly ignoring his remarkable historical achievement—the invention of a new way of thinking about the self that has revolutionized the modern imagination. This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1993.
Awakening to Love is a romantic adventure about Marcus and Shayla’s journey to the Enlightening Zone. Marcus is more focused on thrills and chills, while Shayla allows her fears to hold her back. Join them as they learn about life and love from another perspective. Watch them grow and stumble through their challenges, and root for them as they embrace all life has to offer. Have you ever wondered about fate and destiny? These words have been used to describe unusual events over centuries. Have you ever wondered why certain things happen? Sometimes it would be nice to know God’s plan for us. But, what if God was at his wit’s end trying to create more love in the world? What if he decided to bring all humans to an Enlightening Zone to teach them lessons about love?
The book examines in specific detail every Broadway musical which opened during the seminal decade of the 1960s, a decade which encompassed traditional musicals (such as Hello, Dolly!) as well as iconoclastic ones (Hair). Besides technical information, the book includes extensive commentary for all 268 musicals which opened during the decade. It includes all New York City Center and Music Theatre of Lincoln Center revivals; New York City Opera revivals of Broadway musicals; productions of all pre-Broadway closings (musicals which closed either during New York previews or during pre-Broadway tryouts); all eight musicals which were produced at the 1964 New York World’s Fair; concert productions (usually of one-man or one-woman shows); and all imports which opened during the decade. The technical information includes details regarding cast and credits, plot, critical reviews, London productions, recordings, published scripts, and film versions.
Townsfolk called him devil. For dark and enigmatic Julian, Earl of Ravenwood, was a man with a legendary temper and a first wife whose mysterious death would not be forgotten. Some said the beautiful Lady Ravenwood had drowned herself in the black, murky waters of Ravenwood Pond. Others whispered of foul play and the devil's wrath. Now country-bred Sophy Dorring is about to become Ravenwood's new bride. Drawn to his masculine strength and the glitter of desire that burned in his emerald eyes, the tawny-haired lass had her own reasons for agreeing to a marriage of convenience. One was vengeance, and in its pursuit she would entangle Julian in a blackmail plot, a duel at dawn, and a dangerous masquerade. The other reason was dearer to her heart, but just as wild a quest: Sophy Dorring intended to teach the devil to love again.
New York Times bestselling author Amanda Quick's first two romance novels, Seduction and Surrender. Seduction Townsfolk called him devil. For dark and enigmatic Julian, Earl of Ravenwood, was a man with a legendary temper and a first wife whose mysterious death would not be forgotten. Some said the beautiful Lady Ravenwood had drowned herself in the black, murky waters of Ravenwood Pond. Others whispered of foul play and the devil's wrath. Now country-bred Sophy Dorring is about to become Ravenwood's new bride. Drawn to his masculine strength and the glitter of desire that burned in his emerald eyes, the tawny-haired lass had her own reasons for agreeing to a marriage of convenience. One was vengeance, and in its pursuit she would entangle Julian in a blackmail plot, a duel at dawn, and a dangerous masquerade. The other reason was dearer to her heart, but just as wild a quest: Sophy Dorring intended to teach the devil to love again. Surrender From the dazzling ballrooms of glittering London society to magnificent, cursed estate in the distant wilds of Yorkshire, comes the deliciously wicked story of a thoroughly unconventional courtship -- and a thrilling midnight rendezvous that could only lead to love... At four and twenty Victoria Huntington thought herself quite adept at fending off fortune hunters... until she came under siege from Lucas Colebrook, the darkly disturbing new Earl of Stonevale. Amidst the brightly plumed birds of the town, Lucas was a hawk. And when he held out the lure of moonlit rides and wild, reckless midnight escapades, Victoria found herself powerless to resist. But becoming Stonevale's companion in adventure was far more dangerous undertaking than Victoria could ever imagine. For the attractive Earl would use her every weakness to woo her, to win her, and ultimately to wed her. And soon the amber-eyed lady would find herself ensconced in a crumbling mansion deep in the English countryside... where the real reason for her hasty marriage becomes all too apparent...and where the ghosts of her dark-stained past are waiting to rise up in a terrifying plot that will threaten her life, her honor, and the only man she could ever love.