scholarly journals A Female Voice for Action in the Tragicomedia de Calisto y Melibea

Medievalia ◽  
2021 ◽  
Vol 53 (2) ◽  
pp. 71-90
Author(s):  
Connie L. Scarborough ◽  
Keyword(s):  
Personal Experience ◽  
Female Voice ◽  
Critical Attention ◽  
The Dead

Although most critical attention on laments for the dead in the Tragicomedia de Calisto y Melibea has focused on Pleberio’s long lament for Melibea in Auto XXI, Elicia’s lament for the loss of her lover, Sempronio, his companion, Pármeno, and her protector, Celestina, is highly significant for plot development. Her lament is a decisive event that sets in motion a plan for revenge that will ultimately lead to the deaths of Calisto and Melibea. This article demonstrates how Elicia’s personal experience of loss brings about significant changes in her characterization. With the help of Areúsa, Elicia hatches a plan for vengeance on the aristocratic lovers that she despises. Building on Louise Haywood’s studies of female laments for the dead, it examines Elicia’s curse on Calisto and Melibea and shows how her words have real and tragic consequences. In Rojas’s world, a prostitute’s expression of grief is a force strong enough to topple the elites of society and fundamentally contribute to the tragedia embedded in his work’s hybrid title.

scholarly journals "Perimeters of Grief": Elegy in and out of Bounds in Fred D'Aguiar's Memorial Poetry

2021 ◽  
Vol 64 ◽  
Author(s):  
Lourdes López-Ropero
Keyword(s):  
Continental Shelf ◽  
Collective Memory ◽  
21St Century ◽  
Virginia Tech ◽  
Modern Poetry ◽  
Poetic Form ◽  
Us History ◽  
Critical Attention ◽  
Critical Issues ◽  
The Dead

While Fred D’Aguiar’s preoccupation with acknowledging the dead and honoring their memory gives his work an idiosyncratic elegiac quality, it is with the publication of the poetic sequence “Elegies”, from the collection Continental Shelf (2009), that the author overtly pitches himself in the traditional terrain of the elegy as a poetic genre. This sequence, a response to the Virginia Tech shootings (April 16, 2007), the deadliest gun rampage in US history to date, invites critical attention not only because it remains critically unexamined, but also because through its title it presents itself as an elegy when an anti-elegiac turn has been identified in modern poetry. This paper will explore D’Aguiar’s intervention in the debate surrounding elegy’s contemporary function as a genre which oscillates between the poles of melancholia and consolation, thus contributing to shaping the contours of an ancient but conflicted poetic form for the 21st century. I will be arguing that D’Aguiar’s poem suggests that for elegy to serve the troubled present it may benefit from the cultivation of an unembarrassed attachment to the deceased, from avoiding depoliticizing tragedy and from the exposure of its socio-historical underpinnings. In sum, it should be open to engaging with such critical issues as the struggles of collective memory, or the turning of grief into mass-mediated spectacle.

(Im)possible Performatives

2017 ◽  
pp. 368-390
Author(s):  
Beatrice Allegranti
Keyword(s):  
Personal Experience ◽  
Human Suffering ◽  
Research Projects ◽  
Loss And Grief ◽  
Ongoing Relationship ◽  
The Dead ◽  
And Performance

Little is said about the process of loss and grieving as both corporeal and as a performative process. This chapter presents loss in a way that leads beyond the confines of discursive labels, diagnosis, and narrow views of human suffering, to an understanding of loss and grief as a performative, mutually entangled process between self, other, and the person ‘lost’. Building on previous research establishing links between psychotherapeutic and performance processes dealing with loss, this chapter explores the complexity of loss and grief as a corporeal process (biological, kinaesthetic, non-human) and discursive (psychological, sociopolitical) construction of bodies in motion. Drawing from personal experience of loss and dance-based research projects, the chapter suggests a possible corporeal reclaiming after loss: the dead can be in us, the living, and this (im)possible performative can contribute to feelings of wellbeing and transformation by providing a creative ongoing relationship with the person who has died.

Post-socialist disclosures: an imperfect translation of personal experience into ethnographic writing

1970 ◽  
Vol 8 (1) ◽  
Author(s):  
Madalina Florescu
Keyword(s):  
Personal Experience ◽  
Authoritarian Regimes ◽  
Post Mortem ◽  
State Terror ◽  
Cultural Form ◽  
The Past ◽  
Ethnographic Writing ◽  
Bodily Practice ◽  
The Dead ◽  
The Aesthetic

During the 1980s, disappearance was one of the means that authoritarian regimes used to control the knowledge of the population. State terror structures political subjectivities, for it produces cultures of fear, where speech becomes as diffused and unlocalisable as fear itself: rumours, denunciations, suspicion. The genre of the bodily practice of the commemoration of terror is, in this text, a symbolic exhumation, which allows the living to mirror themselves in the reflections of the dead. Disclosure is the aesthetic category of this post-mortem fissure that seeks to grasp the past that flashes up at moments of danger, to paraphrase Benjamin (1990), and to endow social disjunctures and the disappearance of language with a cultural form.

scholarly journals Classical Myth and Margaret Mahy's Young Adult  Fiction

2021 ◽  
Author(s):  
◽  
Michael Pohl
Keyword(s):  
Young Adult ◽  
Young Adult Fiction ◽  
Classical Myth ◽  
Critical Engagement ◽  
Critical Attention ◽  
Classical Myths ◽  
The Dead ◽  
Margaret Mahy ◽  
Selection Of ◽  
Classical Background

<p>This thesis investigates the importance of classical myth in the young adult fiction of Margaret Mahy. Mahy's novels are full of references to classical myths, both direct and indirect, in names of characters like Dido, Ovid, Ariadne or Hero; in storylines such as Flora's journey to the Underworld-like Viridian to rescue her cousin Anthea, strongly reminiscent of Demeter's rescue of Persephone from Hades, which take their inspiration from classical myth; in seemingly incidental references like the persistent comparisons of Sorry to Charon, the classical ferryman of the dead, in The Changeover. These references point to a deep engagement with the heritage of classical myth. It is an engagement that has not gone unnoticed by scholars of Mahy's work, but it is one that has not enjoyed the dedicated critical attention it deserves. This thesis explores the full importance of classical myth to Mahy's young adult fiction, and shows how an understanding of the classical background of a large selection of Mahy's major novels can both enhance our appreciation of what is already there, as well as open up new avenues for critical engagement with her work.</p>

Written in the Heart

2017 ◽  
Author(s):  
Erin Lambert
Keyword(s):  
Sixteenth Century ◽  
Fifteenth Century ◽  
Print Culture ◽  
Personal Experience ◽  
The Dead ◽  
The Individual

This chapter first explores how elements of fifteenth-century devotion were transformed in sixteenth-century Nuremberg. Using a genre of print culture, the illustrated song pamphlet, it argues that devotional culture provides methodological tools with which to engage with belief. One such pamphlet, containing a hymn originally written to accompany the preaching of the Joachimsthal minister Johannes Mathesius, then provides an avenue into the re-conception of belief in resurrection in Lutheran devotional culture. Mathesius’s writings about resurrection and the power of sight and sound reveal how faith in the raising of the dead was understood to be “written in the heart” of the individual. As Mathesius’s encounter with song in the midst of tragedy confirms, the formation of belief was thus understood to be contingent on personal experience. Yet as the spread of that song across Germany confirms, communal singing also forged an understanding of belief as a tie that bound.

scholarly journals A case of ingrown toenail with maggots: A personal experience

2020 ◽  
Vol 3 (1) ◽  
pp. 56-57
Author(s):  
Arshad M Malik ◽  
Manal Arshad Malik
Keyword(s):  
Coming Out ◽  
Personal Experience ◽  
Unusual Case ◽  
Nail Plate ◽  
Mentally Retarded ◽  
Ingrown Toenail ◽  
The Dead ◽  
Living Tissues ◽  
Nail Removal ◽  
Dead Tissue

The invasion of the skin and sub-cutaneous tissues with larvae (Maggots) is not infrequently seen in humans. It is basically the flies which feed on living tissues and lay eggs which develop into maggots and start eating the dead tissue. We present a very unusual case of a 35-year-old, mentally retarded man who presented with infected ingrown toenail. The patient had inborn deformity and crowding of the toes. On examination a large number of maggots were found crawling over and coming out from deeper tissues. The wound was explored and treated by excising the tissue alongside the nails with nail removal at the same time. The nail plate excised on the sides and maggots cleared.

scholarly journals Living with the Dying, Being-With the Dead

2018 ◽  
Vol 11 (1) ◽  
pp. 80-91
Author(s):  
Sam Traylor
Keyword(s):  
Personal Experience ◽  
Being And Time ◽  
The World ◽  
The Dead

Though Heidegger largely informs his conceptions of being and time through an analytic of the phenomenology of death, he treats death as an entirely personal experience. Through Robert Pogue Harrison’s Dominion of the Dead, and Tolstoy’s The Death of Ivan Ilyich, this essay examines the death of others, and how the experience of another’s death informs the life of the living. The death of others is the possibility of a shift in the world of the living; this possibility for the living arises primarily through relationship with the corpse.

Supernaturalism and the Vernacular Style in A Farewell to Arms

PMLA ◽  
1979 ◽  
Vol 94 (2) ◽  
pp. 311-318
Author(s):  
George Dekker ◽  
Joseph Harris
Keyword(s):  
Men And Women ◽  
Love Relationships ◽  
Vernacular Rhetoric ◽  
Critical Attention ◽  
The Dead ◽  
Farewell To Arms

AbstractMuted allusions to second sight and revenants are crucial to the method and meaning of A Farewell to Arms. Like Joyce, Pound, and Eliot, Hemingway draws on European sources—particularly ballads—for his folkloristic motifs; like them, he uses these motifs to invest chaotic contemporary scenes with order and universal significance. For him to adapt the “mythical method” of these writers, however, is a formidable problem, since his vernacular rhetoric cannot accommodate their open, bookish allusions. Consequently, his references to prophetic gifts and returns from the dead, while undeniably present, are not prominent enough to have attracted the critical attention they deserve. For they point and contribute to an unresolved dialectic, between skeptical male and “croyante” female, that is characteristic not only of the Catherine-Frederic relationship but, Hemingway implies, of all love relationships between men and women.

Creepshow

2019 ◽  
Author(s):  
Simon Brown
Keyword(s):  
Comic Book ◽  
Horror Film ◽  
Major Work ◽  
Stephen King ◽  
Critical Attention ◽  
Visual Style ◽  
History Of ◽  
The Dead ◽  
A Minor ◽  
The Relationship

Released in cinemas in 1982, Creepshow is typically regarded as a minor entry in both the film output of George A. Romero and the history of adaptations of the works of Stephen King. Yet this lack of critical attention hides the fact that Creepshow is the only full collaboration between America's bestselling author of horror tales and one of the masters of modern American horror cinema. Long considered too mainstream for the director of Dawn of the Dead (1978), too comic for the author that gave audiences the film versions of Carrie (1976) and The Shining (1980), and too violent for a cinemagoing public turning away from gore cinema in the autumn of 1982, Creepshow is here reassessed. The book examines the making and release of the film and its legacy through a comic-book adaptation and two sequels. The book's analysis focuses on the key influences on the film, not just Romero and King, but also the anthology horrors of Amicus Productions, body horror cinema, and the special make-up effects of Tom Savini, the relationship between horror and humour, and most notably the tradition of EC horror comics of the 1950s, from which the film draws both its thematic preoccupations and its visual style. Ultimately the book argues that not only is Creepshow a major work in the canons of Romero and King, but also that it represents a significant example of the portmanteau horror film, of the blending of horror and comedy, and finally, decades before the career of Zack Snyder (Watchmen, Man of Steel), of attempting to recreate a comic book aesthetic on the big screen.

scholarly journals Classical Myth and Margaret Mahy's Young Adult  Fiction

2021 ◽  
Author(s):  
◽  
Michael Pohl
Keyword(s):  
Young Adult ◽  
Young Adult Fiction ◽  
Classical Myth ◽  
Critical Engagement ◽  
Critical Attention ◽  
Classical Myths ◽  
The Dead ◽  
Margaret Mahy ◽  
Selection Of ◽  
Classical Background

<p>This thesis investigates the importance of classical myth in the young adult fiction of Margaret Mahy. Mahy's novels are full of references to classical myths, both direct and indirect, in names of characters like Dido, Ovid, Ariadne or Hero; in storylines such as Flora's journey to the Underworld-like Viridian to rescue her cousin Anthea, strongly reminiscent of Demeter's rescue of Persephone from Hades, which take their inspiration from classical myth; in seemingly incidental references like the persistent comparisons of Sorry to Charon, the classical ferryman of the dead, in The Changeover. These references point to a deep engagement with the heritage of classical myth. It is an engagement that has not gone unnoticed by scholars of Mahy's work, but it is one that has not enjoyed the dedicated critical attention it deserves. This thesis explores the full importance of classical myth to Mahy's young adult fiction, and shows how an understanding of the classical background of a large selection of Mahy's major novels can both enhance our appreciation of what is already there, as well as open up new avenues for critical engagement with her work.</p>

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