Search

In Samrat Upadhyay's The Guru of Love (2003), the political and the personal intersect, with the novel as a genre exposing how they are interwoven. In the Nepali-American novelist Upadhyay's novel, democracy and liberalism operate through the management and redirection of desires, instead of constraining them. The novel itself, as a genre, becomes the canvas for orchestrating this transformative process, engaging both characters and readers. Set against the backdrop of Nepal in the global south, The Guru of Love challenges conventional notions, suggesting that democracy's efficacy does not hinge on industrialisation and education alone. Instead, democracy itself can serve as a potent political tool for nurturing a citizenry that favours such politics. As this novel shows, the key tenet of liberal and capitalist governance lies in the augmentation and regulation of the individual's desires. Upadhyay's novel is a testament to the celebration of individualism and shows the workings of capitalist and liberal deregulation as a mechanism for managing and channelling desires. It portrays how these political ideologies shape and mould the individual's personal aspirations and society's political paradigms. [ABSTRACT FROM AUTHOR]

This reflection article has the purpose to analyze the possibilities of the desire in the school. Thus, a pedagogy of desire is presented, articulated to three educational and curricular principles of the 21st century, as a call to the endurance, to the solidarity and to the responsibility to overcome the hopelessness of the current crises. The text is structured in three parts. In the first, an approach to desire is made --bound to the Eros and to the literature- as a way to confront with financial capitalism. In the second, it deepens in three dimensions of the desiring spirit, under an idea of integration and simultaneity. Finally, the possibilities of the desire in the school educational experience are pointed out. From the above, it is concluded that if the school education aspires to transcend and face the current crises, it must take the desire -and therefore the endurance- as a founding principle of its interactions, where the desire for the other, for oneself and for the knowing is an opportunity that moves to action in search of a preferable common life. [ABSTRACT FROM AUTHOR]

Lamia is John Keats's last narrative poem and during its composition, his anxiety over money vibrates throughout the poem. His representations of money in the poems relate to the larger debate about the effects of trade and commerce on the social, economic and political condition of England. In this longer poem, Keats portrays Lamia as an ambiguous figure of innocence with the power to attack other people's dreams. He takes the image of the serpentwoman who devours men and gives her a face and a voice. She is associated both with the demon and the innocent maiden. Lamia is also centred on female experience and based on a woman's feelings about love. Keats's cultured characterization of Lamia indicates his shifting feelings about love. She gives up her physical existence and hides her true identity, but her beloved sees her mere an object to fulfill his desires. His romantic love is egotistical with selfish desires which show they have the different feeling. If love is silliness, then one should dismiss love. But one is suffering by it instead and faces the tragic ending. [ABSTRACT FROM AUTHOR]

Desire knows no boundaries. However, when an author depicts an amorous scene that involves ungendered characters - those whose gender is not disclosed in the text - language creates boundaries around the desire. Desire is chained and shackled under the restriction of language in an effort to keep the gender hidden. In ungendered narrative, bodies express desire, but we never know to what gender the bodies belong. The reader is in constant search of clues to gender-segregate the bodies, but the author does not let the reader succeed. Moreover, the gendered nature of language comes to the fore, making hiding gender a daunting task for writers. The author manipulates the language to depict the lust of bodies, devoid of gender. The description of intimate moments in gendered narratives is pleasure-inducing for readers, but in ungendered narratives it becomes a thorny issue. The solution to this problem is to stop searching for clues to a character's gender by looking beyond the binaries of gender. The lovemaking should be treated as an act that does not require the knowledge of what is between legs, but the genuine desire in the heart. This realisation makes the readers sense the same passionate experience felt by the bodies of the characters. The readers witness how love transcends the limitation of gender and achieves greater significance at the hands of writers of ungendered narratives. [ABSTRACT FROM AUTHOR]

A literary criticism of the book "The Vine of Desire," by Chitra Banerjee Divakaruni is presented. It explores the concept of female friendship, migration and cultural identity and outlines the characters and the representation of desire, love and affection in the complex and complicated scenarios of the story.

This paper aims to analyze Judith Butler's contributions to the recent interpretations of the introduction of desire in Hegel's Phenomenology of Spirit (1807), proposed by American scholars. In order to achieve this goal, we situate the appearance of desire in Hegel's Phenomenology of Spirit. Then, we reconstruct the main recent American readings. Finally, we examine Butler's interpretation. In the conclusion of this paper, we systematize the most important features of Butler's reading: (a) the meaning of desire in the context of its moment of emergency; (b) the way in which Butler studies this issue, which consist in a thorough reading of chapter III of Hegel's Phenomenology of Spirit; and (c) Butler's rhetorical perspective of desire. [ABSTRACT FROM AUTHOR]

Juan de Flores' Grimalte y Gradissa is a story in which the dramatic tension is sustained by desire and by the active drive to bring that desire into fruition. Flores readapts Boccaccio's protagonists, introducing them into his own diegetic world to attempt an intertextual reconciliation. As the drama unfolds, Fiometa's desire for Pánfilo and Pánfilo's "desire" for Fiometa are mimicked by Flores' eponymous characters. Gradissa sends Grimalte to attempt their reunion. Like Gradissa had fallen in love with Pánfilo in absentia, Grimalte falls for Fiometa. This study argues that Gradissa sends her courtier to Italy because she is secretly in love with Pánfilo. Grimalte accepts her command in order to earn Gradissa's favor. In the process Grimalte falls in love with Fiometa. [ABSTRACT FROM AUTHOR]

Copyright of Renaissance & Reformation / Renaissance et Réforme is the property of Iter Canada and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article critiques the book "Jahajin" by Peggy Mohan, focusing on the themes of longing and belonging.

In his article "Agency, Desire, and Power in Schnitzler's Dream Novel and Kubrick's Adaptation Eyes Wide Shut" Ari Ofengenden explores Arthur Schnitzler's novella and Stanley Kubrick's adaptation to offer insights into the ways in which desire disrupts and clashes with social structures (i.e., family, relationships, and society in general). Ofengenden shows how the dynamic in which disruptive desire is ideologically narrativized back into acquiescence with the status quo. Ofengenden interprets the narrative of the film as unique intuitions into action and agency where sources of agency are opaque to the subject and arise by an impenetrable combination of desire and power. [ABSTRACT FROM AUTHOR]

An interview with writer, director, and sound designer Chris Goode is presented. Goode outlines the concept of theatre as a space. He discusses the role of space, desire, bodies, and nakedness in theatre. He mentions that nakedness is placed in a dialogue with nudity, and identifies stage nakedness as a research question threading through his theatre-making.

This paper provides a psychoanalytic reading of the unconscious of the central character of Shakespeare's Hamlet with a view to understanding if and how Hamlet's procrastination is contrived from his mother's desire. According to Freud, Hamlet delays to take the revenge as Claudius did the same thing what Hamlet in his unconscious wanted to do. It means the oedipal conflict operates at the bottom of Shakespeare's Hamlet. On the other hand, Lacan does not identify Hamlet's delay with Claudius's crime, rather he reads the subversion of Hamlet's subjectivity in the play's dialectic of mother's desire. This paper analyses Lacan's interpretation of Hamlet's desire and explores that Hamlet's hesitation in avenging his father's death by murdering his uncle is not because of his suffering from Oedipus complex rather because of his narcissistic attachment with the desire of his mother. [ABSTRACT FROM AUTHOR]

In postmodern outlook, the boundary between the different divisions made inside the mind is blurred. It is the Other of one's self that indirectly defines the identity of a character or makes it abject. The purpose of this study is to recognize the adjustment identity of Blanche in 'The Streetcar Named Desire' in diverse social contexts. The identity of Blanche is under surveillance through some key elements in the postmodern bedrock. The chains of signifiers that are produced by the considered character distinguish the mayhem of the mind that is trying to find a new identity in the altered social context. The study aims to unravel the desire for the Other or the hidden alter that is trying to adapt itself to the new environment while the character is unraveled as abject for the others in the special context. The dangling state of Blanche's mind is exposed through multiple features of the concepts to embody the blurring border between the Other and the self. [ABSTRACT FROM AUTHOR]

Copyright of Revista Estudos Feministas is the property of Revista Estudos Feministas and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article presents literary criticism of the book "Sir Charles Grandison" by Samuel Richardson. It focuses on the role of suspense in the novel. According to the author, Richardson's ambivalent treatment of suspense illustrates his difficulties as an author in combining themes of virtue, desire, and romance in the context of social changes regarding marriage and individual choice. Details on the relationship between suspense and the love of virtue in Richardson's writings are presented.

An essay is presented which critiques the five-poem sequence in Tim Lilburn's first poetry collection "Names of God." Topics discussed include the fundamental aspects of his poetics as established by the weaving of scientific and theological contemplations in the poems, exploration of the nature of God, the cosmos, light, mind and matter in his poems and desire as the recurring focus in both his early and recent texts.

Rasselas (1759), a story of the quest for a life of flawless happiness, could be read as a rejection of the facile assumptions and assurances of philosophical Optimism in the context of the Enlightenment. In this article an attempt is made to follow Rasselas along his quest and see, through his eyes, the emerging picture of the insatiability of man's desires. The aim is to throw into high relief the central humanist motif of the circular orbit of human desire as it revolves in harmony with all other particles of the material universe, and to trace the text as it recoils on itself in an allegorical manifestation of Rasselas' pursuit. [ABSTRACT FROM AUTHOR]

This article analyzes the use of digression in La novela luminosa (2005), by the Uruguayan writer Mario Levrero, as a strategy which, through the suspension and the continued displacement of narration, also operates as a transgressive practice aimed at questioning the construction of the discourse itself. On the border between fiction and diary, the narration tends to dialogue with an impossible novel that Levrero must finish for a Guggenheim Fellowship. On the one hand, through the exploration and wanderings of writing, in this daily record digression begins to define an aesthetic or loiterature; on the other, this technique becomes a subversive force that, like desire, tends to destabilize the order of the story. [ABSTRACT FROM AUTHOR]

A literary criticism of the book "The Genius" by Theodore Dreiser is presented. It explores the presence of desire as a theme of the book, exploring topics including the attitudes of Americans towards desire at the book's publication in 1915, Dreiser's relationship with desire and Christian Science, and how his naturalism accommodated his interest in Christian Science.

The article presents literary criticism of the book "The Adventures of Roderick Random" by Tobias Smollett. Particular focus is given to male-male relationships in the novel. According to the author, the homophobia Smollett displays in his treatment of the characters Captain Whiffle and Lord Strutwell can also be read in the novel's other same-sex relationships. Details on the roles of physicality and desire in the novel's male-male relationships are also presented.

A literary criticism of the novels "Native Son" and "The Outsider" by Richard Wright is presented. It examines the the relationship of the novels and their narratives to the medium of film and Wright's use of cinematic techniques, particularly focusing on the idea of the white gaze. The author examines themes of desire, agency, subjectivity, spectacle, and gender. She also considers male sexuality in Wright's characters Bigger Thomas and Cross Damon.

The article explores "Nausicaa," episode 13 of the novel "Ulysses" by James Joyce. It mentions that "Nausicaa" produces a cripped erotic through its counter-narrative to disabled asexuality and a nuanced understanding of how gender, desire, and disability function. It further mentions that "Nausicaa" challenges ocularcentric constructions of desire and heteronormative constructions of sex itself.

A literary criticism of Francesco Petrarch's poem series "Rime sparse" is presented. The author explores the paradoxical state in which the subject is both privileged and submissive to its object which corresponds to the technical sense of the term passion. He examines Petrarch's poetry in the Aristotelian and Scholastic traditions as well as the concepts of passivity, desire, and agency in the poems.

A literary criticism of the book "Los cuadernos de don Rigoberto" by Mario Vargas Llosa is presented. It considers the author's depiction of desire and masochism and reflects on the limits of literary fantasy from the perspective of psychoanalysis. An overview of the story and the main characters is also given.

The author offers an analysis of the novel "The Female Quixote, or the Adventures of Arabella," by Charlotte Lennox. He argues that Arabella's lesson in desiring accounted for her transformation and the book's change from the guidelines of romance to the rules of the novel. He suggests that the link between romance and novel holds theories that are valuable for both genre.

A literary criticism of the novel "Invisible" by Paul Aster is presented. The author examines the influence of the play "Antigone," by Sophocles, on the novel, addressing themes of nothingness, desire, and energy. The author suggests that the novel is a retelling of the plot of "Antigone" and addresses the concepts of virtual worlds as discussed by French philosophers Gilles Deleuze and Félix Guattari.

Despite authoring three consecutive neo-Victorian novels coinciding with the upsurge of the genre to literary prominence from the 1980s onwards, Maggie Power remains a critically neglected writer. Mirroring important themes explored by her much better known contemporaries in the genre, such as Margaret Atwood, A.S. Byatt and Sarah Waters, Power's work lends itself particularly well to exploring neo-Victorian gender issues and sexual politics, as well as intertexuality and literary re-vision. In this interview, Power discusses the abiding Victorian influence on present-day culture and literature, recurrent tropes of demon lovers, gothic obsession and entrapment in her work, her fascination with the Pre-Raphaelites, and the current market for gothic romance. [ABSTRACT FROM AUTHOR]

This article offers the author's insights on the depictions of tragic mulatta stereotype and regional aesthetics in Kate Chopin short stories "La Belle Zoraïde" and "Désirée's Baby," and the book "The Awakening." The author states that Chopin's illumination of tragic mulatta figure in her texts calls a reconsideration of a tragic mulatta stereotype that moves between evocations of sentimental and exotic, portraying a pervasive paradigm of post-colonial image and southern local color fiction. Furthermore, depictions of tragic mulatta by Chopin represent a vital point of concurrence of race, gender and region towards racial anxiety. He suggests that Chopin's fiction offers an involvement of race that transcends exoticism of local color by expressing the feelings of fear and desire.

The article explores the mimetic desire based on the mimetic theory of philosopher René Girard in the Nigerian novel "Titi: Biafran Maid in Geneva," by Chike Momah. It first offers a brief overview of the author's biography and the plot of the novel. The appraisal of both Titi and Eddy's white girlfriend Suzanne of each other reflects the theory of Girard that desire is an illusion if it learned from the other. Girard added that jealousy becomes intense if the mediator is closer which is evident in the envy between women when Eddy visits.

A literary criticism of the book "A Heartbreaking Work of Staggering Genius" by Dave Eggers is presented. It explores the concept of post-traumatic sexual desire as used in Eggers' memoir and suggests that it constitutes what the author calls radical mourning. Topics discussed include hypersexual anxiety, breathing, and exhaustion.

The article discusses the concept of considering the novel as a production of desire. The author believes that writer Peter Brooks has established the correlation between desire and novel in his statement that the desire to read is the desire for the end reached through the plot of narrative. From a psychoanalytic perspective, the author suggests that a Freudian pattern of desire explains and produces the novel while an anti-oedipal pattern explains the curiosity of a reader.

A literary criticism is presented of the 18th-century novels "Love in Excess" and "The Distressed Orphan; or, Love in a Mad-House" by Eliza Haywood. The novels are analyzed in the context of her philosophical poems to show Haywood's version of seduction narratives and the master narrative of patriarchy. Haywood's use of the theme of confinement to emphasize the power of language as a vehicle for female expression of desire is discussed.

The author explores the theories of woman, desire and capital in the work of Stephen Heath, Judith Butler and Joan Riviere. It highlights Riviere's theory of masquerade and discusses the views of other analysts and theorists concerning femininity, masquerade, heterosexual matrix, and female homosexuality. She also shares her insights about the issues of consumption, feminine identity and the representation of women's desire and needs by women's sex shops like Venuss Envy.

Copyright of Electronic Turkish Studies is the property of Electronic Turkish Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article explores the depiction of women in the poetry of authors Ovid and Edmund Spenser. The author illustrates examples of Ovidian influence on Spenser's book "The Faerie Queene" and how the female characters in the poem diverge from this influence. Spenser's characters embody an anguished mental state and redefine female devotion. Other topics include the translator George Turberville, the book "Heroides," and erotic desire in literature.

Lillian Hellman's The Children's Hour was notoriously successful in its première in 1934, and its revival in 1952, because of its inclusion of a lesbian theme. Paradoxically, the play's reception has largely focused on its symbolic depiction of the effects of slander, instead of on its depiction of female homosexuality. In recent years, the representation of same-sex desire in Hellman's play has begun to be broached, being critically read as blatantly homophobic. In this article, we would like to revise the play's agenda by proposing that its articulation of lesbianism is an indictment of the patriarchal containment of women's political and sexual desire. [ABSTRACT FROM AUTHOR]

Presents a literary criticism of the short story collection "Unspeakable Practices, Unnatural Acts" by Donald Barthelme. It outlines the portrayal of men and masculinity in the collection and comments on the role of sexual desire in the literature. Specific stories are analyzed, including "The Dolt" and "See the Moon." The plot and characters of the stories are described and the victimization of men and representation of women in the stories are also analyzed.

This article identifies a number of scenarios of desire operative in Pascal Bruckner's fiction "Lunes de fiel." In "Lunes de fiel," class distinctions are marked but they do not serve as the organizing principle of the novel. The elements of Bruckner's fiction are described. The predominant cultural visions of sexual activity in Bruckner's writings are described.

The article examines the articulation of the sexual desire of a daughter in the novel "Dombey and Son," by Charles Dickens. The languages of domestic sentimentality that create the fantasy of female-child purity and innocence represent the desire of the heroine. The author channeled the sexual energy of the heroine into longing for her future husband and used coded forms to portray a sexual subject. The looseness of the hair of women characters suggests an attraction and alliance between them.

This article examines some of the key interlocutors that Argentine poet and anthropologist Néstor Perlongher chose for his project to create and investigate spaces for desire and communities based on desire. The writers are of the avant-garde whom Perlongher identify as present in his work and the difference of the work of Perlongher with his stated interlocutors. Discusses the purpose of Perlongher's relationship with and appropriation of the avant-garde.

Focuses on the interpretation of the play "The Merry Wives of Windsor," written by William Shakespeare. Depiction of amorous and amoral intertexts on the characters' speech; Presence of evident gestures toward same-sex desire in the play; Assessment of the actions of the characters.

The article presents information on several mid 18th century prose narrative accounts of women who disguised themselves in men's clothing and convincingly passed as men. These passing women narratives commemorate such figures as Hannah Snell, who served as James Gray in both the army and navy and Anne Bonny and Mary Read, female pirates who first fall for each other while disguised and then become fast friends after revealing to one another their "true sex." These texts explore connections between concepts, norms, and codes of masculinity and femininity and modes of erotic desire and behavior.