Lucy Hutchinson,Lucretius and Soteriological Materialism

Abstract

This article examines Lucy Hutchinson's pervasive materialism, arguing that her use of corporeal imagery – in part shaped by her early translation of Lucretius – contributes to the soteriological purposes of her later works in multiple ways. Criticism on Hutchinson has tended to divorce the materialist imagery of her translation from the Calvinistic themes of her other writings. I argue, however, for the lasting presence of a materialism constructed from the vocabularies of Lucretian Epicureanism, Neoplatonism and John Owen. Focusing especially on the poem Order and Disorder and Hutchinson's theological tract to her daughter, I show how she uses materialism as a “means” to achieving assurance and grace. I suggest that these various responses to physical experience are part of Hutchinson's enduring investigation into the ontology of “Order” and “Disorder”, and her quest for stable spiritual being.     

Sex,Fashion, Work: James Joyce and the Late-Victorian Actress

This article considers the presence of three late-Victorian actresses (Mrs Patrick Campbell, Eleonora Duse, and Sarah Bernhardt) in the work of James Joyce. The first appears in Joyce’s short story ‘A Mother’ (Dubliners). The strong influence of the other two is also detectable in the characterization of Ulysses’ heroines, Gerty MacDowell and Molly Bloom, and in a seminal text of late modernism, Finnegans Wake. In ‘A Mother’, Joyce’s attention to the importance of fashion on the stage and to poor working conditions for female performers calls to mind the career of Mrs Patrick Campbell. In Ulysses, Gerty’s performance in ‘Nausicaa’ recalls the techniques of the Ibsenian actress Eleonora Duse, known especially for her blushing; I argue that, given this famous skill and Joyce’s fascination with her, Duse directly informs Gerty’s characterization. Finally, Molly Bloom’s repertoire of dramatic references, including Trilby, Lillie Langtry, Sarah Bernhardt, publicity photographs, and Pineroticism, suggests Joyce’s immersion in a late-Victorian dramatic world. After sketching these connections in detail, I show that his interest in these actresses encourages scholars to continue to question the validity of traditional periodization boundaries. I end by arguing that the appearance of these actresses in these examples of early, high, and late modernism indicates the cultural richness of the long nineteenth century for Joyce, which continues throughout modernism’s successive phases.     

Italian identity: Catholic responses to secularist definitions,c.1910–48

In united Italy, assertions by Catholic militants about their nation's true identity have been bound up with polemic against secularist forces and with claims about the position due to the Church in Italian society. They have insisted that Italy's authentic traditions are Catholic and that her true greatness resides in her being the heart of Christian civilization. Hostile or threatening ideologies, e.g. idealist philosophy and Communism, have been stigmatized as alien to Italian tradition. In the face of Fascism, with which the ‘Catholic world's’ relations were ambivalent, there was a major ideological campaign to assert a Catholic definition of the keyword romanità. The way in which Catholic theoreticians have defined the ‘nation’ in organicist terms have been linked to strategies of ideological defence against state forms, whether liberal or Fascist, perceived to be overweening.     

Catholic resistance theory: William Barclay versus Jean Boucher

ABSTRACT

This article examines William Barclay's response to Jean Boucher's De Justa Abdicatione Henrici Tertii (1589) in view of the complexities of Catholic political thought in this post-Tridentine period. It argues that Barclay's famous category of ‘monarchomach’ is problematic for its avoidance of the issue of confessional difference, and that on questions of the relationship between the respublica and the ecclesia Barclay struggled to find an adequate response to Boucher in his De Regno et Regali Potestate (1600). His De Potestate Papae (1609) is treated as the intellectual extension of his battle with Boucher, and more broadly his confrontation with the position of the Catholic League and Jesuits on indirect papal power. By considering Barclay's works in the context of French Gallicanism and the Catholic League in the French Wars of Religion, this discussion aims to reposition Barclay in relation to other Catholic political theorists and thereby re-evaluate the category of Catholic resistance theory.     

Auctoritas as sanctitas: Balthild's depiction as ‘queen-saint’ in the Vita Balthildis

This paper assesses the representation of Queen Balthild of Neustrian Francia in her seventh-century Vita as a new kind of saintly figure, a ‘queen-saint’ rather than as a traditional saint-queen. Balthild made herself unpopular among certain factions of the Frankish nobility during her son's minority by interfering in Church matters. In particular, she compelled bishops to grant episcopal exemptions to monasteries and promoted her own, unpopular, candidates to Neustrian dioceses, leading to her identification as a ‘modern-day Jezebel’ by her enemies, and her banishment to the monastic community at Chelles. Modern scholarship on Balthild, led by Lynda Coon, has assumed that Balthild's biographer was keen to erase from popular memory her actions as queen, actions which could be interpreted as inappropriate behaviour for a saint, and that the Life reflects this by emphasising Balthild's more stereotypical saintly behaviour as a nun once she had retired to Chelles. However, it will be argued that, rather than underlining her humility, the author of the Vita Balthildis was in fact keen to show that her interference in Church matters should be seen as contributing to her identification as a saint, by stressing that her autonomous and authoritative use of her power was actually a positive attribute.     

Writing from the margins: Marina Carr's early theatre

This article analyses Marina Carr's first four plays: Low in the Dark (1989), The Deer's Surrender (1990), This Love Thing (1991) and Ullaloo (1991). It aims to show how Carr seeks to eschew the mimetic conventions of what can be seen as a dominant, patriarchal theatre establishment, marking (and possibly maintaining) her marginal position as a theatre-maker at the time. I argue that Carr, at this point in her career, was engaged in distinctly feminist theatre practices. Materialist feminist discourse provides a useful framework for understanding what the emergent dramatist was trying to achieve and the meaningful possibilities of her work. A study of this phase of Carr's career, encompassing all four works preceding The Mai, has not been offered in research on the dramatist to date. In addition to expanding the history of feminist theatre practice in Ireland, it promotes an enriched understanding of Carr's theatre as a whole.     

Margherita of Cortona: Women,Preaching, and the Writing of Hagiography

Abstract

This article examines Margherita of Cortona (1247–97), who took a penitent habit in the late 1270s. In 1290 Margherita was granted permission to rebuild the church of San Basilio near her cell and a secular priest became her confessor. After her death in 1297, her former confessor, the Franciscan Giunta Bevegnati, composed Margherita's Legenda, which provides an account of her life, conversion and penitence, her conversations with Christ, and her charitable works. In addition to the Legenda, there is also an altarpiece, portraying Margherita and scenes from her life, and the seventeenth-century watercolour paintings that reproduce the frescos which once decorated the church of Santa Margherita, the former San Basilio. Following a short introduction to Margherita's life, and a brief examination of preaching for women in the Middle Ages and its prohibitions, the article examines how the biographer, Giunta Bevegnati, represents the relationship of Margherita to preaching and sermons, in particular focusing on passages in Margherita's Legenda, where her efficacious speech or performance has a clear impact on an audience and her biographer does not use the term 'preach' for her utterances. Finally, the extent to which Margherita's biographer uses hagiography for homiletic purposes is discussed.     

Constitutionalism,the Public Philosophy,and Political Science

Examining Willa Cather's corpus of literary works reveals several phases of her illustrious career. After defending commercial culture in O Pioneers! and My Ántonia, her later novels, especially her One of Ours, diagnose an unmediated split in the Western world illustrated by the experience of the Great War: the bourgeois commercial culture undermines aspirations for human greatness. Her later novels deepen this diagnosis and offer a way out in a return to a rooted community of believers living in the shadows of the Church.     

KOSELLECK,ARENDT, AND THE ANTHROPOLOGY OF HISTORICAL EXPERIENCE

This essay is the first attempt to compare Reinhart Koselleck's Historik with Hannah Arendt's political anthropology and her critique of the modern concept of history. Koselleck is well‐known for his work on conceptual history as well as for his theory of historical time(s). It is my contention that these different projects are bound together by Koselleck's Historik, that is, his theory of possible histories. This can be shown through an examination of his writings from Critique and Crisis to his final essays on historical anthropology, most of which have not yet been translated into English. Conversely, Arendt's political theory has in recent years been the subject of numerous interpretations that do not take into account her views about history. By comparing the anthropological categories found in Koselleck's Historik with Arendt's political anthropology, I identify similar intellectual lineages in them (Heidegger, Löwith, Schmitt) as well as shared political sentiments, in particular the anti‐totalitarian impulse of the postwar era. More importantly, Koselleck's theory of the preconditions of possible histories and Arendt's theory of the preconditions of the political, I argue, transcend these lineages and sentiments by providing essential categories for the analysis of historical experience.     

Clowning and tragic clowning: Miguel de Unamuno as a funny writer

ABSTRACT

The present study considers the role and function that humor has in Unamuno's intellectual and literary universe. It traces Unamuno's attitude toward humor to his reading of the Spanish character in En torno al casticismo (1895) and to his dialogue with the figure of Don Quixote, as found in Vida de Don Quijote y Sancho (1905) and Del sentimiento trágico de la vida (1912). Finally, it looks at the theory of humor offered in the novel Niebla (1914) and also at the role that humor played in Unamuno's later political writings, especially those of exile (1924–1930).     

Chopsticks,phone bells and farms: Fuyuko Taira's diasporic spatial practice

In this article, I revisit my earlier project on local poetry practices by Japanese ‘war brides’ from the Second World War and explore a creative, transnational home-making activity by focusing on one of my informants, Fuyuko Taira's senryu poetry. Drawing on theories of global space and diasporic home-making practices, I suggest that her engagement in senryu involves a transnational spatial practice through the use of familiar everyday language. While the experience of displacement among Taira and other so-called ‘war brides’ cannot be understood without a consideration of socio-historical and economic constraints that characterized their emigration, my aim here is not to analyse how Taira's senryu simply reflects her diasporic victimhood but to explore how she exercises her creative agency to make her new home familiar and habitable by engaging with the everyday poetry practice of alternation between ‘pause’ and ‘move’ in the midst of changing landscapes. I argue that to a member of the Japanese diaspora like Taira senryu can be thought of as a different mode of experiencing at once the local and the global in an organic way.     

Challenging the Quimera (Sirena) Negra: Unamuno Reads Pardo Bazán

This article examines the literary relationship of Emilia Pardo Bazán and Miguel de Unamuno by analyzing Unamuno's 1905 review of La Quimera, as well as his tribute to Pardo Bazán on the occasion of her death in 1921. These two critical pieces, together with Unamuno's Dos madres and La tía Tula, reveal that while Unamuno dismisses Pardo Bazán's realism in his discussion of her works, he develops in his own fiction alter egos who struggle with dominant female figures, just as he competes with Pardo Bazán's model of authorship.     

Rebel with a cause? From traitor prince to exemplary martyr: Sor Juana Inés de la Cruz's representation of San Hermenegildo

El mártir del sacramento, San Hermenegildo is an auto sacramental or Eucharistic play, written in the 1680s by the Mexican nun and literary superstar, Sor Juana Inés de la Cruz. The play centres on the story of a (purportedly Catholic) Visigothic prince who died in Seville in 586 by order of his Arian father, Leovigild. Contempary sources vary in their portrayal of Hermenegild, with most painting him as a traitor who rebelled against his father for political gain. Gregory the Great, however, championed Hermenegild as an exemplary martyr who died in defence of the Faith. One thousand years on, Spain saw a revival of its Visigothic ‘Golden Age’, and Hermenegild was among those to be venerated; he was canonised in 1585 and his memory was brought to life in various artistic forms; in poetry, paintings and even on the stage. This paper will examine the part that Sor Juana's auto played within this tradition, exploring the purpose of the play and the various historical and biblical sources used to create it.     

‘The Most Churlish of Celebrities’: George Eliot,John Cross and the Question of High Status

Published in 1885, John Cross's biography of his late wife, George Eliot's Life as Related in Her Letters and Journals, was written with the intention to ‘make known the woman as well as the author’ (John Cross, ed., George Eliot's Life as Related in Her Letters and Journals, cabinet edn, 3 vols (Edinburgh: William Blackwood & Sons, 1887), I, v). Yet, ironically, the biography is renowned precisely for the lack of insight it affords readers into the private life of George Eliot. Why did Cross make a promise that he could not keep? My essay attempts to answer this question by examining George Eliot's Life in the context of the fame culture of the late nineteenth century. I suggest that it is possible to read Cross's unwillingness in the Life to make Eliot more ‘available’ to her public as a reaction against the sorts of publicity which, throughout the 1870s, had pushed Eliot's persona into a celebrity arena. George Eliot's Life represents Cross's effort to preserve Eliot's high professional reputation by emphasizing her distance from celebrity culture and her status as a female sage. Through close examination of the reviews of the biography, I identify the contemporary attitudes that made stressing Eliot's greatness appear urgent to her biographer and, paradoxically, so unpopular with the general public. I call attention, in particular, to changing expectations about the relationship between public figures and their audiences as well as the purpose and content of famous Lives. ?1.?Leon Edel, ed., The Diary of Alice James (Harmondsworth, Middlesex: Penguin Books, 1982), pp. 40–41.      

Reconsidering John Sergeant's Attacks on Locke's Essay

The Catholic polemicist John Sergeant published three major works of philosophy towards the end of his literary career, The Method to Science (1696), Solid Philosophy (1697) and Metaphysics (1700). They were highly critical of what Sergeant saw as the idea‐grounded epistemology of the Cartesians and John Locke, whom he labelled ‘ideists’. Previous scholars have interpreted Sergeant's texts as manifestations of his lifelong obsession with certainty, as initially developed in his Restoration polemics against Anglican divines. Using a previously neglected autobiographical letter, it is demonstrated that Sergeant's intentions were very different. Like Edward Stillingfleet and other critics, Sergeant saw Locke's philosophy as inspiring contemporary heterodoxy. The article identifies the specific channels by which Sergeant saw Lockeanism seeping into irreligion. Moreover, unlike Locke's Anglican critics, Sergeant resorted not to polemical accusations, but to abstract philosophy. This must also be explained contextually: Sergeant wished his works to become textbooks at the universities, concerned as he was by the pedagogical impact of the Essay. A premise of this article is that reception history is less useful for elucidating on the meaning of the received text than for telling us something about the intentions of the receiver, and about the intellectual culture in which the process of reception occurs. With this in mind, the article finishes by recontextualizing Sergeant's works within a broader narrative: his was an attempt to reassert the place of philosophy as a propaedeutic to theology in an age when such a conception of philosophy's social role was coming under intense scrutiny.     

Charlotte Sophia Burne: Shropshire Folklorist,First Woman President of the Folklore Society,and First Woman Editor of Folklore. Part 1: A Life and Appreciation

Charlotte Burne (1850–1923) served the Folklore Society (FLS) for forty years. She was editor of the massive Shropshire Folklore (1883–6), and the second revised edition of the FLS's only official guide, The Handbook of Folklore (1914). She authored over seventy folklore papers, notes and reviews in Folklore and its predecessors, as well as several articles in newspapers and magazines; she was the first woman editor of this journal (1900–08) and the first woman President of the FLS (1909–10). This appreciation is the first part of a two-part study of her life and works. The second part will be a provisional bibliography of her published works.     

Decolonisation and mysticism in William Butler Yeats's The Celtic Twilight and The Secret Rose

Yeats's responsibilities as one of Ireland's most prominent artists commenced with his aspiration to make Ireland a nation. His writings incorporate the three phases of development that Frantz Fanon posited for all new nations. Although Fanon described his three phases of decolonisation well after The Celtic Twilight and The Secret Rose were compiled, Fanon's framework elucidates Yeats's writings. Yeats's use of mystical elements embodies Fanon's idea of the colonial binary, the negritude binary, and transnational consciousness. Yeats discovered the answers to decolonisation in mysticism. His insights about folklore when coupled with imagination brought about many mystical revelations that linked Ireland to mysticism of global dimensions. Yeats's insights moved Ireland beyond binaries and solely nationalistic thinking to encourage Ireland to develop a transnational consciousness, transcending postcolonial binaries to achieve nationhood.     

The Noble Savage in the Voyage of La Perouse (1785–1788)

The gaucho is an almost mythical character in Argentine Literature, sometimes because of his barbarism and other times as a result of his heroism. In the nineteenth century the gaucho was characterized in very antagonistic ways; the spectrum extends from symbolizing the national backwardness to personifying the country's national identity. Sarmiento describes gauchos in Facundo (1845) as uncivilized and lazy individuals inclined to the savage ways of the caudillos. On the other hand, José Hernández in Martín Fierro (1872) portrays the gaucho as a brave wise man who is worthy of being considered the model citizen for the new nation. Both representations give a glimpse to the lack of objectivity, obscured by the passionate views of the authors in whose works the gaucho is either attacked or mystified. The characterization of the gaucho as a barbarian or national hero are the two more popular and known positions, but they are not the only views. Another nineteenth-century Argentine writer, Juana Manuela Gorriti in Panoramas de la vida (1876) offers a conciliating and intriguing position in her foundational narrative that was conveniently silenced for almost a century. Her approach reflects the complexity of the gaucho, indicating that this individual can be heroic—like the General Güemes and his troop of gauchos who defended the freedom of the incipient country—or uncivilized, like Facundo Quiroga and Juan Manuel de Rosas who did not respect the citizens’ rights. But most importantly, she offers an insight into the gaucho's way of life that subverts the well-known ‘civilization versus barbarism’ discourse, positioning the gaucho and his wife, the paisana, as a crucial link of the economic national wealth. In other words, Gorriti presented this marginalized group as legitimate citizens of the territory who distinctly deserved to maintain their property and freedom, since they contributed to building the motherland.     

Expressing Islamic feminism in Mariama Bâ's So Long a Letter

This article examines the presence of a strictly Qur'anic base shaping the Islamic feminism of Ramatoulaye, the narrator and main protagonist of Mariama Bâ's francophone classic So Long a Letter (1979). I argue that the widely circulated insistence by critics and readers of Bâ's epistolary style novel on the practice of Islam in West Africa, particularly in Senegal, as a syncretic presence eagerly adapting to indigenous non-Islamic beliefs and practice, has led to an overly generalized and somewhat inaccurate perception of Islam in Africa. Through my reading of some key Islamic concepts described in Bâ's novel, such as the mirath, polygamy, prayer and sunna, I situate my reading of Ramatoulaye's expression of Islamic feminism within an African and Islamic feminist reading and further position these within the cultural context of the practice of Islam in Senegal. By her ‘strategic self-positioning’, as defined by Islamic feminist Miriam Cooke, among others, within a small group of Senegalese Muslims – locally known as ibadu Muslims – Ramatoulaye succeeds in enacting Islamic feminism in her spiritual persistence for a strict adherence to the Qur'an and in her resistance to the temptation to expand the Islamic precepts of her faith.