scholarly journals Portrait of the Calvinist as a young killer: confessions, fanaticism, and satanic horror in Hogg's Justified Sinner

2017 ◽  
Author(s):  
◽  
Zachary Johnson
Keyword(s):  
Higher Education ◽  
18Th Century ◽  
Literary Culture ◽  
17Th Century ◽  
The Novel ◽  
Horror Fiction ◽  
The Many ◽  
Early 18Th Century

James Hogg's Private Memoirs and Confessions of a Justified Sinner innovated several important novel genres in the Romantic literary era. The novel centers around a young man, Robert Wringhim, who, along with his devilish double, Gil-Martin, goes on a religious-based killing spree in late 17th century and early 18th century Scotland. The chronicle of Wringhim's 12 from righteousness, told by both an editor and in Robert's own words, is disturbing, ambiguous, and diabolically deceptive. I will first examine varying Scottish dialects as recorded in the book and how the interplay between them allows Hogg to represent the "many voices" of Scotland, and to challenge the notion that higher education equals virtue and goodness -- a study highly influenced by the aforementioned Bakhtinian theories. I will also examine several genres Justified Sinner both utilizes and satirizes: including gothic and horror fiction and confessions. Whereas many Romantic novels embraced the genres they found themselves in, Hogg's novel seems resistant to being confined a particular one. He plays with traits of genres to darkly humorous ends, and crafts a tale of suspense and terror that refuses to give readers closure of any tangible kinds. By manipulating what the novel should do with what it can do, Hogg asks uneasy questions about faith, spirituality, fanaticism, sin, guilt, confessing, the supernatural, and Scottish literary culture.

Classical Criticism

2021 ◽  
Author(s):  
Andrew Ford
Keyword(s):  
Higher Education ◽  
Liberal Arts ◽  
18Th Century ◽  
Literary Culture ◽  
Central Place ◽  
Dialectical Tensions ◽  
Verbal Art ◽  
European Education ◽  
Basic Concepts ◽  
And Function

Classical criticism refers to a conception of the nature and function of poetry and of verbal art generally whose principles were first theorized by the sophists in 5th-century bce Greece. In contrast to traditional views, they held that eloquence was no less a product of conscious design than a house or a sculpture, and that skillful speech was an art (τέχνη) that could be learned. The expertise they claimed centered on style rather than content, and the qualities they valued tended to be formal ones: clarity, orderliness, and balance, with a sense of decorum governing all elements. Their project was repudiated by Plato in a series of searching critiques, but after being refined by Isocrates and systematized by Aristotle, the study of rhetoric—which encompassed the study of poetry in an ancillary role—constituted the backbone of higher education in the liberal arts. Classical principles determined which works would be “canonized” in the Hellenistic libraries, where literary scholars began to call themselves “critics” or judges; after Greek literary culture was imported into Rome, the exemplary authors came to be called “classic” or “of the first rank.” Classical criticism retained a central place in European education and culture that would not be undermined until the 18th century. Although Romanticism rejected 18th-century classicism as excessively rationalistic and narrowly formal, its basic concepts and terms continue to be useful because of deep dialectical tensions built into them at the time of their formation.

scholarly journals Stolen wealth, perpetrators and punishments in Moldova (17th century – early 18th century)

2020 ◽  
Vol 26 ◽  
pp. 105-129
Author(s):  
Cătălina Chelcu
Keyword(s):  
Justice System ◽  
18Th Century ◽  
17Th Century ◽  
Historical Period ◽  
Social Categories ◽  
Documentary Sources ◽  
The Social ◽  
History Of ◽  
Blood Money ◽  
Early 18Th Century

For the historical period we refer to, no proper inventories have been made containing the unjustly appropriated goods. They are just mentioned as such or listed, if that was the case, according to the size of the damage. There are also documentary sources in which the object of the theft is less represented, the justice system focusing in those cases rather on the wrongdoers, than on the wrong actions. That is why, the blood money “paid for some reason”, with no other specific details, is quite frequently cited. Rare or frequent, these documents are complaints addressed by the victim to the Prince and his officials, documents in which the perpetrators admitted their fault, or deeds issued by the judicial authority subsequent to the investigation of the criminal act. In discussing the theft of/from the wealth, i.e. from the whole amount of the available goods, we are interested in clarifying some aspects pertaining to a reality that the historian should reconstruct, with all the complexity of its evolution: the motivations of the theft and its circumstances, the types of theft, the social categories involved, the time and space of the misdemeanour, the perpetrators’ punishment. Briefly, the study is about starting to write a history of the reprehensible acts liable to punishments for theft and robbery in 17th and early 18th century Moldavia.

scholarly journals Ensalades en clausura: Una primera aproximació als cançoners del convent de les carmelites descalces de Santa Teresa de Vic

2016 ◽  
Vol 7 (7) ◽  
pp. 187
Author(s):  
Aurèlia Pessarrodona
Keyword(s):  
Present Article ◽  
18Th Century ◽  
17Th Century ◽  
The Other ◽  
Literary Creation ◽  
Music Theater ◽  
Modern Age ◽  
Early 18Th Century

Resum: La recent troballa de dos cançoners al convent de Santa Teresa de Vic, datables al segle XVII, ve a ampliar i enriquir de manera considerable el que ja se sabia sobre la creació literària conventual i la presència de música, cants i altres manifestacions performatives dins de la clausura del Carmel descalç femení durant l’Edat Moderna. En aquest article es fa una primera aproximació a aquests cançoners, que posa de manifest les diferències entre ambdós: un recull repertori forà més antic, del segle XVI i inici del XVII, entre el que hi destaca la curiosa presència de moltes de les ensalades editades per Mateu Fletxa el Jove a Praga l’any 1581; i l’altre és un excel·lent exemple de la creació literària de les pròpies monges, amb obres que abarcarien tot el segle XVII i inicis del XVIII. A més de descriure els manuscrits i apropar-se al seu contingut situant-lo en el seu context, en el present article es reflexiona sobre la possible praxi performativa del repertori, especialment sobre les ensalades.   Paraules clau: carmelites descalces, clausura, cançoners, ensalades, Mateu Fletxa   Abstract: The recent finding of two songbooks in the convent of Saint Therese in Vic (Barcelona), dated to the 17th century, broadens and enriches strikingly what was already known about the literary creation in monasteries and performative manifestations —music, theater, dance— in the enclosed life of female discalced Carmel during the Modern Age. This article provides a first approach to these songbooks, that shows significant differences between them. The first one collects a foreign and older repertory, from 16th and early 17th centuries, that includes the unusual presence of ensaladas edited by Mateu Fletxa the Youger in 1581. The other one is an excellent example of literary creation of the nuns, with works dated from 17th to early 18th century. As well as a description of the manuscripts, an approximation to their content and placing them in their context, the article includes some reflections concerning the performative practice of this repertory, above all of the ensaladas.   Keywords: discalced carmelites, cloister, songbooks, ensaladas, Mateu Fletxa

scholarly journals Samuel Richardsons brevromaner

2007 ◽  
Vol 35 (103) ◽  
pp. 174-187
Author(s):  
Martin Hultén
Keyword(s):  
Literary History ◽  
18Th Century ◽  
Samuel Richardson ◽  
Historical Understanding ◽  
The Novel ◽  
Literary Canon ◽  
History Of ◽  
Epistolary Novels ◽  
The Many ◽  
Professional Critics

En litteraturhistorisk placering The Epistolary Novels of Samuel Richardson: Reconsidering the Historical PerspectiveThe epistolary novels of Samuel Richardson were received with enthusiasm throughout Britain and Europe upon their publication in the 1740s and 50s, and they have had their unquestioned place in the literary canon and the literary history of the 18th century, as well as in the many rivalling Rise of the Novel narratives, ever since. The qualities of Richardson’s novels praised by contemporary reading audiences and professional critics were to some extent the qualities we still acknowledge in the the works. And yet I propose to reconsider and modify our ‘historical’ understanding of Richardson’s novels. Richardson scholars from the 1970s onward have deepened our understanding of the contexts of Richardson’s life and writing, and they have shown to what extent both the style, the form, the motifs, and the themes of his novels must be placed alongside the works of rival authors, today much less known, and the comedies and tragedies of the restoration period, just to mention two important fields of inspiration for Richardson. On the basis of their findings we must conclude that the novels we read today when considering Richardson’s works as part of a formal literary history are not quite the same as the novels contemporary readers cherished. There are important differences as well as correspondences between the contemporary reception of Richardson’s works and the reception of professional scholars in the twentieth and twenty-first centuries.

3. Objectives of the Norwegian Archaeological Expedition to the Galápagos

1956 ◽  
Vol 12 ◽  
pp. 9-12
Author(s):  
Thor Heyerdahl ◽  
Arne Skjölsvold
Keyword(s):  
19Th Century ◽  
Charles Darwin ◽  
18Th Century ◽  
17Th Century ◽  
Archaeological Remains ◽  
The Many ◽  
The 19Th Century

The first scientific expedition to the Galápagos took place, as stated, when Malaspina made his brief call in 1790. In the 19th century a series of other and more important scientific expeditions followed, among them notably H.M.S. Beagle which arrived in 1835 with Charles Darwin as naturalist on board. Right up to the present time naturalists have been drawn to the Galápagos due to its unique fauna and flora, and biologically and geologically the group has been carefully surveyed. The many visiting expeditions have, however, never assumed the special task of searching for archaeological remains, and no signs of early occupation have been reported, other than man-made caves in the local tuff and broken Spanish jars and porcelain, all properly ascribed to the late 17th century buccaneers and the 18th century whalers.

scholarly journals “A Quarter of an Hour before his Death, He Was Still Alive”: The Literary Character Image of La Palice and the Phenomenon of Nizy Style

2021 ◽  
Vol 6 (3) ◽  
pp. 72-95
Author(s):  
Konstantin V. Dushenko
Keyword(s):  
19Th Century ◽  
18Th Century ◽  
Special Kind ◽  
17Th Century ◽  
Original Text ◽  
Literary Character ◽  
The 19Th Century ◽  
The Relationship ◽  
Early 18Th Century

La Palis is a literary character that appeared in anonymous couplets The Death of La Palis published in the early 18th century. The image of La Palis in songs is ambiguous: he is both a naive simpleton and a parodic counterpart of the panegyric image of Marshal Jacques de La Palice (1470–1525). The irony of these early verses about La Palis is usually explained by the simplicity of the soldiers who allegedly composed them in 1525 or by the further distortion of the original text. In reality, this irony bears the imprint of the 17th century burlesque poetry. In 1715, the literary image of La Palis was canonized by Bernard La Monnoy, the author of the term nizy style. The nizy style, also called the Lapalissade, is a special kind of tautology that, as Clement Rosset aptly put it, “for a moment causes a hallucination of difference.” In the 19th century, the typically Lapalissian formula “if they did not die, then they are still alive” is recorded in the tales of various peoples of Europe; the relationship between these national formulas remains unclear. The article also examines the mastering the nizy style by O. Goldsmith and Russian translators from the 18th century to the present day.

scholarly journals Handel's use of plucked instruments

2013 ◽  
Vol 5 (2) ◽  
Author(s):  
Orlando Fraga
Keyword(s):  
18Th Century ◽  
Early Period ◽  
Vocal Music ◽  
17Th Century ◽  
Basso Continuo ◽  
Instrumental Color ◽  
Baroque Music ◽  
The Subject ◽  
Vocal Works ◽  
Early 18Th Century

Three central features of Baroque music encompass a large portion of questions about the performance of this particular repertory: its improvisatory aspect, the use of basso continuo, and the instrumental color and variety. Teorbo and lute solos, aside of playing a role as a continuo, filled in the intermissions of oratorios in Italy since late 17th century, while organ concertos provided the same function for English oratorios in the early 18th century. It is from Handel's early period ‒ his first trip to Italy in 1707 ‒ that teorbo and archiliuto start to appear in his vocal music. Handel employed either the teorbo or archiliuto (or simply liuto) in twelve vocal works and in one instrumental Ouverture.  A complete examination of the circumstances that involve this particular aspect of Handel's music is the subject this paper.  

scholarly journals Robinson Crusoe på romanens tærskel

2007 ◽  
Vol 35 (103) ◽  
pp. 154-173
Author(s):  
Tue Andersen Nexø
Keyword(s):  
Print Culture ◽  
18Th Century ◽  
Literary Form ◽  
Historical Background ◽  
Literary Fiction ◽  
The Novel ◽  
Robinson Crusoe ◽  
Fundamental Factor ◽  
Early 18Th Century

Robinson Crusoe on the threshold of the novelJust as Ian Watt did in his classic reading of Robinson Crusoe in The Rise of the Novel, this article argues that Defoe’s well known book stands in a liminal relation to the novel as an emergent literary form. Watt argues that the liminality of Robinson Crusoe is caused by the book’s excessive thematic focus on an entrepeneurial individualism. Through an examination of the text’s discursive status at the time of publication (1719), this study argues that a more fundamental factor is the book’s relation to an emergent, but not yet established concept of fictionality. Originally, Robinson Crusoe was not read as a literary fiction, but as a book whose claim to facticity was contested. The study examines both the historical background for this difference, which is to be found in the print culture of early 18th-century London, and its hermeneutical ramifications. 

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