1,720,959 research outputs found
'Take me to the Lakes where all the poets went to die' : Romantic escapades in Taylor Swift’s Folklore
No full textRevisiting the Gothic heroine in Buffy the Vampire Slayer : violence, female empowerment and girl culture
No full textKleine letters, grote ontdekkingen : vrouwelijk vernuft en voetnoten in de vroege 19e eeuw
No full textIn de vroege negentiende eeuw vonden vrouwelijke auteurs in voetnoten een subtiele maar krachtige manier om deel te nemen aan een door mannen gedomineerde wereld. Ik onderzoek hoe schrijfsters de marges in historische romances gebruikten om hun kennis over geschiedenis, natuurkunde en politiek te delen
'Tell me what are my Wordsworth' : lyrical connections and the persistence of Romantic reverie in Taylor Swift’s Folklore (2020)
No full textMental images have the capacity to overwhelm and haunt us, absorbing fantasy into reality. Terry Castle described this phenomenon as the spectralisation of the other and linked it to a changing perception of human experience as detached from a material reality. Ann Radcliffe’s heroine in The Mysteries of Udolpho (1794) exemplifies this haunted consciousness; during her wanderings across the Pyrenees recollection and reverie subsume the real world, resulting in the ghost-like presence of absent loved ones. I’d like to take up this Romantic—or is it Gothic?—mindset and examine how it persists in the popular imagery of Romanticism as utilised by Taylor Swift in her eighth studio album, Folklore (July 2020). The indie-sounds and lyrics create an escapist atmosphere tinged with melancholy and nostalgia that is reminiscent of the nostalgic, fantastic and dreamlike wanderings of a Radcliffean heroine. Drawing a connection between Swift’s lyrical ‘I’ in Folklore and the self-haunted mindset, I examine how Romantic modes of self-representation prevail in our modern culture and what it might tell us about our current predicament vis-à-vis a Romantic preoccupation with personal experience. In analysing similar structures of feeling and expressions of escapism, melancholy, and nostalgia, I hope to contribute to a wider conversation about the persistence of Romantic habits of thought and how these still resonate and function as a source of inspiration and solace today
'Between a laugh of malice and a fearful yell' : appropriative authorship and intertextual play in Isabella Kelly’s The Baron’s Daughter : a Gothic Romance (1802)
No full textBallades van verschrikking : verleden en verbeeldingskracht in Tales of Superstition and Chivalry (1802) van Anne Bannerman
No full textRecent onderzoek naar vrouwelijk auteurschap van historische romans is aan een opmars bezig, maar moet nog verder doorgevoerd worden inzake het schrijven en bundelen van ballades. Dit onderzoek legt de focus op Anne Bannerman (?1765-1829), die in 1802 haar originele ballades, Tales of Chivalry and Superstition publiceerde. Bannermans ballades presenteren een vrouwelijke stem in een traditie die voornamelijk door mannen geconstrueerd werd. Mijn bijdrage toont aan hoe Bannerman het verleden opeist als vorm van fictie door de nadruk te leggen op de verbeeldingskracht om het verleden te herroepen. De wisselwerking tussen epigraaf, voorwoord en voetnoten creëert een commentaar op het bestaande discours over het verleden en hoe vrouwen door middel van verbeelding de vertelling kunnen sturen en de inconsistentie van het verleden blootleggen. Dit onderzoek naar Bannermans balladecollectie toont aan dat vrouwen op verschillende manieren het verleden kunnen vormgeven en dat dit engagement zich niet beperkt tot het schrijven van historische romans
Ballades van verschrikking : verleden en verbeeldingskracht in Tales of Superstition and Chivalry (1802) van Anne Bannerman
No full textFemale authorship of historical novels in the Romantic period (ca. 1750-1830) is critically established, but these insights have not yet come to fruition in research on ballad collections. This article aims to examine how Anne Bannerman (?1765-1829) uses the ballad form to write fictional history. Her collection of original ballads, Tales of Superstition and Chivalry (1802), draws from the margins of the past and creates supernaturally informed historical tales. I argue that Bannerman weaves together gender, Gothic and history to demonstrate that historical retrieval is only possible through the use of the imagination. In analysing the interrelation between the text and paratext, I demonstrate how she construes an open-ended narrative to suggest that all historical record is an interpretation. In so doing, my research contributes to a more critical understanding of how women authors appropriated the past and used the ballad form to do so
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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