Thinking about Satire

2019 ◽  
pp. 473-491
Author(s):  
Ashley Marshall
Keyword(s):  
Eighteenth Century ◽  
Objective Method ◽  
Primary Material

What did eighteenth-century writers and critics have to say about satire? The relevant primary material is voluminous, including Dryden’s Discourse, Pope’s Epilogue to the Satires, essays and sermons on ridicule, authorial prefaces, and passing strictures upon particular satires. The commentary is often occasional, subjective, and partisan, usually either focusing on single works or operating in the realm of abstraction. Satire was a contentious subject for many readers and writers. It produced anxiety, because of its socio-moral consequences and because of the uncertainties of the form. No consensus existed in the realms of definition, terminology, objective, method, or target. Contemporary attitudes towards satire were decidedly mixed; few in the eighteenth century would consider satire the achievement of the age. But 1660–1745 was the aetas mirabilis of English satire, marked by rich debates about ethics and efficacy, about the aesthetics and humanity of humorous judgement—and a time of satiric production that is, quantitatively and qualitatively, astonishing.

Liverpool’s Local Tints

2017 ◽  
Author(s):  
Jessica Moody
Keyword(s):  
Eighteenth Century ◽  
Public Art ◽  
Public Memory ◽  
Port City ◽  
Primary Material ◽  
Identity Narratives ◽  
A Site

This chapter considers the ‘maritimization’ of slavery in the former slave-trading port city of Liverpool. Taking John Beech’s argument that Britain’s memory of transatlantic slavery has predominantly been framed as a purely ‘maritime’ activity, this chapter takes a closer look at how this plays out in the country’s foremost slave-trading port city of the eighteenth century. It argues that local ‘maritime’ identity narratives themselves act to obscure Liverpool’s memory of transatlantic slavery whilst simultaneously also revealing connections with the enslaved – particularly through engagements with ‘Goree’, here presented as a site of memory. The chapter draws on a broad range of primary material to reveal and map Liverpool’s public memory discourse, from guidebooks and written histories, newspapers, anniversaries, museums, architecture and public art.

Literature in its Media Context

2020 ◽  
Vol 16 (2) ◽  
pp. 189-201
Author(s):  
Svend Erik Larsen
Keyword(s):  
Eighteenth Century ◽  
Jonathan Swift ◽  
History And Memory ◽  
Mutual Relation ◽  
Primary Material ◽  
The Media

AbstractLiterature consists of works of language, but it has never been able to function as literature without being part of a cluster of interconnected media. From time immemorial, oratures require performances to work and thus cannot exist without use of bodily signs or use of various tools and instruments. Today, of course, this extended media landscape is vaster and more complex and distributed through more differentiated and numerous agencies than ever before, which also changes the mutual relation among the media involved in the production, dissemination, and use of literature, as well as changing the position of literature in the media landscape. A growing anonymity of the agents for mediation also challenges the articulation of history and memory in today’s cultures. The aim of the paper is to contribute to an understanding of the dynamics of the entire cluster of media with literature at its center, rather than making an account of the separate media involved. The canonical Anglo-Irish eighteenth-century writer Jonathan Swift will serve as my primary material.

Disappearance Voltage Determinations Using a Convergent Beam

1971 ◽  
Vol 29 ◽  
pp. 184-185
Author(s):  
W. L. Bell
Keyword(s):  
Second Order ◽  
Objective Method ◽  
Uniform Thickness ◽  
Rocking Curve ◽  
Crystal Perfection ◽  
Kikuchi Line ◽  
Central Maximum ◽  
Diffraction Patterns ◽  
Convergent Beam ◽  
Beam Technique

Disappearance voltages for second order reflections can be determined experimentally in a variety of ways. The more subjective methods, such as Kikuchi line disappearance and bend contour imaging, involve comparing a series of diffraction patterns or micrographs taken at intervals throughout the disappearance range and selecting that voltage which gives the strongest disappearance effect. The estimated accuracies of these methods are both to within 10 kV, or about 2-4%, of the true disappearance voltage, which is quite sufficient for using these voltages in further calculations. However, it is the necessity of determining this information by comparisons of exposed plates rather than while operating the microscope that detracts from the immediate usefulness of these methods if there is reason to perform experiments at an unknown disappearance voltage.The convergent beam technique for determining the disappearance voltage has been found to be a highly objective method when it is applicable, i.e. when reasonable crystal perfection exists and an area of uniform thickness can be found. The criterion for determining this voltage is that the central maximum disappear from the rocking curve for the second order spot.

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