New York magazine was born in 1968 after a run as an insert of the New York Herald Tribune and quickly made a place for itself as the trusted resource for readers across the country. With award-winning writing and photography covering everything from politics and food to theater and fashion, the magazine's consistent mission has been to reflect back to its audience the energy and excitement of the city itself, while celebrating New York as both a place and an idea.
In Making Love: Sentiment and Sexuality in Eighteenth-Century British Literature, Paul Kelleher revises the history of sexuality from the vantage point of the literary history of sentimentalism. Kelleher demonstrates how eighteenth-century British philosophers, essayists, and novelists fundamentally reconceived the relations among sentiment, sexuality, and moral virtue. It is his contention that sentimental discourse, both philosophical and literary, posited heterosexual desire as the precondition of moral feeling and conduct. The author further suggests that sentimental writers fashioned the ideal of conjugal love as an ideological antidote to the theories of self-love and self-interest found in the works of Thomas Hobbes and Bernard Mandeville. Heterosexual desire and its culmination in conjugal love, in other words, were represented as the privileged means for an individual to transcend self-love and to develop a moral sensibility attuned to the thoughts and feelings of others. At the same time, Kelleher suggests, other pleasures and desires—particularly those rooted in same-sex eroticism—were increasingly depicted as antithetical to conjugal love and, thus, were morally devalued and socially disenfranchised. Kelleher's argument unfolds through close readings of a variety of texts, including Shaftesbury’s Characteristics of Men, Manners, Opinions, Times, Joseph Addison and Richard Steele’s the Tatler and the Spectator, Eliza Haywood’s Love in Excess, Samuel Richardson’s Pamela, and Henry Fielding’s Tom Jones. Although these texts embody diverse rhetorical strategies and thematic concerns, he shows how they collectively reinforce an overarching sentimental ideology: on the one hand, heterosexual desire and conjugal love become synonymous with sympathy, benevolence, and moral goodness, while on the other hand, same-sex desire is pathologized as a selfish withdrawal from procreation, domesticity, sociability, and ultimately, “humanity” itself.
New York magazine was born in 1968 after a run as an insert of the New York Herald Tribune and quickly made a place for itself as the trusted resource for readers across the country. With award-winning writing and photography covering everything from politics and food to theater and fashion, the magazine's consistent mission has been to reflect back to its audience the energy and excitement of the city itself, while celebrating New York as both a place and an idea.
A pioneering critical work that establishes the existence and elaborates the history of a female literary tradition in Spain early in the nineteenth century, this book will greatly interest specialists in Spanish literature. It also addresses those concerned with Romanticism in general, with feminist criticism, and with the cultural history of women. Who were las románticas? The first generation of Spanish women to conceive of themselves as "writing women," they made their appearance in the press around 1841. It was the apogee of Spain's Romantic movement and of a first wave of liberal reforms, and these women gave voice to their experience as women within the terms of liberal Romantic ideology. Susan Kirkpatrick examines the textual representations that link liberal ideology, Romantic configurations of subjectivity, and women's writing, in an exciting revelation of early nineteenth-century gender consciousness. This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1989.
Lindsay Brennan is a Portland architect whose devotion to her work takes the place of other things in her life. Sondra Pinchot, an interior designer, has always depended on the comfort of alcohol. And Samantha, Sondra’s dutiful daughter, is trapped in an affair that’s become nothing but a habit. Now fate brings the three women together and their private addictions give way to deeper passions. But sometimes love can be an addiction too. Originally published by Simon & Schuster 1995.
When does the pursuit of self-interest go too far, lapsing into morally unacceptable behaviour? Until the unprecedented events of the recent global financial crisis economists often seemed unconcerned with this question, even suggesting that "greed is good." A closer look, however, suggests that greed and lust are generally considered good only for men, and then only outside the realm of family life. The history of Western economic ideas shows that men have given themselves more cultural permission than women for the pursuit of both economic and sexual self-interest. Feminists have long contested the boundaries of this permission, demanding more than mere freedom to act more like men. Women have gradually gained the power to revise our conceptual and moral maps and to insist on a better-and less gendered-balance between self interest and care for others. This book brings women's work, their sexuality, and their ideas into the center of the dialectic between economic history and the history of economic ideas. It describes a spiralling process of economic and cultural change in Great Britain, France, and the United States since the 18th century that shaped the evolution of patriarchal capitalism and the larger relationship between production and reproduction. This feminist reinterpretation of our past holds profound implications for today's efforts to develop a more humane and sustainable form of capitalism.
One of the most important authors of the Middle Ages, Petrarch occupies a complex position: historically, he is a medieval author, but, philosophically, he heralds humanism and the Renaissance. Teachers of Petrarch's Canzoniere and his formative influence on the canon of Western European poetry face particular challenges. Petrarch's poetic style brings together the classical tradition, Christianity, an exalted sense of poetic vocation, and an obsessive love for Laura during her life and after her death in ways that can seem at once very strange and--because of his style's immense influence--very familiar to students. This volume aims to meet the varied needs of instructors, whether they teach Petrarch in Italian or in translation, in surveys or in specialized courses, by providing a wealth of pedagogical approaches to Petrarch and his legacy. Part 1, "Materials," reviews the extensive bibliography on Petrarch and Petrarchism, covering editions and translations of the Canzoniere, secondary works, and music and other audiovisual and electronic resources. Part 2, "Approaches," opens with essays on teaching the Canzoniere and continues with essays on teaching the Petrarchan tradition. Some contributors use the design and structure of the Canzoniere as entryways into the work; others approach it through discussion of Petrarch's literary influences and subject matter or through the context of medieval Christianity and culture. The essays on Petrarchism map the poet's influence on the Italian lyric tradition as well as on other national literatures, including Spanish, French, English, and Russian.
Why is it that in going to see plays we are also touched or moved by them, and is there more than metaphor involved in such claims? Considering these and other questions, this book examines a range of contemporary performance works in which performers and their audiences occupy a shared realm of feelings, in which the play is not always the thing.
