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  1. Under the hood of Tess : conflicting reproductive strategies in Thomas Hardy's "Tess of the D'Urbervilles"

    Thomas Hardy's "Tess of the D'Urbervilles" is analyzed from an evocritical perspective in order to consider evolved human reproductive strategies through the psychology and behavior of the novel's three principal characters: Tess, Alec and Angel. It... mehr

     

    Thomas Hardy's "Tess of the D'Urbervilles" is analyzed from an evocritical perspective in order to consider evolved human reproductive strategies through the psychology and behavior of the novel's three principal characters: Tess, Alec and Angel. It is argued that Hardy made the episode of Tess' and Alec's sexual contact, as well its interpretation by the characters, ambiguous, thereby suggesting the possibility of seduction rather than rape. In this context, two female mating patterns — inherited from our hominid ancestors — appear in Tess' behavior: a) the collection of high quality genes from a genetically fit male (Alec) who is not likely to stay with the female and provide for the offspring and b) mating with a provider male who is interested in long-term parental investment (Angel). Conversely, Angel and Alec represent two male mating strategies that evolved as possible courses of action in our species: the dad and the cad respectively. The unwillingness of Angel to forgive Tess her sexual past is considered in the context of another evolved feature of the human mind: paternal uncertainty (the fear of the male's genetic extinction through the possibility of raising another male's offspring). This is juxtaposed with studies of male jealousy in different cultures and periods. Tess' decision to tell Angel about her past is viewed in connection with the concept of modularity: an approach to human psychology based on the assumption that the mind is divided into specialized modules (responsible for different cognitive spheres) which can sometimes conflict.

     

    Hinweise zum Inhalt: kostenfrei
    Quelle: CompaRe
    Sprache: Englisch
    Medientyp: Wissenschaftlicher Artikel
    Format: Online
    DDC Klassifikation: Literatur und Rhetorik (800)
    Lizenz: Veröffentlichungsvertrag für Publikationen
  2. One Adam and nine Eves in Donald Siegel's "The Beguiled" and Giovanni Boccaccio's 3:1 of "The Decameron"
    Erschienen: 17.03.2015

    Donald Siegel's 1971 film entitled "The Beguiled" is compared to Tale 1 of Day 3 from Giovanni Boccaccio’s "The Decameron". Both stories are about a man who arrives in a garden setting and finds nine sexually starved women. In Boccaccio's tale, a... mehr

     

    Donald Siegel's 1971 film entitled "The Beguiled" is compared to Tale 1 of Day 3 from Giovanni Boccaccio’s "The Decameron". Both stories are about a man who arrives in a garden setting and finds nine sexually starved women. In Boccaccio's tale, a male gardener finds himself in a convent occupied by nine nuns with whom he proceeds to have sexual relations to everyone's satisfaction. Siegel's film is about a wounded soldier taken in at a girls' finishing school whose nine female residents become the objects of the hero's amorous attention. While Boccaccio adopts a philogynist tone with respect to the material, "The Beguiled" appears to be a virulently misogynist film projecting its female characters as jealous demons who end up mutilating and then killing their male suitor. Findings from evolutionary psychology pertaining to female jealousy and reproductive strategies are used to consider the respective attitudes toward women in the medieval tale and the twentieth-century film. Conclusions are drawn about the difficulty of placing either of the stories within a clear-cut philogynist or misogynist category.

     

    Hinweise zum Inhalt: kostenfrei
    Quelle: CompaRe
    Sprache: Englisch
    Medientyp: Wissenschaftlicher Artikel
    Format: Online
    DDC Klassifikation: Literatur und Rhetorik (800)
    Lizenz: Veröffentlichungsvertrag für Publikationen
  3. Effacement vs. exposure of the poetic act : philosophy and literature as producers of "history" (Hegel vs. Goethe)

    In post-Kantian idealist aesthetics, at the very latest, literature and philosophy come to rival each other as producers of "history" At this point, philosophy takes it upon itself to "adopt" art and literature, treating the image as an object upon... mehr

     

    In post-Kantian idealist aesthetics, at the very latest, literature and philosophy come to rival each other as producers of "history" At this point, philosophy takes it upon itself to "adopt" art and literature, treating the image as an object upon which to lavish the philosophical "labor of the concept" and explicitly asserting the primacy of concept over image. This objectivation of the image by the concept, however, goes hand in hand with the attempt to cover up and efface the poetic act that underlies the paradigm of "history," an act that had still informed the older, premodern meaning of the concept and had been conspicuously retained and reflected in the modern literary genre of historical drama. I therefore wish to propose that the origin of the logocentric discourse of history is to be found in Hegel's philosophy of art. In the first part of my essay, I will accordingly set out to reconstruct Hegel's effacement of the poetic origin of "history" by jointly examining his aesthetics and his philosophy of history. In the second part, I will confront Hegel's logocentric approach with a reading of Goethe's historical drama Egmont that exposes the poetic origin of "history" and thereby offers an alternative to Hegel's logocentrism.

     

    Hinweise zum Inhalt: kostenfrei
    Quelle: CompaRe
    Sprache: Englisch
    Medientyp: Teil eines Buches (Kapitel)
    Format: Online
    ISBN: 978-1-57113-567-4
    DDC Klassifikation: Literatur und Rhetorik (800)
    Lizenz: Veröffentlichungsvertrag für Publikationen
  4. From collective creativity to authorial primacy : Gottsched's reformation of the German theatre from a mediological point of view
    Erschienen: 07.04.2015

    Theatre constitutes a form of collective creativity. This idea is not as self-evident as one might expect. To some extent the collective Character of this art form had to be rediscovered over the course of the twentieth century, as theatre... mehr

     

    Theatre constitutes a form of collective creativity. This idea is not as self-evident as one might expect. To some extent the collective Character of this art form had to be rediscovered over the course of the twentieth century, as theatre emancipated itself from the primacy of the literary text and thus from the primacy of the author. In fact, the collective character of this art form was fully brought into view again only with the debates about a post-dramatic theatre of the last few decades. In this essay I will tum back to the point in cultural history when literature started to dominate theatre and when the supremacy accorded the author began to annul theatre's collective character. This paradigmatic shift in the evolution of theatre occurred during the eighteenth century, and it is represented primarily by Johann Christoph Gottsched. In the following I will investigate Gottsched's efforts to reform the theatre of his age from a mediological point of view.

     

    Hinweise zum Inhalt: kostenfrei
    Quelle: CompaRe
    Sprache: Englisch
    Medientyp: Teil eines Buches (Kapitel)
    Format: Online
    ISBN: 978-90-420-3273-6
    DDC Klassifikation: Literaturen germanischer Sprachen; Deutsche Literatur (830)
    Lizenz: Veröffentlichungsvertrag für Publikationen
  5. "…atop a single plank on the wide, open sea…" : Johann Gottfried Herder's Concept of poetry as a medium of cultural identity and the problem of a hermeneutic anthropology
    Erschienen: 08.04.2015

    Herder's concept of a national literature [...] serves as a differential category formulated in opposition to the concepts generated by universalistic rationalism and the Classicist aesthetics which is based on it, this being an aesthetics which is... mehr

     

    Herder's concept of a national literature [...] serves as a differential category formulated in opposition to the concepts generated by universalistic rationalism and the Classicist aesthetics which is based on it, this being an aesthetics which is incapable of accommodating cultural difference. Thus Herder's concept is to be read – primarily as one looking for ways of conceiving cultural difference syncronically as well as diachronically.

     

    Hinweise zum Inhalt: kostenfrei
    Quelle: CompaRe
    Sprache: Englisch
    Medientyp: Teil eines Buches (Kapitel)
    Format: Online
    DDC Klassifikation: Literaturen germanischer Sprachen; Deutsche Literatur (830)
    Lizenz: Veröffentlichungsvertrag für Publikationen