scholarly journals Ways of keeping love alive: Roland Barthes, George du Maurier, and Gilles Deleuze

2008 ◽  
Vol 36 (1) ◽  
pp. 49-70
Author(s):  
Heta Pyrhönen
Keyword(s):  
Gilles Deleuze ◽  
Art Music ◽  
Narrative Discourse ◽  
Roland Barthes ◽  
Love Stories ◽  
George Du Maurier ◽  
Love Story

The article examines Barthes’s A Lover’s Discourse (1977) in conjunction with du Maurier’s Trilby (1894) in order to present an argument about the similarities they share with the male masochistic fantasy as theorised by Deleuze in his Coldness and Cruelty (1989). Barthes’s insistence on the connection between art and love directs my approach. Trilby deals with love and aesthetics in the contexts of art, music, and narrative. The discourses of Trilby’s competing lovers over the same woman serve as a point of comparison against which I read Barthes’s dramatisation of a lover’s discourse. I argue that Barthes’s lover shares a number of central discursive figures with the Deleuzian masochistic lover. I examine Barthes’s suggestion about the tension between the non-narrative discourse of love and the metalanguage of conventional love stories. I focus on those figures in a lover’s discourse that Barthes identifies as keeping this discourse from turning into a love story. My argument is that many of these figures are among the hallmarks of the masochistic fantasy. In particular the formula of disavowal safeguards the lover’s discourse, hindering it from turning into a conventional narrative about love.

George du Maurier and Maryanne Clarke

1935 ◽  
Vol CLXVIII (jun08) ◽  
pp. 401-402
Author(s):  
J. M. Bulloch
Keyword(s):  
George Du Maurier

Robert Whytlaw-Gray, 1877-1958

1958 ◽  
Vol 4 ◽  
pp. 327-339
Keyword(s):  
Inorganic Chemistry ◽  
Coming Out ◽  
Early Education ◽  
Entrance Examination ◽  
Near Neighbour ◽  
Chemistry Department ◽  
Emeritus Professor ◽  
Big Business ◽  
George Du Maurier ◽  
The University

Emeritus Professor Robert Whytlaw-Gray, formerly Professor of Inorganic Chemistry and Administrative Head of the Chemistry Department in the University of Leeds, was the grandson of an Armagh man who emigrated to Australia about a hundred years ago with his wife, daughter and son Robert James, and built up a very big business in Sydney. Robert James Cray returned to Britain as a young man to take charge of the London office, and at the age of twenty-seven he married Mary Gilkieson Gemmell, daughter of Robert Adam Whytlaw, of Fenton House, Hampstead, a Glasgow manufacturer of partly Scandinavian origin. The handsome young couple figure in some of the drawings done for Punch by their near neighbour, George du Maurier, during the period of their engagement. Their second surviving son, Robert Whytlaw-Gray, was born in London on 14 June 1877. Whytlaw-Gray received his early education at St Paul’s School; very little science was taught in those days, but he carried out chemical experiments in a cupboard in his sisters’ schoblroom at home at the age of about twelve. His father wanted him to go into the Army and he sat for the entrance examination, but failed through complete lack of interest, distinguishing himself only by coming out top of the list in chemistry. When he was eighteen he started on an engineering course in the University of Glasgow, where he and his younger sister lived with his grandparents, who now resided there, while his father took his mother and elder sister with him on a business visit to Australia.

The art of George du Maurier

1996 ◽  
Vol 34 (02) ◽  
pp. 34-0717-34-0717
Keyword(s):  
George Du Maurier

Fantasies of Childhood and Adolescence as a Source of Delusions

1922 ◽  
Vol 68 (280) ◽  
pp. 33-48 ◽  
Author(s):  
E. Mapother ◽  
J. E. Martin
Keyword(s):  
Adult Life ◽  
Childhood And Adolescence ◽  
Rudyard Kipling ◽  
Not Given ◽  
Mental Life ◽  
George Du Maurier ◽  
The Subject

The subject of the relation of recurring dreams of adult life to that almost inseparable mixture of real experience and fantasy which forms the mental life of the child was dealt with by Rudyard Kipling in The Brushswood Boy, and by George du Maurier in Peter Ibbetson, after a fashion not given to psycho-pathologists. The psycho-analytic school has of late years endeavoured to trace the genesis of the psycho neuroses to aspects of the same period generally considered less attractive. There has, I think, been less effort to establish such a connection in the major psychoses.

Mesmerism in Late Victorian Theatre

2020 ◽  
Vol 28 ◽  
pp. 217-227
Author(s):  
Katerina García Walsh
Keyword(s):  
Social Change ◽  
Medical Practice ◽  
Fin De Siecle ◽  
The Novel ◽  
Victorian Era ◽  
George Du Maurier ◽  
Fin De Siècle

Originating as a medical practice and ultimately rejected as pseudoscience, mesmerism evolved into a literary symbol in the later Victorian era. This paper focuses on three plays that use mesmerism as a symbol of marital control and domination: the comedy His Little Dodge (1896), adapted from Le Systême Ribardier (1892), by George LeFeydeau and Maurice Hennequin; Trilby (1895), adapted from the novel by George Du Maurier; and, finally, Johan Strindberg’s The Father (1893). The mesmeric power one character imposes over another, overriding both consent and awareness in the trance state, serves both to reaffirm hierarchies of power and highlight anxieties about social change in the fin-de-siècle.

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