Garrett Sullivan explores the changing impact of Aristotelian conceptions of vitality and humanness on sixteenth- and seventeenth-century literature before and after the rise of Descartes. Aristotle's tripartite soul is usually considered in relation to concepts of psychology and physiology. However, Sullivan argues that its significance is much greater, constituting a theory of vitality that simultaneously distinguishes man from, and connects him to, other forms of life. He contends that, in works such as Sidney's Old Arcadia, Shakespeare's Henry IV and Henry (...) V, Spenser's Faerie Queene, Milton's Paradise Lost and Dryden's All for Love, the genres of epic and romance, whose operations are informed by Aristotle's theory, provide the raw materials for exploring different models of humanness; and that sleep is the vehicle for such exploration as it blurs distinctions among man, plant and animal. (shrink)

Pretendemos, com este trabalho, apresentar a prática de uma pedagogia erótica, sob a forma de uma questionável libertinagem, observada mediante um cotejo entre os romances Satíricon, de Petrônio (I séc. d.C) e Dáfnis e Cloé, de Longo ( II-III séc. d.C). Dentro dessa perspectiva, tentaremos enfatizar as inquietações que os indivíduos da sociedade greco-romana, representados em ambos os romances, sofriam frente às normas de conduta sexual que permeavam a sociedade da época. Do mesmo modo, refletiremos acerca de questões como: escravidão, (...) racismo,homoerotismo, virgindade e fidelidade conjugal. Questões, ainda hoje, tabu em nossa sociedade. (shrink)

In this paper, which discusses data from Gargano Apulian Italo-Romance, I propose that prepositional and non-prepositional genitives are fundamentally two different types of phrases, and that the interpretation of a non-prepositional noun as the possessor is not due to a silent preposition or head-modifier inversion, but rather to an agreement mechanism taking place between the modifier and its head. We propose that, just as a genitive can agree with its head for gender and number features so it can for (...) definiteness, and that agreement for definiteness yields a genitival interpretation of the non-prepositional noun. I.e., definiteness can externalize the syntactic relation between head and modifier. We also propose that in this Apulian variety, non-prepositional genitives are syntactic phases (Chomsky 2001), and that the same holds for non-prepositional ‘qualitative’ predicative phrases in the same language. This would explain the impossibility of accessing the phrase through syntactic operations such as extraction. DOI 10.1111/1467-968X.12229 . (shrink)

Previous research indicates positive effects of a person’s attractiveness on evaluations of opposite-sex persons, but less positive or even negative effects of attractiveness on same-sex evaluations. These biases are consistent with social motives linked to mate search and intrasexual rivalry. In line with the hypothesis that such motives should not become operative until after puberty, 6- to 12-year-old participants (i.e., children) displayed no evidence for biased social evaluations based on other people’s attractiveness. In contrast, 13- to 19-year-old participants (i.e., adolescents) (...) displayed positive and negative attractiveness biases toward opposite- and same-sex targets, respectively. Moreover, these biases increased with the age—and thus the reproductive relevance—of the targets being evaluated. Findings corroborate the relevance of mating-related motives for social judgment and illustrate how such biases can grow during human development. At a broader conceptual level, this research demonstrates the utility of investigating proximate social judgment processes through the lens of adaptationist thinking. (shrink)

A subtle and distinguished work by a philosopher renowned for his groundbreaking analysis of human emotions, About Love.

David Mikics's The Romance of Individualism in Emerson and Nietzsche examines the argument, as well as the affinity, between these two philosophers. Nietzsche was an enthusiastic reader of Emerson and inherited from him an interest in provocation as a means of instruction, an understanding of the permanent importance of moods and transitory moments in our lives, and a sense of the revolutionary character of impulse. Both were deliberately outrageous thinkers, striving to shake us out of our complacency.

En este artículo tratamos el “romance do Comandante Moreno” como parte de la música de tradición oral gallega y de la memoria histórica en relación a la Guerra Civil española. Metodológicamente trabajamos con análisis de corte etnomusicológico que se centran en parámetros musicales, literarios y de contexto, además de trabajar con referencias bibliográficas y audiovisuales. Así, nos encontramos con características propias de la música de tradición gallega y una descripción concisa de los hechos, siendo este romance un testigo (...) fidedigno de los asesinatos ocurridos en 1937 y, por ello, un elemento con oportunidades didácticas para la creación de proyectos interdisciplinares. (shrink)

This article introduces the problem of inexistence to studies in genre and gender, providing a hermeneutic point of reference for literary history and trans theory. It seeks to negotiate the affinities and disaffinities between queer and trans by foregrounding the latter’s struggle for existence against the former’s mobilization of a rhetoric of negative relationality, while at the same time preserving the bonds of intimacy across and beyond the coalition of LGBTQIA+. Such queer intimacy is read in relation to a haptic (...) technology of queer close reading, enabling differentially sexed bodies to imaginatively inhabit each other. I begin by considering how Djuna Barnes’s close, haptic readings of Henry James and Marcel Proust enact a reversal of sex, but I consider how the affective evidence of these trans moments do not amount to trans existence but raise the ethical necessity of holding open the difference between the ephemeral trans experiences within cis existence and the real struggle for trans existence of trans subjects today. Such a divide, however, is simultaneously held against the moments of intimacy that are capable of being produced across cis and trans subjects through such close reading and cross-inhabitation of bodies. To read trans literary history before trans, I thus propose the notion of trans inexistence through an interpretation of Jacques Maritain’s figure of the “angel” and Hegel’s “beautiful soul.” By situating Barnes’s and Jean Genet’s own characterizations of their transfeminine characters in terms of the angel in a post-Romantic, Catholic context, I interpret the trans angel as a figure of inexistence, tied to a minimal transcendence from the terms of history and materiality, including the sexed body. Finally, I consider how Genet’s phenomenology of proprioception draws together the problems of queer intimacy, haptic reading, and trans inexistence. In analyzing how Genet and his characters cross-inhabit each other’s bodies via proprioceptive mimicry, I unfold both the vast potential and the limits of the intimacies constructed across cis male and transfeminine lives and the accompanying role played by the literary mode of romance. (shrink)

Two things have been missing from discussions of Emerson and skepticism. The first—and the most glaring omission, given his precise, unambiguous definition of skepticism as “unbelief in cause and effect” (“Worship”)—is Emerson’s causationism. The second is his view of skepticism as organically related to a wide array of other forms of anti-realism or “romance.” Only the first can explain the second and thereby give us a better sense of how Emerson’s specific response to skepticism as a philosophical problem fits (...) into his broader, resolutely realist vision of the conduct of life. (shrink)

This article examines the role of Harlequin and Mills and Boon romance novels in the lives of young, single, middle-class women readers in urban India. The article focuses on the readers' interpretations of the novels given the differences in the sites of production of the romance novels and the sociocultural context of reception. Three themes are explored in this study: the influence of romance novels on the readers' expectations of marital sexuality and gender role patterns, the limitations (...) of novels in dealing with the social uncertainties that face the readers as young women in Indian culture, and the generation of readers' social anxieties due to the difference between the content of the novels and the sociocultural context in which they are read. The article concludes with a discussion of its implications for understanding global forms of culture, contested meanings of culturally transposed texts, and the shaping of popular cultural practices in a transnational arena around vectors of gender and socioeconomic class. (shrink)

The Romance of Science pays tribute to the wide-ranging and highly influential work of Trevor Levere, historian of science and author of Poetry Realised in Nature, Transforming Matter, Science and the Canadian Arctic, Affinity and Matter and other significant inquiries in the history of modern science. Expanding on Levere’s many themes and interests, The Romance of Science assembles historians of science -- all influenced by Levere's work -- to explore such matters as the place and space of instruments (...) in science, the role and meaning of science museums, poetry in nature, chemical warfare and warfare in nature, science in Canada and the Arctic, Romanticism, aesthetics and morals in natural philosophy, and the “dismal science” of economics. The Romance of Science explores the interactions between science's romantic, material, institutional and economic engagements with Nature. (shrink)

The romance customarily termed “classical” occupies a special place within Cambodian literature as a whole. The term betrays a certain Eurocentrism and is justified only because the written language of this type of text is neither the old Khmer of epigraphic inscriptions, nor modern Khmer, but the form of the language known as “middle Khmer,” which in theory designates the period from the fourteenth century through the end of the nineteenth century, and of which we have written records from (...) the eighteenth and nineteenth centuries, in the romances as we know them. While these romances share one significant feature with Khmer literature as a whole, they are distinguished by other characteristics that are peculiar to them. (shrink)

Tieu, Matthew Review of: Romancing Opiates: Pharmacological Lies and the Addiction Bureaucracy, by Theodore Dalrymple, Encounter Books, 2006.

In lieu of an abstract, here is a brief excerpt of the content:Iconicity, Romance and History in the Crónica SarracinaMarina S. Brownlee (bio)Though seemingly alien discourses, romance and historiography are perennially linked. Far from offering an atemporal imaginary universe that bears no resemblance to historical specificity, romance is constructed as a response to it. Rather than simply projecting for the reader the naïve appeal of a prelapsarian escapism from the harsh realities of history, romance involves a (...) continuous and sophisticated reinvention of itself as a response to an ever-changing historico-political configuration. It is, in fact, a reciprocal relationship. We frequently see history appropriating romance paradigms explicitly, as, for example, when Bernal Díaz chooses to present Spain’s New World conquest and colonization as a continuation of the exploits of Amadís [see Gilman].Whatever form it takes, romance is committed to the celebration of a coherent system of socio-political values. This extra-textual frame of reference can take a variety of forms—from political propaganda that offers a self-aggrandizing depiction of the nobility or patron for whom the text is produced, to escapist fantasy—futuristic or archaizing. It is nostalgia for the lost world of chivalric romance which Cervantes embodies in the figure of Don Quijote, a foolish old man driven mad by his obsession with this perennial literary form. Cervantes is rightly credited with a brilliant and programmatic use of romance constructs to communicate the ongoing historical crisis of the Spanish empire. A byproduct of this romance scrutiny of history was his invention of the modern novel.Testimony to the long-standing interaction between romance and history in Spain, as elsewhere in Europe, is evident in the fact that its first romances were based on history, the so-called “romances of antiquity.” In those texts historical figures and events are evoked for the purpose of legitimating the present, vernacular poets as they celebrate the empowering myths projected by their society, as well as their own literary endeavors by invoking venerable Latin models. The well known translatio studii et imperii topos offers such allegory of empire.At the same time, the confrontation of romance and historical representation can also have a destabilizing effect, and this is programmatically explored in Pedro del Corral’s Crónica sarracina (c. 1430). His text ponders the possibilities of romance and historiography in an obsessive manner and he accomplishes his task by examining representation of the most iconic figures associated with the fall of Spain in 711, namely, La Cava and her father, Count Julián, King Rodrigo, and Pelayo, the messianic hope of the Reconquest effort which would last nearly 800 years.Of related and perhaps even broader importance, Corral’s text merits careful reading because its exploration of iconicity related to Spain’s fall offers meditations on the workings of ideology, which inevitably proposes “imaginary or formal solutions to unresolvable contradictions” [Jameson 79]. Ideology—its unmasking—is intriguingly posited by Corral in powerful ways.If we turn to Corral’s text, we find a work offering an extraordinary consideration of history and romance—their profound interaction—whose full title reads, La crónica [End Page 119] del rey don Rodrigo con la destrucción de España (The Chronicle of King Rodrigo with the Destruction of Spain). My interest in the Crónica here is primarily to consider the mechanisms by which it gestures boldly toward what Žižek has described as the project of the postmodern critique of ideology—though it is clearly a recurring cultural constant—namely to “designate the elements which point towards the system’s antagonistic character, and thus ‘estrange’ us to the self-evidence of its established identity” [Žižek 7]. A reading of the Crónica provides an extended paradigm of such estrangement.Iberia is the area of the Mediterranean which underwent the most protracted encounter between Christianity and Islam, and the events of the Moorish invasion of 711 constitute Spain’s unique foundational subject-matter—on a par with the Troy legend and with King Arthur [see Deyermond 355]. Like them, the retelling of 711 is all about forging mythic connections in order to legitimize empire in a temporally remote time-frame. What interests me in this essay is... (shrink)

Trata-se de traçar uma aproximação comparativa entre dois autores oriundos de campos distintos do saber e da cultura e visualizar a mútua contribuição decorrente dessa aproximação, a saber, entre a filosofia de Paul Ricoeur (1913-2005) e o romance de Milan Kundera (1929-). Na medida em que tanto a filosofia de Ricoeur quanto a prosa ficcional de Kundera refletem sobre a constituição da subjetividade na modernidade, a presente contribuição visa estabelecer paralelos entre suas concepções de subjetividade e suas reflexões sobre (...) os destinos da prática da narração ficcional na virada do século. Tendo isso em vista, pretendo realizar uma interpretação comparativa entre as teses de Ricoeur, especialmente apresentadas em Tempo e narrativa e O si-mesmo como outro e as de Kundera, expostas tanto em seus ensaios quanto apresentadas de forma esparsa em digressões reflexivas que permeiam sua prosa romanesca. Meu intuito será mostrar como se diferenciam de forma discreta mas se sintonizam de forma robusta no que concerne a relação entre a constituição da subjetividade, o papel do romance na existência e a imersão desta em enredos historicamente considerados. (shrink)

Professional standards in medicine and psychology treat concurrent sexual relationships with patients as violations of fiduciary trust, and they sometimes rule out sexual relationships even after a clinical relationship is over. These standards also rule out sex with research subjects who are also patients, but what about nonclinical relationships where there are not always parallels to the standards of clinical medicine? One way to treat sex in nonclinical research relationships is to treat it as sex is treated elsewhere among adults, (...) as a matter of individual choice and responsibility. Alternately, one could ask oversight bodies to draw lines between research that can safely accommodate sexual relationships and research that cannot. One could even ask researchers to avoid all concurrent sexual relationships with their research participants, as happens in clinical medicine. Each of these options has drawbacks that undermine its value as a definitive solution. The deficiencies of these options highlight the need for a professional code of conduct for nonclinical researchers. (shrink)

Looking back in the late fifties on the rise of New York's postwar avant-garde, Clement Greenberg remarked that “some day it will have to be told how ‘anti-Stalinism,’ which started out more or less as ‘Trotskyism,’ turned into art for art's sake, and thereby cleared the way, heroically, for what was to come.” It was a good point, and one that Greenberg himself had largely neglected in his own accounts of American Modernism. The story of how New York Intellectuals and (...) Abstract Expressionists came to the defense of artistic vanguardism from a common past of Marxist commitments, and of how that defense ended in the fifties with a celebration of American cultural freedom, certainly had to be told. (shrink)

Suddenly, my research was brusquely interrupted by romance. Conceptually, that is.The precipitant was an essay by Becca Rothfeld about the collected letters of Iris Murdoch, a philosopher at Oxford who strayed, and flourished, as a novelist. “Her scholarly area was ethics, and her primary preoccupation was love, both romantic and platonic,” Rothfeld writes. “This was a topic whose manifest importance she felt was chronically neglected by her peers, most of them analytic philosophers.”1Murdoch is right, I thought. Socrates and friends, (...) lolling around the Symposium talking about beauty and boys, downplayed the physical side of romantic love. Dante chastely chased his beloved Beatrice into... (shrink)

Passion, Romance, and Qing: The World of Emotions and States of Mind in Peony Pavilion. By Tian Yuan Tan and Paolo Santangelo. Emotions and States of Mind in East Asia, vol. 4. 3 vols. Leiden: Brill, 2014. Pp. x + 1555. €349, $453.

In this unique and comprehensive book, George McCarthy examines the influence of Greek philosophy, literature, arts, and politics on the development of twentieth-century German social thought. McCarthy demonstrates that the classical spirit vitalized thinkers such as Weber, Heidegger, Freud, Marcuse, Arendt, Gadamer, and Habermas. With the romancing of antiquity, they transformed their understanding of the modern self, political community, and Enlightenment rationality. By viewing contemporary social theory from the framework of the classical world, McCarthy argues, we are capable of thinking (...) beyond the limits of modernity to new possibilities of human reason, science, beauty, and social justice. (shrink)

In Romances with Schools, John Goodlad steps out from behind the public persona of distinguished scholar and advocate for public schooling to offer a moving personal account of a life devoted to educating the young. He deftly interweaves fascinating personal details with reflections on many of the larger issues in education that he has explored throughout his career.

This article aims to explore and make theoretical sense of a stream of tourism that blurs the boundaries between sex, romance and intimacy, and diffuses the line between affectionate and economic relations. The empirical scope is the expanding international tourism of tango dancing—meaning the increasing number of people from all over the world travelling to Buenos Aires to dance tango and engage with the local tango culture. In contrast to women's sex tourism on the beaches of Jamaica and Ghana, (...) the relationships evolving in the Argentinean dance halls only occasionally lead to sexual affairs and temporary romances, but they are still part of a sensual geography made up of a transnational skin-to-skin intimacy. In addition, the relations between local dancers and tourists rarely result in economic transactions of sex for money; however, they engage with a growing market of intimate dance services and are part of the economic injustices and exotified projections of our post-colonial time. Hence, this article seeks to shed critical light over a broader area of transnational romance. The case of tango evokes new sets of critical queries regarding the trade of bodily intimacy and affection; the consequences of economic inequality in the area of heterosexual romance; and the production of class morals and racialised gender regimes. Through an exploration of these intimate practices, discourses and sets of emotions produced in this particular context, a complex landscape of market forces and close-embrace dancing unfolds. (shrink)

Nous examinons ici la lecture par Maurice Merleau-Ponty, dans son essai « Le Roman et la Métaphysique », de L’Invitée de Simone de Beauvoir. Nous montrons que pour comprendre en quoi il s’agit ici non seulement de métaphysique, mais encore de morale, il est nécessaire de spécifier en quel sens « Le Roman et la Métaphysique » met en scène des matériaux théoriques qui sont mis en place dans d’autres écrits, en particulier dans l’essai « Le Métaphysique dans l’Homme ». (...) Les personnages du roman, couples et trio, se mettent alors à incarner certes une métaphysique de l’intersubjectivité qui se tend jusqu’à la rupture, mais encore du faire être et de la conscience. -/- In this paper, I discuss Maurice Merleau-Ponty’s reading of L’Invitée by Simone de Beauvoir, in his essay “The Novel and Metaphysics”. I demonstrate that in order to understand why the question here is not only metaphysics but also morals, it is necessary to specify in what sense “The Novel and Metaphysics” stages theoretical materials that are introduced in other writings, in particular “The Metaphysics in Man”. The characters of the novel, couples and trio, come then to incarnate indeed a metaphysics addressing an inter-subjectivity that is straining itself until its rupture, but also of making be (faire être), and consciousness. (shrink)

We should not always expect parents to put their children first.

So far as we know, we are the only species capable of introspection, and thus, sometimes, of insight into our own individual and collective nature. Arguably, the entire discipline of philosophy and, much more recently, of psychology, is premised on this simply stated but complicated fact. We are also a social species, each of us desiring – perhaps, even needing – to live as one among others. Taken together, these perfectly trite observations invite a number of questions regarding the nature (...) of the self and self-consciousness, and about the possibility of successful intersubjective communication. One line of enquiry among these questions, one that is vigorously pursued in The Five Obstructions, concerns the extent to which an individual’s self-understanding depends on the availability to that person of a genuinely second-person perspective. In order properly to understand oneself, does one need to see oneself through another’s eyes – in particular, the eyes of another who is in relation with us? If the answer is affirmative, what obligations do we have to each other to provide secondperson perspectives? How is such a perspective to be achieved? How is it best achieved, morally speaking? As I will try to show here, The Five Obstructions provides a very powerful example of self-revelation facilitated by another. Towards the end.. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Comic RomanceBenjamin La FargeIOn the surface, it would seem that nothing could be more different from comedy than romance. Comedy deflates, romance inflates. Comedy is realistic, romance fantastical. Comedy reduces, romance elevates. Comedy is democratic, romance heroic. Yet there are underlying similarities. Both involve a conflict between destructive and restorative impulses. In both, appearances are typically mistaken for reality, and both end happily. Above (...) all, both are governed by a structure of illogical logic that generates laughter in one and fantasy in the other.The generic differences between comedy and romance are crucial to a proper understanding of their functions. Comedy celebrates the renewal of life, the relation of man to woman and of man to man, in a spirit of tolerant acceptance, while romance celebrates a narcissistic dream of the self. If the former is best enjoyed in a crowded theater, the latter is usually enjoyed in solitude. Romance is a fiction of wish fulfillment. Since wishful thinking is generally understood as childish, romance is often regarded as a poor cousin among literary genres, haughtily dismissed by highbrows who associate it with the infantile pleasures of their childhood reading and with lowbrow fiction in general. This is precisely why so many sophisticated readers are reluctant to grant science fiction and other forms of fantasy any enduring literary value. In their view the pleasures of such works can not be taken seriously.Yet those childhood pleasures have a lasting appeal that lingers in the mind of every adult. There must be few grown readers who do not harbor a special fondness for the first heroes and heroines they encountered in their favorite childhood stories. Many of those heroes possess [End Page 18] some magical power; and when they place that power in the service of justice, especially the justice of revenge, their appeal is irresistible. I have seen grown men, armed and dressed for battle, avidly reading Superman comics. What stirred them, as it stirred many educated men and women in their childhood, was the spectacle of an omnipotent hero fighting to overcome the wrongs of this world.Even if our sentimental memory of these heroic figures is nothing more than nostalgia for irrecoverable pleasures, their initial impact may be seen as having a formative influence on a child's expectations, as many commentators have thought. In either case, they are all descended from a venerable tradition of literary figures. Superman himself is a direct descendant of Sherlock Holmes, who comes from a long line of English heroes going back to Robin Hood and Merlin, each of whom is involved in righting some injustice. Ultimately, all of them are descended from Odysseus, who reclaimed his rightful kingdom, after an absence of twenty years, by murdering his wife's suitors.Romance, like comedy, is a conflict between destructive and restorative impulses, and these impulses are embodied in the characters that inhabit this dream fiction.1 Like comic characters, the characters of romance evoke in us the same responses of wish and fear, and like comedy itself romance builds toward a catharsis of those two emotions. To achieve that catharsis, romance requires our "willing suspension of disbelief" (as Coleridge put it so memorably), which we have no difficulty in granting, provided only that the story is skillfully told. What we want from romance is the fulfillment of the wishes it arouses; what we get from their fulfillment is the pleasure of story-for-the-sake-of-story. It is this pleasure, in fact, that constitutes the basic, generic purpose of romance.The difference between the two genres, however, can be seen in the kinds of wish and fear they evoke in us, for unlike comedy the feelings of wish and fear evoked by romance are uncomplicated by ambivalence. We may wish to experience the destructive impulse vicariously through the protagonist, but only in order to see him triumph in the end. We are so entirely sympathetic to his enterprise that we cannot possibly wish for his destruction. If he is destroyed, as in the case of Tristan, the hero of the eponymous medieval romance, we are forced to recognize that the love potion he drank with Isolde was his... (shrink)

It is commonly assumed that Victorian patriarchs disposed of their women by making myths of them; but then as now social mythology had an unpredictable life of its own, slyly empowering the subjects it seemed to reduce. It also penetrated unexpected sanctuaries. If we examine the unsettling impact upon Sigmund Freud of a popular mythic configuration of the 1890's we witness a rich, covert collaboration between documents of romance and the romance of science. Fueling this entanglement between the (...) clinician's proud objectivity and the compelling images of popular belief is the imaginative power of that much-loved, much-feared, and much-lied-about creature, the Victorian woman.Nina Auerbach, associate professor of English at the University of Pennsylvania, is the author of Communities of Women: An Idea in Fiction as well as articles on Victorian women and culture. The present essay is an excerpt from her forthcoming book, Woman and the Demon: The Life of a Victorian Myth, a mythography of Victorian Womanhood. (shrink)

The work of Northrop Frye, evenly divided as it is between those earlier and later literatures and equally influential in both fields, will serve to illustrate the literary-historical myth I have begun to describe. "Romanticism," he writes, "is a 'sentimental' form of romance, and the fairy tale, for the most part, a 'sentimental' form of folk tale."1 Frye's terms are directly adopted from Schiller's famous essay, "Über naive und sentimentalische Dichtung," though "naive" for Frye means simply "primitive" or "popular" (...) and is not historically identified, as it is in Schiller, with "classical," while "sentimental," as in Schiller, means "later" or "sophisticated." In adopting Schiller's terms, however, Frye has also adopted, though less obviously, Schiller's historical scheme. In the theory of modes that opens the Anatomy, Frye's division of Western literature into a descending scale from "myth" through "romance," "high mimetic," and "low mimetic" to "irony" is correlated to the historical periods in which each mode successively dominates: classical, medieval, Renaissance, eighteenth century, nineteenth century, and modern. Like Schiller's starker contrast of the "naive" or classical poet in touch with the natural world and the "sentimental" or Romantic poet alienated from it by modern civilization, Frye's logical and chronological scheme conceives literary history as a process of disintegration or displacement away from the natural integrity and univocality of myth and toward the self-conscious distancing and discontinuities of irony. The history of literature moves, following hard upon an Enlightenment conception of cultural history that derives as much from Rousseau as from Schiller and Friedrich von Schlegel, from the anonymous universality of myth to the individuality or eccentricity of modern fiction. Frye systematically avoids valorizing this "progress of poetry" in any of the ways it has been successively valorized by various schools of ancients and moderns, classics and Romantics, over the past three centuries. Yet he nonetheless repeats the historical scheme that underlies and generates these schools and their quarrels in the first place. It may turn out that the weakness of Frye's rehabilitation of romance is not his avoidance of history, as is commonly charged, but his inability to do without a version of it. · 1. Northrop Frye, Anatomy of Criticism , p. 35. Howard Felperin is the author of Shakespearean Romance and Shakespearean Representation. He has taught at Harvard, the University of California, and Yale and is currently Robert Wallace Professor of English at the University of Melbourne, Australia. (shrink)

This essay makes a number of distinctions between the motives of love and of duty, and argues that ideally they act in concert so as to generate constancy in loving relations. The essay revolves around a case in which a husband or wife is tempted to infidelity. It is argued that resistance to the temptation is optimally grounded in love for the spouse rather than simply in a duty to resist initiated perhaps through promise or vow. This is not, however, (...) to undermine altogether the significance of promises of this sort; it is rather to put a proper emphasis on the sentiment of love as an effective spring to action and to suggest that the sentiment itself ideally brings a past promise or vow of fidelity into present relief in a choice situation. (shrink)

In this paper I want to look at what the evidence from Complex Predicates can tell us about the design parameters of an empirically adequate theory of Universal Grammar (UG). This is a fertile field for investigation because, according to the standard assumptions of the field, complex predicates are monoclausal with respect to some properties and multiclausal with respect to others and this tension can only be resolved by giving up some cherished beliefs. After introducing the problem in Section 1, (...) Sections 2–4 will lay out the basis of the dilemma. Sections 2 and 3 argue that Romance complex predicates have an articulated rightwardbranching phrase structure, and cannot be analyzed as some sort of verb compound or verbal complex while conversely Section 4 shows how in many respects a complex predicate does behave just like a single predicate. Hence we require a notion of monoclausality that these complex predicates satisfy despite their articulated phrase structure. (shrink)

Reflection on the wrongs done by characters in Woody Allen’s romantic comedy “Manhattan” helps us get clear about the evidence required to judge them responsible and so liable to blame them for those wrongs. On the positive side, what is required is evidence that trust remains a possibility, despite the fact that they wrong, and this in turn requires evidence that the wrongdoer had, but failed to exercise, the capacity to do the right thing when they did that wrong. On (...) the negative side, what is not required is evidence of some explanation of that failure. This counts against a well-known suggestion of Gary Watson’s in “Skepticism about Weakness of Will.”. (shrink)