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Journal articles on the topic 'Writings of herself'

Author: Grafiati

Published: 4 June 2021

Last updated: 7 February 2022

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1

Ariss, Iloe. "Friendship and Metaphor." Arendt Studies 4 (2020): 129–51. http://dx.doi.org/10.5840/arendtstudies20212429.

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In this paper, I identify and distinguish different modes of thinking at work in Hannah Arendt’s Denktagebuch and letters. In the Denktagebuch, her thinking is dialogical, as she engages with herself in a dialogue of thought, while her writing is a product of poetic thinking. In the letters, her dialogical thinking is not only with herself, but with friends and correspondents, and poetic thinking takes the form of the material letter itself. Arendt engages in a dialogue of thought both with herself, who is a friend, and her correspondents, who are also friends. Arendt’s personal writings, that

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2

Ryan, Cheyney. "The One Who Burns Herself for Peace." Hypatia 9, no. 2 (1994): 21–39. http://dx.doi.org/10.1111/j.1527-2001.1994.tb00431.x.

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Alice Hertz was a woman who, in J965, burned herself in protest against the Vietnam War. 1 first became aware of her through studying the writings of Dorothy Day, the founder of the Catholic Worker Movement and a central figure in the history of nonviolence. In this essay I reflect on how Alice Hertz's action and Dorothy Day's vision of nonviolent commitment can each illuminate the other.

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3

Scott, Jennifer. "A Name for Herself: Selected Writings, 1891–1917 by Benjamin Lefebvre." Victorian Periodicals Review 52, no. 3 (2019): 646–48. http://dx.doi.org/10.1353/vpr.2019.0045.

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4

Charney, Leo. ""Common People with Common Feelings:" Pauline Kael, James Agee, and the Public Sphere of Popular Film Criticism." Cinémas 6, no. 2-3 (2011): 113–26. http://dx.doi.org/10.7202/1000975ar.

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This essay focuses on the writings of Pauline Kael and James Agee as the leading examples of the rhetoric of American popular film criticism, which the author suggests is chatacterized by three elements: the critic's effort to distance him / herself from both other critics and the entertainment industry; to emphasize the personal and subjective nature of his / her responses; and to use his / her writing as the catalyst for a public sphere of film response.

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Trusky, Tom. "Sharlot Herself: Selected Writings of Sharlot Hall ed. by Nancy Kirkpatrick Wright." Western American Literature 28, no. 3 (1993): 237–39. http://dx.doi.org/10.1353/wal.1993.0100.

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Mihelakis, Eftihia. "Writing Herself into Being: Quebec's Autobiographical Writings from Marie de l'Incarnation to Nelly Arcan by Patricia Smart." Canadian Review of Comparative Literature / Revue Canadienne de Littérature Comparée 46, no. 3 (2019): 529–32. http://dx.doi.org/10.1353/crc.2019.0037.

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Bode, Rita. "Benjamin Lefebvre, ed. L.M. Montgomery, A Name for Herself, Selected Writings, 1891–1917." University of Toronto Quarterly 89, no. 3 (2021): 541–42. http://dx.doi.org/10.3138/utq.89.3.hr.08.

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Hétu, Dominique. "Writing Herself into Being: Quebec Women’s Autobiographical Writings from Marie de l’Incarnation to Nelly Arcan by Patricia Smart." ariel: A Review of International English Literature 50, no. 1 (2019): 177–80. http://dx.doi.org/10.1353/ari.2019.0009.

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Wilk, Janusz. "Zagadnienie „ojczyzny w niebie” w Liście św. Pawła do Filipian i w pismach św. Elżbiety od Trójcy Świętej." Poznańskie Studia Teologiczne, no. 33 (December 11, 2019): 215–31. http://dx.doi.org/10.14746/pst.2018.33.11.

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The article is a study of the theme of ‘heavenly homeland’ in St. Paul’s Letter to the Philippians3:20 and in the writings of the French Carmelite St. Elisabeth of the Holy Trinity (1880–1906). The first part is an exegesis of Phil 3:20. It consists of a description of the community in Philippi at the time when the Letter to the Philippians was written; suggestion of a translation of Phil 3:17–21 into Polish; general presentation of the context Phil 3:20 and discussion of the meaning of the lexeme politeuma.The second part presents eight writings of Elizabeth of the Holy Trinity (Letters 237;

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Schütz, Connie. "Intimate Narratives: The Letters of Hildegard of Bingen." Scottish Journal of Theology 49, no. 4 (1996): 429–42. http://dx.doi.org/10.1017/s0036930600048493.

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This article will utilize some of the letters of Saint Hildegard of Bingen (1098–1179) and several of the autobiographical passages included in her Vita to demonstrate how she constructed herself in these writings as a prophetess, a woman imbued with the authority of spirit, which could, at times, override the authority of office of the male ecclesiastics around her.

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Coorlawala, Uttara Asha. "Writing out otherness." Studies in South Asian Film & Media 4, no. 2 (2012): 143–56. http://dx.doi.org/10.1386/safm.4.2.143_1.

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Increasingly, global–local situations call for theory to honour culturally diverse discourses and histories. This article is concerned with the ways that critical writings affect material concerns of dancers. The article stages crises of alterity; writing from the underside, I call attention to the need to acknowledge multiple subjectivities and locations. Alterity compels Asian artists to negotiate whiteness as praxis, and as theories of performance. However, even as writings valorize resistance and interventions of performance, by what theories are we restraining performers?2 Is the dancer-a

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12

SHUGER, DALE. "Putting the auto in the auto de fe." Bulletin of Hispanic Studies 98, no. 3 (2021): 231–47. http://dx.doi.org/10.3828/bhs.2021.14.

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Buried in the miscellaneous writings of Capuchin abbess Sor María Ángela Astorch (1592-1665) is a curious spiritual exercise the author calls ‘teatro santo’. In it, Sor María, never herself investigated by the Inquisition, imagines herself as a priest being sentenced to death in an auto de fe. The exercise is practised in total solitude, but also requires props and costume. Sor María inhabits various identities and voices in her account, moving freely between genders and roles, as well as between her embodied identity and her imagined ones. This article argues that the ‘teatro santo’, while si

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Clarke, Danielle. "Life Writing for the Counter-Reformation." Journal of Medieval and Early Modern Studies 50, no. 1 (2020): 75–94. http://dx.doi.org/10.1215/10829636-7986601.

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This essay examines the English translations of the autobiographical writings of Teresa de Ávila — The Lyf of the Mother Teresa of Iesus (Antwerp, 1611) and The Flaming Hart (Antwerp, 1642) — to demonstrate the impact of her exemplary spiritual life on the development of early modern life writing, particularly in domestic contexts. Teresa’s autobiographical texts were mediated for new audiences: religious orders and lay readers, both Catholic and Protestant. Teresa quickly established cult status in large part through readers’ engagement with the record of her life. Analysis of her writings sh

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Gomes, Cândido Alberto da Costa. "Adolescência e feminilidade no Anexo Secreto." Todas as Artes Revista Luso-Brasileira de Artes e Cultura 3, no. 2 (2020): 85–98. http://dx.doi.org/10.21747/21843805/tav3n2a6.

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This paper focuses on adolescence development under difficult circumstances, the practice of a genocide. It analyses Anne Frank’s writings as forms of self-expression, according especially to Simmel and Foucault. The Secret Annex, her refuge, is a heterotopia or no place. Furthermore, this paper questions genocides as biopower since several millennia. In the context of power relations in her hideout, Anne achieves individuality, develops herself as a protagonist, and reaches her subjectivity. She interrelates the search for new femininities, political reflections and a rigorous self-criticism,

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Booth, Marilyn. "Zaynab Fawwāz’s Feminist Locutions." Journal of Arabic Literature 52, no. 1-2 (2021): 37–67. http://dx.doi.org/10.1163/1570064x-12341419.

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Abstract Lebanese-Egyptian Zaynab Fawwāz (ca. 1850-1914) was an unusual presence in 1890s Egypt: an immigrant from Shīʿī south Lebanon, without major family support, she created an intellectual place for herself in the Cairo press, generating a forthright voice on women’s needs as distinct from “the nation’s.” Like most Arabophone writers on “the Woman Question,” Fawwāz addressed girls’ education, but she focused less on domestic training than on work and income, gender-defined dependency, and exploitation. She highlighted gender-prejudiced uses of religious knowledge to further masculine priv

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Stubbs, Tara. "‘Its native surroundings’: Marianne Moore, England, and the idea of the ‘characteristic American’." Modernist Cultures 11, no. 1 (2016): 48–64. http://dx.doi.org/10.3366/mod.2016.0125.

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Marianne Moore claimed that she was ‘Irish by descent, possibly Scotch also, but purely Celtic’. Critics have gone so far as to claim Moore as an Irish-American poet. In so doing they have glossed over the English side of her family background (as did Moore herself). This is perhaps unsurprising, considering that it was Moore's father, from whom she was estranged throughout her life, who was of English ancestry. Nevertheless, this ancestry lurks in the background of her imagination. This article argues that Moore's poetry and prose often map ‘Englishness’ onto ‘Americanness’. Here she is both

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Schedlitzki, Doris, Gareth Edwards, and Steve Kempster. "The absent follower: Identity construction within organisationally assigned leader–follower relations." Leadership 14, no. 4 (2017): 483–503. http://dx.doi.org/10.1177/1742715017693544.

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This article seeks to add to our understanding of processes of identity construction within organisationally assigned leader–follower relations through an exploration of the role of the absent, feminised follower. We situate our work within critical and psychoanalytic contributions to leader/ship and follower/ship and use Lacan’s writings on identification and lack to illuminate the imaginary, failing nature of identity construction. This aims to challenge the social realist foundations of writing on leader–follower constellations in organisational life. We examine our philosophical discussion

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Borggreen, Gunhild. "The Myth of the Mad Artist: Works and Writings by Kusama Yayoi." Copenhagen Journal of Asian Studies 15 (March 10, 2001): 10–46. http://dx.doi.org/10.22439/cjas.v15i1.2126.

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Kusama Yayoi has been active as an artist for more than 50 years, and is highly acclaimed both in her native Japan and in the United States, where she spent more than a decade of her career. A large corpus of critical reviews, catalogue texts, interviews and autobiographical writings by and about Kusama has been published over the years, and this paper investigates a specific topic in these texts concerning the discourse of madness. A persistent myth of Kusama as a'mad' artist emerged in the early and mid-1980s, but has influenced the interpretations of her whole oeuvre. Based on three texts w

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Hartley, Barbara. "Sakai Magara." Girlhood Studies 13, no. 2 (2020): 103–18. http://dx.doi.org/10.3167/ghs.2020.130209.

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In this article, I profile the activism of 18-year-old Sakai Magara (1903–1985). I focus in particular on her role in the Sekirankai (Red Wave Society), which was a short-lived women’s political organization formed in April 1921 and aligned directly with socialist and anti-capitalist worker issues. My discussion draws on three principal sources: contemporaneous accounts of the Society; writings by women with whom Magara collaborated; and the words of Magara herself. I pay attention to Magara’s contribution to Sekirankai, the influences on the development of her activism, and the barriers to po

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El Guabli, Brahim. "Writing against Mourning: Memory in Assia Djebar’s Franco-graphie." Cambridge Journal of Postcolonial Literary Inquiry 6, no. 1 (2019): 14–29. http://dx.doi.org/10.1017/pli.2018.27.

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In this article, I provide a new reading of Djebar’s Le Blanc de l’Algérie as being antimourning. I argue that in the face of institutionalized amnesia and excessive commemoration, Djebar’s refusal to mourn her dead friends institutes a politics of antimourning that seeks to reckon with the larger memory and history of silenced political murders in Algeria. Rejection of mourning enables remembering and empowers feminist engagements with the past. Rather than being another al-Khansā’—the Arab dirge poet who composed elegies for her slain brother, Ṣakhr—Djebar sees herself in Polybe’s footsteps.

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Mai, Anne-Marie. "Historien som scene hos Ludvig Holberg og Charlotta Dorothea Biehl." Sjuttonhundratal 8 (October 1, 2011): 197. http://dx.doi.org/10.7557/4.2396.

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<p>Ludvig Holberg (1684-1754) and Charlotta Dorothea Biehl (1731-1788) are two key figures of the Nordic Enlightenment. The Norwegian Holberg took his philosophical and theological degrees from the University of Copenhagen at an early age and travelled around Europe accumulating knowledge for his historical writings. Holberg made a splendid career at the University of Copenhagen both as a professor and vice-chancellor and published historical works, satires, comedies, essays, fables, and autobiographical letters. As a woman, Biehl was barred from university education and public office. H

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Wolgast, Karin. "Jødeforfølgelse Med Socialistisk Fortegn. Janina Katz’ Forfatterskab Mellem Polen Og Danmark Med Særligt Henblik På Romanen Putska." Folia Scandinavica Posnaniensia 24, no. 1 (2018): 122–46. http://dx.doi.org/10.2478/fsp-2018-0009.

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Abstract Introducing life and work of Janina Katz, the article undertakes an analysis and interpretation of her second novel, the autofictional Putska. Born on the second of March 1939, Katz belonged to a renowned Jewish family with numerous members, of whom, however, only her mother and she survived the Second World War. Their extraordinary family history may be traced in practically all of Katz’ writings, as can her Jewish cultural heritage. The novel Putska is no exception. Its composition, characters and the image it gives of life in Cracow are examined in order to make understandable the

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Ryynänen, Sanna. "The painter Meri Genetz and the endless quest for spiritual wisdom." Approaching Religion 11, no. 1 (2021): 156–73. http://dx.doi.org/10.30664/ar.100545.

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Meri Genetz (1885–1943) was a Finnish painter, esotericist, and a spiritual seeker. Around 1925, she began truly dedicating herself to spiritual seeking and started to make notes of her studies in black notebooks. This article will go through four of those notebooks which today offer a vivid picture of Genetz’s seeking between the years 1925 and 1943. In the beginning, Genetz acquainted herself with Gnosticism, Theosophy, and Kabbalah, as well as the works of Christian mystics, such as Emanuel Swedenborg and Jakob Böhme, the writings of, for example, Paracelsus, and texts attributed to the myt

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Khanna, Neetu. "Obscene Textures: The Erotics of Disgust in the Writings of Ismat Chughtai." Comparative Literature 72, no. 4 (2020): 361–76. http://dx.doi.org/10.1215/00104124-8537720.

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Abstract This article revisits the Marxist anticolonial feminist writings of Urdu author Ismat Chughtai through a materialist exploration into how the female body—with its erotic curvatures and grotesque protuberances, its sticky and viscous textures and fluids—becomes the focalized object of what the author terms the erotics of disgust. Chughtai is perhaps most famous for her being tried for obscenity in 1942 for her most famous short story, “The Quilt” (“Lihaaf”), which narrates a young girl’s encounter with the erotic relationship of a middle-class Muslim woman and her female servant. As Ch

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Grima, Tyrone. "To personalise or not to personalise." Forum Philosophicum 25, no. 1 (2020): 37–52. http://dx.doi.org/10.35765/forphil.2020.2501.3.

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This paper focuses on the theology of the philosopher Simone Weil, analysing the inherent struggle between the notion of the impersonal and the personal God, strongly present in her writings. The first part of the paper focuses on Weil’s point de d.part, in which she maintained that the relationship between humanity and God should not be a personal one. This premise is rooted in Weil’s apophatic spirituality. It proceeds by giving an analysis of the dynamics in the notion of the impersonal God, juxtaposing it against the mystical experiences of Simone Weil herself. Weil’s spiritual journey led

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Kuharski, Allen J. "Jan Kott in Exile: Arden and Absolute Milan." New Theatre Quarterly 18, no. 2 (2002): 121–31. http://dx.doi.org/10.1017/s0266464x02000210.

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In this essay, Allen J. Kuharski discusses Jan Kott as an exiled Polish writer best known for his essays on Shakespeare's plays, and compares and contrasts his writings with those of a variety of other Polish émigré writers, notably Witold Gombrowicz. He argues that Kott's most important contribution was ultimately as a performance theorist, in the traditions of Wyspiański and Brecht, rather than as a traditional critic or scholar, and in consequence he reached a wider readership in English and other languages than any other Polish writer. His choice of Shakespeare as a subject belied the full

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Wester, Matthew. "Reading Kant against Himself." Arendt Studies 2 (2018): 193–214. http://dx.doi.org/10.5840/arendtstudies20185912.

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In this paper, I examine Hannah Arendt’s notion of “enlarged mentality.” I use a close textual exposition of enlarged mentality in Arendt’s writings in order to offer an interpretation of Denktagebuch Notebook XXII, in which Arendt initially sketched her political interpretation of the Critique of Judgment. I maintain that a close examination of enlarged mentality—particularly as it appears in Arendt’s notebooks—answers basic questions about Arendt’s appropriation of Kant’s third Critique that have eluded scholarly commentators. In this paper, I seek to answer one such question: why did Arendt

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HOWARD-SNYDER, DANIEL. "Pistis, fides, and propositional belief." Religious Studies 54, no. 4 (2018): 585–92. http://dx.doi.org/10.1017/s0034412517000452.

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AbstractIn my contribution to the symposium on Teresa Morgan's Roman Faith and Christian Faith, I set the stage for three questions. First, in the Graeco-Roman view, when you put/maintain faith in someone, is the cognitive aspect of your faith compatible with scepticism about the relevant propositions? Second, did some of the New Testament authors think that one could put/maintain faith in God while being sceptical about the relevant propositions? Third, in her private writings, Saint Teresa of Calcutta described herself as living by faith and yet not believing; even so, by all appearances, sh

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García Navarro, Carmen. "Education and Female Agency in the Garden: Doris Lessing’s “Flavors of Exile”." Miscelánea: A Journal of English and American Studies 63 (June 30, 2021): 57–75. http://dx.doi.org/10.26754/ojs_misc/mj.20215872.

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Doris Lessing’s recent centenary brought opportunities to look at her works with fresh eyes. This is also the case with Lessing’s interest in education (Cairnie 2008; Sperlinger 2017), especially that of children in their transition to youth. This paper argues that this was an interest with which Lessing consistently concerned herself in both her fiction and non-fiction writings. Using the corpus of her African short stories as a primary reference framework, this paper studies “Flavours of Exile” (1957), a short story in which a family’s vegetable garden becomes a learning space for informal e

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Patricia Harriss, Sr. "Mary Ward in Her Own Writings." Recusant History 30, no. 2 (2010): 229–39. http://dx.doi.org/10.1017/s0034193200012772.

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Mary Ward was born in 1585 near Ripon, eldest child of a recusant family. She spent her whole life until the age of 21 in the intimate circle of Yorkshire Catholics, with her parents, her Wright grandparents at Ploughland in Holderness, Mrs. Arthington, née Ingleby, at Harewell Hall in Nidderdale, and finally with the Babthorpes of Babthorpe and Osgodby. Convinced of her religious vocation, but of course unable to pursue it openly in England, she spent some time as a Poor Clare in Saint-Omer in the Spanish Netherlands, first in a Flemish community, then in the English house that she helped to

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Peterson, Nadya L. "The Private “I” in the Works of Nina Berberova." Slavic Review 60, no. 3 (2001): 491–512. http://dx.doi.org/10.2307/2696812.

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This article aims to identify prevalent concerns and anxieties informing Berberova's works, whether designated as fiction, biography, fictionalized history, or autobiography; to observe what is hidden behind the public facade of the autobiographical self; and to determine how the fictional and the autobiographical are connected in the writer's narratives. Berberova's autobiography, as well as her fictional and biographical writings, provide a fertile ground for investigating the author's frame of reference from the point of view of her gender. A close look at the nature of autobiography, with

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Erol, Sibel. "Feminism in Turkey." New Perspectives on Turkey 8 (1992): 109–20. http://dx.doi.org/10.15184/s0896634600000649.

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Feminism in Turkey has reached a new exciting dimension in the last decade with the emergence of autonomous and multifarious female voices. Duygu Asena, an editor and novelist, has much to do with paving the way for the emergence of these voices. With her controversial writings and independent lifestyle, she is an icon of Turkish feminism, the Gloria Steinem of Turkish culture. As a proponent of staunch individualism, she has not allied herself with any group or movement. But through her editorials in Kadinca (Womanly) and two controversial novels, Kadinin Adi Yok (Woman Has No Name) and its s

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O'Connor, June. "Dorothy Day and Gender Identity: The Rhetoric and the Reality." Horizons 15, no. 1 (1988): 7–20. http://dx.doi.org/10.1017/s036096690003841x.

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AbstractDorothy Day's sense of herself as a woman and as a mother feature prominently in her writings. In light of recent inquiries into gender identity and gender ideology, and given Dorothy Day's prominence as editor, social activist, anarchist, pacifist, and religious author, questions about her views regarding woman's role and related feminist concerns invite investigation. The paper argues that although Dorothy Day did not become a vocal advocate nor public ally of the women's movements in twentieth-century American life because of some fundamental differences in viewpoint and loyalty, sh

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Dębicka-Borek, Ewa. "“I am aware of the difficulties and I do not get disheartened”: Wanda Dynowska’s Papers about India Collected in Tadeusz Pobożniak’s Archive." Cracow Indological Studies 20, no. 2 (2018): 89–144. http://dx.doi.org/10.12797/cis.20.2018.02.06.

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The aim of the present paper is to discuss the process of self-creation discernible in hitherto unpublished letters written by Wanda Dynowska-Umadevi to Tadeusz Szukiewicz, her literary representative in Poland, acting on her behalf in 1938–1939. Besides discussing the documentary value of the letters, which, for instance, shed some light on Dynowska’s relationship with Tadeusz Pobożniak and her other eminent contemporaries, or contextualize the origin of selected volumes published afterwards with Biblioteka Polsko-Indyjska (Polish-Indian Library), I also try to show that the manner of Dynowsk

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Van de Wal, Rozemarijn. "Constructing the persona of a Professional Historian. On Eileen Power's early career persona formation and her year in Paris, 1910-1911." Persona Studies 4, no. 1 (2018): 32–44. http://dx.doi.org/10.21153/ps2018vol4no1art702.

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The medieval historian Eileen Power (1889-1940) was one of Britain’s most eminent female historians of the first half of the twentieth century. Becoming Professor of Economic History at the London School of Economics in 1931, Power gained academic recognition to a degree that was difficult for women to obtain in this period. Numerous writings on Power discuss the period 1920-1921, when she travelled around the world as an Albert Kahn Fellow, considering it a formative year in her career and indicating the importance of travel for achieving scholarly success. In contrast, little attention has b

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Głusiuk, Anna. "Experimenti de la Excelentissima Signora Caterina da Furlji. Katarzyna Sforza i jej sposoby na podkreślenie urody." Saeculum Christianum 25 (April 25, 2019): 172–83. http://dx.doi.org/10.21697/sc.2018.25.14.

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In 1894, Pier Desiderio Pasolini published notes on the beauty of women written by Catherine Sforza. Unfortunately the original text written by Catherine disappeared in unknown circumstances but in 1522 Lucantonio Cuppano had seen the original and made one copy which was later consulted and published by Pasolini who gave it the tittle Experimenti de la Excelentissima Signora Caterina da Furlji. This writing - next to the work of Metrodora and Trotula of Salerno - is one of the oldest texts written by women, which is preserved for our time. This work shows that Catherine must have received an e

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Mairs, Nancy, and Lyndall Gordon. "Writing Herself Well." Women's Review of Books 12, no. 6 (1995): 5. http://dx.doi.org/10.2307/4022108.

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Laguarta Bueno, Carmen. "The Plight of Not Belonging: Jean Rhys’s “Let Them Call It Jazz” and “The Day They Burned the Books”." ES Review. Spanish Journal of English Studies, no. 39 (December 13, 2018): 157–72. http://dx.doi.org/10.24197/ersjes.39.2018.157-172.

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This paper offers an analysis of the short stories “Let Them Call It Jazz” (1962) and “The Day They Burned the Books” (1960), set in London and in the Caribbean respectively, with the aim to demonstrate that, no matter their origin, Rhys’s protagonists are often confronted with a feeling of non-belonging that sometimes makes them fluid, unstable beings. Furthermore, it aims to demonstrate that, although in some of her writings Rhys seemed to be very critical of the attitude of the colonizers and to align herself with the colonized Others instead, her attitude towards the empire can also be ver

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Frøkjær Baunvig, Katrine. "Den inderlige deltagelse." Grundtvig-Studier 65, no. 1 (2015): 157–76. http://dx.doi.org/10.7146/grs.v65i1.20945.

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Den inderlige deltagelseKatrine Frøkjær BaunvigDevoted ParticipationGrundtvig’s liturgical focal point was congregants’ devoted participation in the joint singing of hymns during the Sunday Service. In his opinion the outcome of the song was manifold. He observed first that by arousing the congregation singing tightened emotional bonds. He also saw that the collective and physical experience was the foundation upon which the individual congregant prepared him- or herself emotionally for accepting the beliefs held within the historically saturated Christian semantic universe of the hymn texts.

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Budin, Stephanie. "A Reconsideration of the Aphrodite-Ashtart Syncretism." Numen 51, no. 2 (2004): 95–145. http://dx.doi.org/10.1163/156852704323056643.

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AbstractScholars have long recognized a one-to-one correspondence, or interpretatio syncretism, between the Greek goddess Aphrodite and the Phoenician goddess Ashtart (Astarte). The origin of this syncretism is usually attributed to the eastern origins of Aphrodite herself, whereby the Greek goddess evolved out of the Phoenician, as is suggested as early as the writings of Herodotos. In contrast to this understanding, I argue here that the perceived syncretism actually emerged differently on the island of Cyprus than throughout the rest of the Mediterranean. On Cyprus, the syncretism emerged o

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Friar, Nicola. "A New Approach to Autobiography and Juvenilia." Journal of Juvenilia Studies 2, no. 2 (2019): 65–76. http://dx.doi.org/10.29173/jjs21.

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This paper demonstrates how the two ostensibly contradictory concepts of power assumption and autobiography can co-exist simultaneously in paracosmic juvenilia, that of Charlotte Brontë in particular. Many critics assert that marginalized or isolated children use their writings as vehicles with which to assume the kind of power denied to them as minors in reality, whereas others view juvenilia as autobiographical platforms through which children can articulate their experience of the world. However, these theories are not exclusive to juvenilia, nor is the concept of a paracosm, a term which o

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Poston, Carol H. "Evelyn Underhill and the Virgin Mary." Anglican Theological Review 97, no. 1 (2015): 75–89. http://dx.doi.org/10.1177/000332861509700106.

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Evelyn Underhill (1875–1941) was a guiding light in Anglican spirituality in the twentieth century, and her best-known works, Mysticism (1911) and Worship (1936) are still read and studied today. A prolific writer—theologian, poet, novelist—she is frequently anthologized. Her early life and writings—those undertaken before she became an actively-committed member of the Church of England in the 1920s—are, with the exception of Mysticism, less well-known. This article examines the early works that treat the Virgin Mary, and explain how that subject may have influenced the pacifism she later embr

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Gill, Clare. "Olive Schreiner, Marie Corelli and the Anxieties of Female Authorship." Journal of Victorian Culture 25, no. 4 (2020): 574–92. http://dx.doi.org/10.1093/jvcult/vcaa026.

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Abstract This article explores the competing models of gendered authorship emerging from Marie Corelli’s multiple print encounters with Olive Schreiner. Where Schreiner is cast by Corelli as the modish darling of a snobbish literary intelligentsia, who is beloved by critics and ignored by readers, Corelli herself emerges from her writings about Schreiner as the democratic author par excellence, a writer for the people rather than the press. In spite of the clear common ground that bridged their experience as celebrity authors, Corelli, in her writings about Schreiner, sought only to elucidate

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Coorlawala, Uttara Asha. "Introduction." Dance Research Journal 32, no. 1 (2000): 78–81. http://dx.doi.org/10.1017/s0149767700005684.

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It is my pleasure and honor here to introduce three articles by prominent scholars and practitioners of Indian dance to celebrate a set of profound, meticulous acts of devotion—the writings of Kapila Vatsyayan. These essays, originally presented at an honorary panel for Kapila Vatsyayan at the 1998 CORD Conference, offer diverse perspectives and conceptual frames that significantly enrich our appreciation of Vatsyayan's outstanding contribution to dance scholarship. The first frame, that of Janet O'shea, focuses on the interactions between body, subjectivity, a system of dancing, and their com

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Stern, Michael. "Clouds: The Tyranny of Irony over Philosophy." Konturen 7 (August 23, 2015): 167. http://dx.doi.org/10.5399/uo/konturen.7.0.3679.

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Both Søren Kierkegaard and Friedrich Nietzsche maintained an abiding concern for Socrates throughout their productive lives. Kierkegaard wrote his dissertation on irony through a Socratic lens and Nietzsche once declared that try as he might, he could not completely separate his concerns from those he associated with the Greek.  Kierkegaard famously favored Aristophanes’ portrait of Socrates in his comedy Clouds, claiming that it accurately portrayed the illegibility of the ironist. Nietzsche leaned toward Xenophon’s Socratic writings but most famously blamed Plato’s Socrates for the dem

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Simonson, Mary. "Dancing the Future, Performing the Past: Isadora Duncan and Wagnerism in the American Imagination." Journal of the American Musicological Society 65, no. 2 (2012): 511–55. http://dx.doi.org/10.1525/jams.2012.65.2.511.

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Abstract During the first two decades of the twentieth century, dancer Isadora Duncan (1877–1927) regularly appeared on concert hall and opera house stages in New York and other American cities. Audiences were taken with her striking persona and nontraditional conception of dance, and impressed by her success in Europe. Duncan's artistic, intellectual, and personal self-association with Richard Wagner—a mythological being in the contemporary American imagination—also captured the attention of many audience members. Duncan danced to excerpts from Tristan und Isolde, Parsifal, and other works wh

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Grant, Beata. "Thirty Years of Dream-Wandering: Zhang Ruzhao (1900-1969) and the Making of a Buddhist Laywoman." Nan Nü 19, no. 1 (2017): 28–63. http://dx.doi.org/10.1163/15685268-00191p02.

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Zhang Ruzhao (1900-69), also known as Zhang Shenghui, was ordained as a Buddhist nun, with the title Tiantai Master Benkong. In early life, Zhang established a reputation as a poet, and was actively engaged in many of the political and feminist movements of the 1920s. Disillusioned both politically and personally, she turned to Buddhism and reinvented herself as China’s premier female lay Buddhist scholar, writer and educator during the 1930s and 40s. From 1949, she took ordination as a Buddhist nun and was officially designated a lineage holder in the Tiantai lineage. She was persecuted sever

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Djukić, Emina, and Ana Peraica. "Studio Portraiture as a Construct: Interview with Ana Peraica." Membrana Journal of Photography, Vol. 3, no. 2 (2018): 14–17. http://dx.doi.org/10.47659/m5.014.int.

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Dr. Ana Peraica was born into a family of photographers. Her grandfather, as well as her father after him, run a family photo studio Atelier Perajica on the main square of Diocletian’s palace in Split, Croatia. The studio went into Ana’s hands, and she still works there herself today. Besides running the business, her main focus is photographic theory, more precise the field of contemporary arts, visual culture studies and media theory. It is very thought- provoking to see how her background and studio practice influenced her research and vice versa. In her writings she focuses on networked so

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Zaini, Qudsia, and Mohsin Hasan Khan. "Maya Angelou’s Battle with Alienation in I know Why the Caged Bird Sings." Arab World English Journal For Translation and Literary Studies 5, no. 1 (2021): 177–86. http://dx.doi.org/10.24093/awejtls/vol5no1.12.

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The themes of the existential crisis have been central in taking up their work in different domains of human experience and exhibit the force of departure from the so-called standardized norms and values of a society. These themes have been taken up by many authors of African American origin. This paper attempts to represent and explain the theme of alienation through an in-depth analysis of Angelou’s I Know Why the Caged Bird Sings. The crisis of identity, gender, consciousness, and everything seemingly comes to question in the powerful narratives of these kinds of writings. One such African

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Simeoni, Francesca. "« Expliquer le bien par une image ». Simone Weil et l’image platonicienne du Bien dans la République." Revista Portuguesa de Filosofia 77, no. 1 (2021): 341–56. http://dx.doi.org/10.17990/rpf/2021_77_1_0341.

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In this contribution I aim to analyze how Simone Weil (1909-1943) interprets the image of the Good and the periagōghē of the soul described by Socrates in Plato’s Republic. In the first part, I consider the key role that Plato plays in the last writings of Weil. The Athenian philosopher, in fact, becomes a specific reference for Weil in the 1940s, within her attempt to reformulate an ethic for contemporaneity. In the second part, I analyze Weil’s specific comments on the Socratic image of the sun (Resp. VI 504a-509c) and on the last part of the myth of the cave (Resp. VII 518b-d). In the last

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