22 Matching Annotations
  1. Nov 2024
    1. erformed, as The Winter's Tale was, in celebration of Princess Elizabeth's marriage in 1613

      She was named after Elizabeth I; according to pamphleteer John Reynolds, ‘She inherited the name and virtues, the majesty and generosity of our immortal queen Elizabeth.’ -- is there a sense in which Shax is ardently pushing the fertility myth in contrast to Queen Elizabeth's barrenness. Odd historical trick of the fact that she ends up being known as the 'Winter Queen' because of her short reign (although n.b. that this isn't the first performance)

    2. descends

      literally v. Cleopatra's ascension to the monument

    3. the way to evoke this leap of faith is through pinpricks of sensation

      like the sensuousness of Cleopatra's language of death! in both the sensuality can push us to believe in an inversion (Cleopatra: death = desirable, she is constant, Rome and Egypt's confusion) (WT: life imitates art, dead = alive)

    4. it is not relevant that Pygmalion devotes himself to his statue because he is disgusted with women

      who gets to decide whether or not this is relevant?? hard to entirely discount the context of the story -- surely some of the audience would have known this instinctively

    5. so perfectly he is her ape’

      must necessarily recall Perdita's disdain for 'art'. is a simulacrum, an aping, something we want??

    6. he does it with a smile

      virtuoso demonstration of art's power over time -- and thus in a sense memorial power

    7. the movement away from interiority quickens apace

      memory and interiority tightly bound -- central section seems to forget about the tragedies of the first couple of acts, only for it to hit us again in full swing in act 4

  2. Oct 2024
    1. social dreaming’. The sociologist Ruth Levitas (b. 1949) calls it ‘the desire for a better way of being’, with the utopia as an aspect of the ‘education of desire’.

      key element here of desire

    1. is my enjoying body [corps de jouissance] I encounter.

      idea of an encounter with the body suggests an a priori separation of body and (mind? spirit?). also think about Knight's point that an encounter in Barthes is almost always sexual -- almost a sexual encounter with onseself

    2. invokes

      which itself suggests the almost mystical, magical status of the body

    3. n insistence on the extension of erotic investment to objects of all sorts, including languages and texts

      to what extent is this a utopian ideal?

  3. academic.oup.com academic.oup.com
    1. units

      explains the repetitive nature of Sade's writing -- using the same basic units (postures + operations) in a variety of different contexts, but at the end of the day still speakign in the same (fairly limited) language

    2. so as to make from these series and groups of actions a new “language”, no longer spoken but acted

      in a way doesn't everyone do this to some extent?

    3. He puts special emphasis on a combination of three relations, of authority, of rivalry, and of love

      almost Empedoclean

    4. phenomenological criticism which treated literary works not as artefacts to be analysed but as manifestations of consciousnes

      but this seems like almost the opposite thesis to the death of the author?

    5. model for discussing the importance of material substances for poetic and non-poetic thinking had emerged from Gaston Bachelard's ‘psychoanalysis’ of the four elements, earth, air, fire, and water

      relevance for English paper VI?

    1. Le Roland-Barthes sans peine (as in French Without Tears) which purported to teach, in 18 easy lessons, how to speak Roland-Barthes, a language which bears some resemblance to French. Barthes was now a stylist worthy of parody

      might be interesting to look at this, to see what differentiates him from the parody (and what's similar!)

    2. Barthes claimed to enjoy writing more than any other book.

      and i think this is evident when reading it!

    3. Sade/Fourier/Loyola

      sounds interesting??

    4. which attacked Barthes in particular and whose accusations, when taken up and rehashed in the French press, made Barthes the representative of everything that was radical, unsound, and irreverent in literary studies.

      source of his fame is in conflict with the old school

    5. moments of a personal adventure

      returns to the idea of the pleasure of reading ? idiosyncrasy of both reader and writer