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Books on the topic 'Loie Fuller'

Author: Grafiati
Published: 4 June 2021
Last updated: 15 February 2022

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1

Loie Fuller. Palermo: L'epos, 2009.

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2

Veroli, Patrizia. Loie Fuller. Palermo: L'epos, 2009.

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3

Current, Richard Nelson. Loie Fuller, goddess of light. Boston: Northeastern University Press, 1997.

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4

Albright, Ann Cooper. Traces of light: Absence and presence in the work of Loie Fuller. Middletown, CT: Wesleyan University Press, 2008.

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5

Albright, Ann Cooper. Traces of light: Absence and presence in the work of Loïe Fuller. Middletown, Conn: Wesleyan University Press, 2007.

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6

Albright, Ann Cooper. Traces of light: Absence and presence in the work of Loïe Fuller. Middletown, Conn: Wesleyan University Press, 2007.

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7

Lista, Giovanni. Loïe Fuller, danseuse de la Belle Époque. Paris: Stock, 1994.

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8

Brandstetter, Gabriele. Loïe Fuller: Tanz, Licht-Spiel, Art Nouveau. Freiburg im Breisgau: Rombach, 1989.

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9

Garelick, Rhonda K. Electric salome: Loie Fuller's performance of modernism. Princeton, NJ: Princeton University Press, 2008.

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10

Mueller, Scott. Ancestors of Scott Mueller and Lois Fuller: And allied families including Bickford, Birchard, Cobb, Kepler, Plimpton and Reese. Northbrook, Illinois: M.M. Dickey, 2000.

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Mueller, Scott. Ancestors of Scott Mueller and Lois Fuller: And allied families including Bickford, Birchard, Cobb, Kepler, Plimpton and Reese. Northbrook, IL: [M.M. Dickey], 2000.

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12

Mueller, Scott. Ancestors of Scott Mueller and Lois Fuller: And allied families including Bickford, Birchard, Cobb, Kepler, Plimpton and Reese. Northbrook, Illinois: M.M. Dickey, 2000.

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13

Mueller, Scott. Ancestors of Scott Mueller and Lois Fuller: And allied families including Bickford, Birchard, Cobb, Kepler, Plimpton and Reese. Northbrook, Illinois: M.M. Dickey, 2000.

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14

Mueller, Scott. Ancestors of Scott Mueller and Lois Fuller: And allied families including Bickford, Birchard, Cobb, Kepler, Plimpton, and Reese. Northbrook, Illinois: [s.n.], 2000.

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15

Rodin, Musée. Ornement de la durée: Loïe Fuller, Isadora Duncan, Ruth St. Denis, Adorée Villany : Musée Rodin, 30 septembre-30 novembre 1987. Paris: Musée Rodin, 1987.

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16

Andrews, V. C., and Elisa Cerdan. Fulgor oculto. Barcelona, España: Plaza & Janes Editores, S.A., 1998.

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17

Vesco, Silvia. Spontanea maestria. Venice: Fondazione Università Ca’ Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-426-4.

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The appearance of Dr Vesco’s translation and study of Hokusai’s Ryakuga haya oshie, together with a full reproduction of the original book, is a matter of great excitement in the field of Japanese Studies. Hokusai has been known in Europe and North America for some 150 years. In his own country, he came to public attention about 1800, with youthful work produced under the name of Shunrô. He lived to the advanced age of 88, and when he died in 1849, he was one of the best-known artists in Japan. He was soon to be the best-known Japanese artist in the West, a status that he probably still holds. ‘Under the Great Wave off Kanagawa’ – often referred to simply as ‘Hokusai’s Great Wave’ (from the Thirty-six View of Mt Fuji) – is said to be the most immediately-recognisable piece of graphic design worldwide. Hokusai was a townsman living in a socially stratified society. He was not a member of the elite, though other famous artists were. He did neither depict elite topics, nor work for elite clients. Rather, Hokusai associated with the ‘Floating World’ (ukiyo) that is Edo’s leisure-time distractions. He also made views of his city, its surroundings, and the wider Japanese countryside, but he was not a great traveller, other than in his mind. Rather unrecognised is what Dr Vesco now brings to our attention. Hokusai saw his role as promoting the practice of art. Of course, he had his students, but as we see here, Hokusai also published out-reach volumes, aimed at introducing the joys of picture-making to amateurs who were not being formally instructed. The lessons were easy to follow, and also fun, as he reduced people animals and plants to basic shapes and formulae. Starting with the auspicious subject of Tang lions (kara shishi), Hokusai leads us through a range of topics, down to the demotic, such as clothes washing. Readers today will certainly find a smile crossing their face as they look through the pictures. Thanks to Dr Vesco’s careful translations, we can also understand the advice and commentaries supplied in Hokusai’s accompanying texts. An additional feature of Dr Vesco’s work will be of assistance to more specialist readers, as she has transcribed the original Japanese. This was no simple task, as it is written in abbreviated calligraphy (kuzushiji). At all levels, readers, art enthusiasts and those who love to create pictures will now have access to Hokusai’s most important study aid. We can delve into it, copy from, and chuckle at, just as people did when the volumes first appeared. Western readers might ponder something else: Ryakuga haya oshie appeared in 1812, as European countries were tearing themselves apart.
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18

Electric Salome: Loie Fuller's Performance of Modernism. Princeton University Press, 2007.

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19

Electric Salome : Loie fuller's performance of modernism - 2007. Princeton University Press, 2007.

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20

Traces of Light: Absence and Presence in the Work of Loie Fuller. Wesleyan, 2007.

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21

Albright, Ann Cooper. Traces of Light: Absence and Presence in the Work of Loie Fuller. Wesleyan, 2007.

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22

Loïe Fuller: Getanzter Jugendstil. München: Prestel, 1995.

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23

Garelick, Rhonda K. Electric Salome: Loie Fuller's Performance of Modernism. Princeton University Press, 2009.

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24

Love Focused: Living Life to the Fullest. Love Focused Publishing, 2008.

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25

Andrews, V. C. Fulgor oculto. 5th ed. Plaza y Janes, 2002.

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26

Vegan Intermittent Fasting : Lose Weight, Reduce Inflammation, and Live Longer--The 16: 8 Way--with over 80 Plant-Powered Recipes to Keep You Fuller Longer. Experiment LLC, The, 2020.

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27

Bracco, Lorraine. To the fullest: The clean up your act plan to lose weight, rejuvenate, and be the best you can be. 2015.

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28

Beste, Jennifer. Neighbor-Love and Justice. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190268503.003.0008.

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According to the author’s reading of Metz, a third aspect of becoming fully human is a form of neighbor-love exemplified by Christ with three interrelated commitments: (1) letting go of one’s false, ego-driven self; (2) becoming vulnerable and authentic in our relationships; and (3) pursuing justice and solidarity for and among our neighbors both near and far. For Metz, an intrinsic unity exists among love of God, love of neighbor, and love of self. When we love others, we open ourselves to the mystery of God’s presence and love. The author explores students’ analyses of the barriers to neighbor-love in college culture—specifically egoism and fear of vulnerability—and the experiences of joy that can emerge when one does risk neighbor-love.
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29

Farfan, Penny. “Fairy of Light”. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190679699.003.0003.

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This chapter focuses on Loie Fuller’s Fire Dance to exemplify the interplay between performer and character as a central aspect of queer modernist performance that was foregrounded through the uncanny qualities of Fuller’s work. Charting Fire Dance from its origins in Fuller’s 1895 version of Salome through to its reworking as a solo and its reappearance in her autobiography, the chapter traces a queer genealogy of uncanny doubles that included Oscar Wilde, Salome, heretical witches, and new women in an incremental layering of queer and feminist resonances that flickered into view through Fuller’s experiment in illuminated dance. The uncanny in Fuller’s work thus emanated from an integral and coproductive relationship between modernist aesthetics and sexual queerness that intersected through her performing body in an intensification of the interplay between character and role, onstage and offstage, and representation and presence that was a crucial facet of queer modernist performance.
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30

Gray, Erik. Conclusion. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198752974.003.0007.

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The brief conclusion reflects on the fact that love and poetry both grapple with the impossibility of ever fully knowing or communicating with another person. Yet both also depend on that impossibility: the distance that inevitably separates one human being from another is the source of pleasure as well as frustration. This dual effect is forcefully conveyed in the poetry of Lucretius concerning love.
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31

Nadler, Steven. The Intellectual Love of God. Edited by Michael Della Rocca. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780195335828.013.007.

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The notion of the intellectual love of God, in Part V of Spinoza’s Ethics, is arguably one of the more opaque elements in a very difficult work full of opacity. This article analyzes the intellectual love of God, joy, and knowledge, contrasting it with what might be called the “ordinary” love of God, and examines the similarities and differences with the same notion as this appears in the works of Maimonides, one of Spinoza’s medieval Jewish rationalist sources.
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32

Wilcox, Helen. Sacred and Secular Love. Edited by Andrew Hiscock and Helen Wilcox. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199672806.013.35.

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This chapter explores early modern literary responses to one of the most fundamental issues in the Christian faith—the love of God for humankind, and its reception and reciprocation by individuals and communities. Textual explorations of sacred love, closely interlinked with writings about secular love, are drawn from the full chronological span of the volume, ranging from Richard Rolle in 1506 to Damaris Masham in 1696. The works discussed are from a wide variety of genres, including lyric poetry, devotional prose, prayers, sermons, and autobiographical writings. The subject of love is seen to open up some of the major religious controversies of the period, including the nature of Christ’s redemptive love and its expression in the Eucharist; the possible tension between love for God and charity towards others; and the roles of gender, sacrifice, perplexity, and mystery in the relationship between God and humanity.
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33

Sousa, Ronald de. 3. Desire. Oxford University Press, 2015. http://dx.doi.org/10.1093/actrade/9780199663842.003.0003.

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Love essentially involves desire. But what is desire? And what sorts of desire are characteristic of love? ‘Desire’ explains that some of the things lovers want are features desirable in any friendly relationship: trust, intimacy, emotional resonance, companionship, concern for one another’s welfare. Erotic love adds more specific desires. The full cycle of desire and pleasure has five stages: (1) desire motivates us to pursue a goal; (2) pursuit secures the object of desire; (3) the object of desire causes pleasure; (4) pleasure triggers the reward mechanism; and (5) that mechanism reinforces the desire. The curse of satisfaction, the altruists’ dilemma, and two types of desire—reason-based and reason-free desire—are also considered.
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34

Schalkwyk, David. The Conceptual Investigations of Shakespeare’s Sonnets. Edited by Jonathan Post. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199607747.013.0033.

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This chapter begins with the question ‘Who is speaking in Shakespeare’s Sonnets’ in order to trace the ways in which the poems map the relationship between love and desire. It examines the use of personal pronouns to negotiate positions that lie between the historical situation of the sonnets’ composition and dissemination and the reader who appropriates their voice. ‘Love’ is the outcome of engagements among the voices that speak through the poems, to which they respond, that are embedded within them, and which they make available to the reader. The sonnets offer a conceptual account of love and its relation to desire through the specificities of their address, in which three defining characteristics stand out: love’s projective capacity (‘love sees not with the eyes but with the mind’); its essential debt to time as a constitutive medium (‘To giue full growth to that which still doth grow’); and its concern with the singularity or uniqueness of its object, which is itself a product of its projective imagination (‘you alone are you’).
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35

Staelpart, Crystal. Reenacting Modernist Time. Edited by Mark Franko. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199314201.013.15.

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In The Refusal of Time (2012), South African artist William Kentridge reveals how the Western time regime is a central tenet of modernity, capitalism, and colonialism. Featuring a remarkable reenactment of the famous serpentine dance of Loïe Fuller, this multimedia installation provides a sharp comment on the Western conception of dance history. In having this iconic dance reenacted by Dada Masilo, a dancer of color, Kentridge questions white supremacy in the history of dance. Moreover, having the film sequence of the dance solo shown backward, the images also dismantle the modernist, chronological conception of time and history. This critical reenactment, like the dancing figures in the closing parade of The Refusal of Time, in fact reveal the modernist desire to reenact history along a chronological timeline. Connecting Kentridge’s The Refusal of Time with Deleuze’s onto-aesthetics, this chapter observes how reenactment can articulate an ontological politics of time and movement.
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36

Menconi, David. Step It Up and Go. University of North Carolina Press, 2020. http://dx.doi.org/10.5149/northcarolina/9781469659350.001.0001.

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This book is a love letter to the artists, scenes, and sounds defining North Carolina’s extraordinary contributions to American popular music. David Menconi spent three decades immersed in the state’s music, where traditions run deep but the energy expands in countless directions. Menconi shows how working-class roots and rebellion tie North Carolina’s Piedmont blues, jazz, and bluegrass to beach music, rock, hip-hop, and more. From mill towns and mountain coves to college-town clubs and the stage of American Idol, Blind Boy Fuller and Doc Watson to Nina Simone and Superchunk, Step It Up and Go celebrates homegrown music just as essential to the state as barbecue and basketball. Spanning a century of history from the dawn of recorded music to the present, and with sidebars and photos that help reveal the many-splendored glory of North Carolina’s sonic landscape, this is a must-read for every music lover.
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37

Herring, Scott, and Lee Wallace, eds. Long Term. Duke University Press, 2021. http://dx.doi.org/10.1215/9781478021544.

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The contributors to Long Term use the tension between the popular embrace and legalization of same-sex marriage and the queer critique of homonormativity as an opportunity to examine the myriad forms of queer commitments and their durational aspect. They consider commitment in all its guises, particularly relationships beyond and aside from monogamous partnering. These include chosen and involuntary long-term commitments to families, friends, pets, and coworkers; to the care of others and care of self; and to financial, psychiatric, and carceral institutions. Whether considering the enduring challenges of chronic illnesses and disability, including HIV and chronic fatigue syndrome; theorizing the queer family as a scene of racialized commitment; or relating the grief and loss that comes with caring for pets, the contributors demonstrate that attending to the long term offers a fuller understanding of queer engagements with intimacy, mortality, change, dependence, and care. Contributors. Lisa Adkins, Maryanne Dever, Carla Freccero, Elizabeth Freeman, Scott Herring, Annamarie Jagose, Amy Jamgochian, E. Patrick Johnson, Jaya Keaney, Heather Love, Sally R. Munt, Kane Race, Amy Villarejo, Lee Wallace
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38

Maltby, Robert, ed. Terence: Phormio. Liverpool University Press, 2012. http://dx.doi.org/10.3828/liverpool/9780856686061.001.0001.

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Terence's Phormio, based on a Greek original by Apollodorus of Carystus, was produced towards the end of his short dramatic career in 161 BC. With its lively action, based on the traditional elements of love, deception and mistaken identity, the play provides an ideal introduction to the genre of New Comedy. What makes the Phormio unique amongst Terence's works is the central importance of the witty and scheming parasite who gives his name to the play and directs and controls its action throughout, even when absent from the stage. The use of the 'double' plot with its two young men in love and two contrasting fathers provides ample scope for depth and variety of characterisation. The aim of the present edition is to bring out to the full, Terence's skill in plot development and character portrayal which was to make the Phormio one of his most entertaining plays. The book consists of ludes Latin text with facing-page translation, introduction and commentary.
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39

Brontë, Anne, and Sally Shuttleworth. Agnes Grey. Edited by Robert Inglesfield and Hilda Marsden. Oxford University Press, 2010. http://dx.doi.org/10.1093/owc/9780199296989.001.0001.

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‘How delightful it would be to be a governess!’ When the young Agnes Grey takes up her first post as governess she is full of hope; she believes she only has to remember ‘myself at their age’ to win her pupils’ love and trust. Instead she finds the young children she has to deal with completely unmanageable. They are, as she observes to her mother, ‘unimpressible, incomprehensible creatures’. In writing her first novel, Anne Brontë drew on her own experiences, and one can trace in the work many of the trials of the Victorian governess, often stranded far from home, and treated with little respect by her employers, yet expected to control and educate her young charges. Agnes Grey looks at childhood from nursery to adolescence, and it also charts the frustrations of romantic love, as Agnes starts to nurse warmer feelings towards the local curate, Mr Weston. The novel combines astute dissection of middle-class social behaviour and class attitudes with a wonderful study of Victorian responses to young children which has parallels with debates about education that continue to this day.
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40

Barnhardt, Wilton, ed. Every True Pleasure. University of North Carolina Press, 2019. http://dx.doi.org/10.5149/northcarolina/9781469646800.001.0001.

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Some of North Carolina's finest fiction and nonfiction writers come together in Every True Pleasure, including David Sedaris, Kelly Link, Allan Gurganus, Randall Kenan, and more. Within the volume-featuring writers who identify as gay, trans, bisexual, and straight-are stories and essays that view the full spectrum of contemporary life though an LGBTQ lens. These writers, all native or connected to North Carolina, show the multifaceted challenges and joys of LGBTQ life, including young love and gay panic, the minefield of religion, military service, having children with a surrogate, family rejection, finding one's true gender, finding sex, and finding love. One of the only anthologies of its kind, Every True Pleasure speaks with insight and compassion about living LGBTQ in North Carolina and beyond. Contributors include Jasmine Beach-Ferrara, Brian Blanchfield, Belle Boggs, Emily Chávez, Garrard Conley, John Pierre Craig, Diane Daniel, Allan Gurganus, MinroseGwin, Aaron Gwyn, Wayne Johns, Randall Kenan, Kelly Link, Zelda Lockhart, Toni Newman, Michael Parker, Penelope Robbins, David Sedaris, Eric Tran, and Alyssa Wong.
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41

Pitts, Antony. Reflection. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199351411.003.0030.

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Today I’m struggling with a piece that should have taken an afternoon to write down. It appeared in the mist when summoned, almost on cue and apparently fully formed, but it has taken another few months to grasp once more the geometry of its form, the ratios and rationality of its quixotic light and shade. The piece is a gift-cum-commission for Edward Higginbottom, at the end of his long tenure at New College, Oxford. It’s a short setting of George Herbert’s ‘Love bade me welcome’ for unaccompanied choir, and from the moment I started working on it, it was clear in my mind that this piece existed—complete, perfect and (to me at least) unutterably beautiful and heart-rending....
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42

Beste, Jennifer. Self-Love. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190268503.003.0007.

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Johann Metz shows that the second aspect of becoming fully human, self-love, has at least two components: (1) our willingness to accept compassionately the limitations and vulnerabilities of our human condition, and (2) the courage to discern and live out our unique calling and become our authentic selves. This chapter suggests that behaviors at college parties (as described in chapter 1) are attempts—not always conscious—to avoid self-acceptance, emptiness, and vulnerability. It then explores how to accept and respect oneself, risk vulnerability and authenticity, and claim one’s unique purpose and vocation so as to experience joy and fulfillment. The author suggests that membership in a supportive community and commitment to a spiritual practice are especially helpful in encouraging discernment about authenticity and life’s purpose.
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43

Burney, Frances, and Vivien Jones. Evelina. Edited by Edward A. Bloom. Oxford University Press, 2008. http://dx.doi.org/10.1093/owc/9780199536931.001.0001.

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‘Lord Orville did me the honour to hand me to the coach, talking all the way of the honour I had done him! O these fashionable people!’ Frances Burney's first and most enduringly popular novel is a vivid, satirical, and seductive account of the pleasures and dangers of fashionable life in late eighteenth-century London. As she describes her heroine's entry into society, womanhood and, inevitably, love, Burney exposes the vulnerability of female innocence in an image-conscious and often cruel world where social snobbery and sexual aggression are played out in the public arenas of pleasure-gardens, theatre visits, and balls. But Evelina's innocence also makes her a shrewd commentator on the excesses and absurdities of manners and social ambitions - as well as attracting the attention of the eminently eligible Lord Orville. Evelina, comic and shrewd, is at once a guide to fashionable London, a satirical attack on the new consumerism, an investigation of women's position in the late eighteenth century, and a love story. The new introduction and full notes to this edition help make this richness all the more readily available to a modern reader.
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44

Brownlee, Victoria. ‘Our King Salomon’. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198812487.003.0003.

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Chapter 2 investigates the importance of King Solomon to visual conceptions of monarchical authority after the break with Rome. Although popular, figurations of England’s monarchs as antitypes of Solomon were complex and exegetically demanding, not least because Solomon ended his life as an idolater. Unsurprisingly, contemporary applications of Solomon’s narrative use this biblical text selectively. Yet, when scrutinized more closely, many such readings struggle to occlude fully the unhappy death of scripture’s famously wise king. This chapter considers the anonymous Latin play Sapientia Solomonis (1565/6), George Peele’s The Love of King David (1594), and John Williams’ funeral sermon for King James I (1625) to argue that the biblical narrative of scripture’s famously wise king became a popular, yet problematic, means of responding to the relocation of sacred authority after the Reformation.
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45

Kaveny, Cathleen. Covenant Fidelity and Culture Wars. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190612290.003.0006.

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This chapter grapples with the evolving and sometimes contradictory ways in which Paul Ramsey approaches secular law in his efforts to work out the relationship of love and justice. Over the course of three decades, Ramsey moves from treating the law as a rich locus of insight on the concrete requirements of that relationship, to viewing the law a more or less neutral field ripe for the application of Christian norms, to depicting law as the menacing subject of a hostile takeover by secular liberal values. The chapter contends that this last stage is a harbinger of the legal strategy used by socially conservative culture warriors in later decades. It also argues that Ramsey never fully confronts the question of how law should respond to the phenomenon of human sinfulness.
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46

Stump, Eleonore. Union. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198813866.003.0004.

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A simple consideration of God’s relation to space is insufficient to elucidate God’s omnipresence. God can be not just present at a space but also present with and to a person occupying that space. In addition, the assumption of a human nature ensures that God is never without the ability to empathize with human persons and to mind-read them. In the indwelling of the Holy Spirit, God can be more powerfully present with a human person in grace than any human person could be. In the indwelling of the Holy Spirit, God’s union with a human person is a matter of God’s being present with a human person in grace as much as eternal divine power permits and mutual love allows. The implementation of this union to the fullest degree possible in this life (and the next) is the end to which the atonement is the means.
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47

Hummer, Hans. Kinship in the City. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198797609.003.0006.

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This chapter examines the ancient traditions of thought bequeathed to the Middle Ages to show that in antiquity kinship was neither an object of analysis nor considered an elemental or primitive social form. Kinship did not loom large when the ancients pondered prehistory, neither in origin myths, nor in the philosophical works of Plato, Aristotle, and Augustine. What consumed them was human sociality in the preeminent mark of human civilization, the city. The fullest discussions of matters that we associate with kinship appear in discussions of civic life, where familial forms testify to the associative impulses inherent in friendship, rulership, and civic life. In his City of God, Augustine expressed a native view of kinship that became dominant in medieval Europe, that kinship is love and that humans instinctively multiply the bonds of kinship to extend the net of peace, a process perfected in the spiritual regeneration of the Church.
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48

Baggett, David, and Jerry Walls. The Moral Argument. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190246365.001.0001.

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The history of the moral argument is a fascinating tale to tell. Like any good story, it is full of twists and unexpected turns, compelling conflicts, rich and idiosyncratic characters, both central and ancillary players. The narrative is as labyrinthine and circuitous as it is linear, its point remains to be fully seen, and its ending has yet to be written. What remains certain is the importance of telling it. The resources of history offer a refresher course, a teachable moment, a cautionary tale about the need to avoid making sacrosanct the trends of the times, and an often sobering lesson in why reigning assumptions may need to be rejected. If insights from luminaries of moral apologetics prove penetrating and their challenges formidable, then an intentional effort to recapture the richness of the history of the moral argument will likely prove to be illuminating. This book lets the argument’s advocates, many long dead, come alive again and speak for themselves. An historical study of the moral argument is a reminder of how classical philosophers were unafraid to ask and explore the big questions of faith, hope, and love; of truth, goodness, and beauty; of God, freedom, and immortality. It gives students and scholars alike the chance to drill down into their ideas, contexts, and arguments, inviting us all to learn to live with the moral argument. Only by a careful study of its history can we come to see its richness and the fertile range of resources it offers.
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49

Pulham, Patricia. The Sculptural Body in Victorian Literature. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9780748693429.001.0001.

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This book contends that, in Victorian literature, transgressive desires that cannot be openly acknowledged – whether these be homosexuality, pygmalionism, necrophilia, or paedophilia – are often embedded and encrypted in sculptures. The three-dimensionality of the sculptural body, its ubiquity in Victorian popular culture, its increasing visibility in public galleries, and the full or partial nudity of classical statues on display are some of the key reasons that underpin this phenomenon. It argues that, in such literature, sculpture often functions as a form of textual ‘Secretum’ in which forbidden love becomes available for recovery and circulation by those ‘in the know’, manifesting through sensory signification, through literal and metaphorical forms of tactility, and at the intersections between vision and touch.
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50

Hardman, John. The View from Above. Edited by David Andress. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199639748.013.008.

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In the maelstrom of ‘pre-revolutionary’ agitations, it is easy to lose sight of the fact that the king and his ministers, to varying degrees, still thought and acted through 1788 and early 1789 as if their wishes and decisions were the determinants of political action. And indeed, to a certain extent, they were. This chapter explores the complex web of principle, prejudice and self-interest that continued to mark the conduct of old-regime governance up to, and beyond, the threshold of revolutionary change. As well as detailing a series of crucial decision points at which the monarchy could have offered alternative solutions to those it unsuccessfully chose, it also reflects on the extent to which the nature of those decisions can be fully understood, or must remain locked within the enigma that was the personality of Louis XVI.
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