This article contends that Medbh McGuckian's “The Good Wife Taught her Daughter”, from her 2006 volume The Currach Requires No Harbours, offers an example of the poet's direct engagement with and rejection of negative commentary regarding her opaque style and incorporation of material from source texts. This article first presents a contextualising overview of the main strands of criticism of McGuckian's work. Following this, two detailed readings of this poem are offered. The first of these readings foregrounds McGuckian's challenge to the possibility of stable meaning in any linguistic act. The second reading identifies McGuckian's source texts and examines how their content and nature underline her deliberate destabilisation of identity and meaning. 相似文献
Methodological advancements in geoarchaeology and spatial and chronological modeling are opening new avenues to interpreting large coastal shell-bearing sites. We document the developmental histories of two such sites around Prince Rupert Harbour, Canada, using systematic percussion coring, intensive radiocarbon dating, and 3D surface mapping with Total Station and LiDAR. We also re-analyze a third site (Boardwalk/GbTo-31) excavated and radiocarbon dated in the 1960s, 1970s, and early 2000s using archival field notes, site maps, and stratigraphic profiles georectified using LiDAR. We map the natural landform beneath the sites and document the degree to which people physically modified landforms through the deposition of massive shell accumulations. We model site development through time and space and use accumulation rates and OxCal modeling to test for intentional deposition events. All three sites demonstrate complex and heterogeneous occupation histories. At each we identify instances of very rapid deposition that effectively terraced and extended parts of the natural landform to create places for constructing houses, though these episodes take place within longer histories of slower quotidian deposition. The anthropogenic modifications to the coastline in this area are the result of these mixed processes associated with long histories of occupation. 相似文献
German courts have long been renowned for their support of music.How long could this support continue in times of war? This articleconsiders the fate of the Württemberg Hofkapelle duringthe Thirty Years War (1618-48), a conflict that forced manydistinguished Hofkapellen to close their doors for much of thewar's duration. The Hofkapelle (literally court chapelor music ensemble) was the focus of much music patronage atearly modern German courts, and typically consisted of an orchestraof strings, horns, and percussion, as well as adult male singersand a boys choir. Based on an analysis of church councilaccounts that list all expenditure for court music throughoutthe war, the article asserts that demand for music during religiousservices under both Protestant and Catholic control of the duchyremained relatively constant. This demand enabled the Hofkapelleto continue musical performances, despite the enormous constraintsthe war placed on court expenditure. Music patronage was significant in several ways. Payment forperformers and composers could be highly competitive among Germancourts, with the best musicians earning salaries often far exceedingthose of other officials. Foreign musicians were much in demandin Württemberg as elsewhere, such as English lutenist JohnPrice, who founded a group of English lutenists at the Württembergcourt in 1618 that lasted until the death of Duke Johann Friedricha decade later. While the hardship of wartime effectively endedthe payment of large salaries, forcing many top performers toleave, members of the court still called for music at church,even if they had to pay for performances themselves. A studyof music patronage during the Thirty Years War thus revealsnot only the extent to which the court sought to support thearts, but also how that support reflected the shifting fortunesof war. 相似文献
The Solitary Self: Jean‐Jacques Rousseau in Exil and Adversity. By Maurice Cranston (Chicago, IL: University of Chicago Press, 1997) xii + 247 pp. $29.95 cloth.
The Self‐Aware Image: An Insight into Early Modern Meta‐Painting. By Victor I. Stoichita (Cambridge: Cambridge University Press, 1997) xv + 345 pp. $85.00, £55.00 cloth.
The Cambridge Companion to Nietzsche. Edited by Bernd Magnus and Kathleen M. Higgins (Cambridge: Cambridge University Press, 1996) ix + 403 pp. $18.95, £13.95 paper, $59.95, £40.00 cloth.
David Hume: Political Essays. Edited by Knud Haakonssen, Cambridge Texts in the History of Political Thought (Cambridge: Cambridge University Press, 1994) lxvi + 346 pp. $49.95, £30.00 cloth, $15.95, £10.95 paper.
Sartre, Foucault, and Historical Reason. By Thomas R. Flynn (Chicago and London: The University of Chicago Press, 1997) 340 + xvi pages. $18.95 paper.
Shaping World History: Breakthroughs in Ecology, Technology, Science, and Politics. By Mary Kilbourne Matossian (Armonk, NY: M.E. Sharpe, 1997) 264 pp. $62.95 cloth, $22.95 paper. 相似文献