18th Century British Literature

Tennessee Williams most famous play The Glass Menagerie presents the socio-political conflicts of the contemporary society. The play refers to the 1930s era of Great Depression in America. It was a period of struggles against hopelessness that threatens their lives and family relationship. Middle class people suffered mostly specially the Wingfields who represents this kind of people. American dream is a pathway to escape from this suffering, but it is difficult to attain it. This dream is not only about material prosperity but it is all about success that is gained through hard work. The United States of America’s Declaration of Independence proclaims that ‘life, liberty and pursuit of happiness’ are rights of every individuals irrespective of their personal background. Most Americans believe that it can be achieved through hard work but this dream is like a myth.

for their support and assistance throughout this process; and to administrators, Dearbhla Mooney and Irene O'Malley who have helped in countless ways. Special thanks are due to Rebecca Barr, whose knowledge, enthusiasm and active interest in my work was exceptionally helpful. I would also like to thank Marie Boran and Kieran Hoare of the Special Collections library, and Geraldine Curtin of Inter-Library Loans at NUI Galway, who happily answered questions about material and patiently sourced books for me. In Dublin, Charles Benson, of the Early Printed Books Room, at Trinity College, was especially helpful in pointing me to items in their holdings and giving advice on the material that enabled my primary research. I am very grateful to The Eighteenth-Century Literary Research Network of Ireland. Throughout this process, its symposia shaped my thinking on the eighteenth-century world and it furnished a friendly forum in which to engage in ideas. Particular thanks are due to Ian Campbell Ross for providing me with an opportunity to present my work; to Andrew Carpenter, whose lectures and informal talks continue to inspire my own research; to Moyra Haslett, who readily offered her assistance and expressed continued interest in my thesis, and to Amy Prendergast, whose conversations about literary salons and the Irish Bluestockings were always helpful and enjoyable. I would especially like to thank Norma Clarke, whom I met at a critical time during my research. Her generosity, enthusiasm, and insightful interpretations of eighteenth-century women writers continue to inspire my own work. Thanks too, to her son, Nick Tosh, who gave helpful encouragement throughout the process. Many thanks are due to friends who have contributed in countless ways. To longtime friends, Kerstin Mierke and Eva Finkemeier, who continue to include me in their events and correspondence despite my absences and delayed emails; to Amanda Lacy, whose support and encouragement was especially appreciated; to Veronica Johnson and Jennifer Buckley, whose humour and generosity gave me a fresh perspective; to Katrin Urschel, whose dinners and conversations were always enjoyable, and to Nora King, whose encouragement and support throughout this process was particularly helpful. I would also like to thank Norman Healy, who generously donated several books on Swift from his own collection, and to Raymond Keary, for his painstaking and expert assistance with graphics and formatting. Special thanks are also due to my colleagues, past and present, at Charlie Byrne's Bookshop. To Charlie Byrne, whose unstinting generosity and flexibility made this dissertation possible; to Vinny Browne, who injected a vital mix of humour and perspective at critical moments; to Carmel McCarthy, for her engaging conversations on gardening, books, music and film; to Olivia Lally, for her moral support and vegan cuisine; to Jo Greenfield, for keeping me informed on literature beyond the eighteenth century; to Philip Connor and Cian Kiely Cuddy who provided a much needed dose of good humour; to John Carrigy, for his continual encouragement and enlightening conversations on the world past and present; and most importantly, to Megan Buckley, a generous coworker, discerning editor, superb academic, and above all, an inspirational friend. Her astute readings of drafts of these chapters and her unflagging interest in my research have been fundamental to the completion of this thesis. My parents, Martin and Phil, have my special love and continual gratitude. Without their practical support and forbearance this thesis would never have been written. Much love and continual thanks too, to my brothers Brian and Cedric; and to my extended family, Alan, Cora, Gráinne, Aimee, and to Ava, my niece and goddaughter, who was born in May of this year. This thesis is dedicated to her.

Poets often use their writing as a way to convey their opinions on politics. William Shakespeare provides an excellent medieval perspective on the tragedies of war. Similarly, Thomas Hardy delivers a look into the modern personal consequences of war. William Wordsworth offers arguments against industrialism and England’s loss of morality in the early 19th century. Throughout half a millennium, Shakespeare, Wordsworth, and Hardy offer their views on politics, nationalism, war, and industrialism, giving readers a look into the personal consequences and perspectives on England throughout different eras.

The Internet and World Wide Web have woven together humanity in new ways, creating global communities, new forms of identity and pathology, and new modes of intervention. The Internet sites are transforming the ways emerging adults engage with others in their social worlds. This qualitative study examines communication processes of identity construction within social interactions among emerging adults using multiple social networking sites.

Serious Money is a critical analysis of the unchecked greed and systemic corruption in globalised capitalism, particularly during the Thatcher era in Britain. The purpose of this article is to investigate the way Churchill's play questions the ethical void that exists inside the realm of financial speculation. It sheds light on the dehumanising impacts of profit-driven systems, the cooperation that exists between governmental power and corporate interests, and the cyclical exploitation of marginalised people. Through its fragmented structure, rapid dialogue, and satirical verse, Serious Money mirrors the chaotic dynamism of deregulated markets, while characters like Corman and Scilla embody capitalism's moral bankruptcy. The analysis highlights Churchill's portrayal of globalization as a neocolonial force, exemplified by figures like Jacinta Condor and Nigel Ajibala, who profit from the vulnerabilities of the Global South. Simultaneously, the play underscores the human cost of this system-alienation, gender inequality, and the commodification of grief-through Scilla's transformation from justiceseeker to profit-driven participant. The article argues that Serious Money remains startlingly relevant in a post-2008 world of financial crises, rising inequality, and corporate dominance, serving as both a warning and a call to reimagine economic frameworks rooted in equity and collective welfare. Combining literary analysis with socio-political critique, this study reaffirms Churchill's legacy as a playwright who challenges audiences to question the ethical foundations of capitalism and advocate for systemic change.

This research paper examines the concept of cartographic demonization in Shakespeare's Othello, focusing on how geography and spatial metaphors are employed to geographically demonize and marginalize Othello as an outsider, based on his geographical background. Cartographic demonization, defined as the process of using maps, geographical representations, or spatial imagery to produce negative views of certain individuals or locations, is essential to comprehending Othello's depiction as the "tainted Other." The study explores how spatial and racial constructs contribute to Othello's alienation in Venetian society, regardless of his military rank or personal qualities. By studying essential scenes and dialogues, the paper reveals how Othello's African origins and Moorish identity are portrayed through a prism of otherness, tying him to barbarism, savagery, and moral perversion. References to "cannibals" and "anthropophagi," together with metaphors such as the "barbary horse," characterize Othello as both exotic and menacing. The geographical and racial prejudices are further intensified in the transition from Venice to Cyprus when Othello's identity increasingly merges with what was depicted as the "barbaric East." Theoretical perspectives from Edward Said's Orientalism and Robert T. Tally Jr.'s Spatiality elucidate how literary mapping influences Othello's narrative, transforming him into a character that represents the ideological and racial demarcations between the familiar and the unfamiliar. The results indicate that geographic demonization not only alienates Othello but also exposes him to exploitation, ultimately resulting in his terrible demise. This analysis highlights the persistent importance of spatial critique in comprehending how literature mirrors society's perspectives on race, identity, and difference.

This thesis takes Mikhail Bakhtin's definitions of the classical and the grotesque, uses various other theorists to problematise and extend these concepts through an engagement with gender categories, and applies them to the work of Alexander Pope and Jonathan Swift. Although the first part deals with the 'theory' of the classical and the grotesque, the following sections on Pope and Swift seek to recognise the historical specificity and complexity of these modes as they intersect with the cultural, material, and psychological circumstances of the writer. The methodology is not solely biographical', 'political', 'cultural', 'feminist' or 'textual', but combines those approaches most relevant to the particular text in question, sometimes engaging more directly with the political environment, for example, at other times placing greater stress on mythological and generic allusions. The thesis shows that the classical and the grotesque emerge from a long social and literary tradition, yet the ways in which they manifest themselves in the time of Pope and Swift are very specific and constructed at least partially in response to contemporary cultural contexts such as the publishing trade, the present monarchy, the situation of Ireland and so on. Extending the work of Susan Gubar, particular attention is paid to the figure of the female grotesque, a common and yet varied image that is made to stand for a variety of cultural and moral ills in the writing of Pope and Swift. In contrast the figure of the 'classical' woman or 'softer man' is found to be symbolic of order as the unruly 'natural' substance of woman is transformed into masculine 'Culture' through social and textual containment. Classical and grotesque constructions of the masculine are also examined, especially in relation to the author's perceptions of his own masculinity. The thesis concludes with a brief analysis of the classical masculine friendship between Pope and Swift. IV TABLE OF CONTENTS ILLUSTRATIONS page vii ''ii ILLUSTRATIONS Illustration Page 1. Leonardo da Vinci, human figure illustrating proportions, thesis because, although Swift is chronologically earlier, Pope's perspective on the classical and the grotesque is generally that of Swift, and Pope's theoretical statements are more directly engaged with these issues than Swift. There are of course differences between the two Scriblerians, as we shall see in the Swift section. The general introduction to Pope continues with a consideration of the contrast between Pope's awareness of his grotesque actual body and his construction of an ideal masculine classical body for himself in his poetry, particularly the Horatian poems. The second part of the second section analyses three of Pope's major works in detail, tracing the interaction of the classical and the grotesque through Windsor Forest, The Rape of the Lock and The Dunciad. Although each poem is treated as a separate work produced at a specific historical moment, their chronological progression allows an overview of the development of classical and grotesque themes and images as Pope's career continues and is influenced by 'external' conditions such as the political situation and so on. Spanning almost the whole of Pope's poetic life, these poems illustrate the complexity and density of his influences and frames of reference. Whilst presenting a kind of classical capitalist utopia ruled by the classical figure of Queen Anne, Windsor Forest nevertheless points to the grotesque possibilities of the failure of the Stuart line, embodied in the grotesque female Discord and the wayward nymph Lodona. Ovidian mythic sources combine with Renaissance iconography and contemporary politics to generate an allegorical narrative that equates England's problems with the figure of the female grotesque and seeks reassurance and stability in the guise of the patriarchal figure of Father Thames. This Popeian need for fatherly control is restated in The Rape of the Lock where a line of classical masculine figures, including the poet himself, is contrasted with effeminate grotesque men like Sir Plume. Even more marked is the contrast between the men and the grotesque figures of the rebellious Belinda and the Goddess Spleen. This poem particularly exploits the antifeminist medical ideology of hysteria to mark 'the Sex' as being inherently grotesque in mind and body. The Dunciad, in both its versions, is the great grotesque poem of English literature. Pope's increasingly gloomy assessment of the political state of the nation and the consequent erosion of classical virtues, especially in the book trade, results in a poem that feeds the many anxieties of the poet into the most imposing female grotesque of them all: the goddess Dulness. Dulness is shown to be a complicated mixture of female grotesques from ancient myth, more recent literary grotesques, and the present monarch's powerful wife, Queen Caroline. The male followers of Dulness, particularly the 'hero' Cibber, become grotesque by assuming feminine characteristics such as passivity, chaotic behaviour and attraction to other men. In this poem the classical power of the poet is confined to the ordering activity of the heroic couplet as a grotesque Orphic fate overwhelms him. The third and final part of this thesis moves on to Swift, who requires a different treatment to Pope since he is not only a poet and writes a certain kind of poetry. I have limited my analysis of Swift largely to his poetry, where the contrast between the grotesque and classical female is most pronounced, although I do deal briefly with the most relevant prose texts such as The Battle of the Books and Gulliver's Travels. The general structure of this part divides into two sections: the 'grotesque' Swift and the 'classical' Swift. Although entire poems are analysed, my general strategy is to deal with groups of poems such as the 'scatological' poems or the 'Market Hill' poems, as Swift tends to write shorter poems in clusters rather than the more extended single (although often revised) items that Pope composed. In the 'grotesque' Swift the development of the grotesque, especially the female grotesque, is charted in chronological order, from the early rejection of his 'malignant Muse' in favour of the masculine classical figure of Apollo, to the grotesque figure of Scotland in The Story of the Injured Ladv, and to that precursor of many Augustan female grotesques, the Goddess Criticism in The Battle of the Books, with her effeminate male followers, Wotton and Bentley. The poetry of Swift's middle period is then examined, most notably the 'Progress' poems, and in particular The Progress of Beauty, an early manifestation of the 'scatological' group that is analysed in the next section. The disruptive and diseased body of the Swiftian female grotesque is brought under close scrutiny here, although the role of male grotesques such as Strephon and Cassinus is also considered, posing the question of whether there is some kind of equality in male and female grotesquerie. The complicity of the poet with his male characters and his strategies for keeping his own classical body pure are further issues addressed in this section. The 'classical' Swift section deals with Swift's presentation of his classical Palladian women, engaging as much with his biography as with his poetry. The structure of this section is dictated by the chronology of the three attempts S« ift made to control the female figures in his life, attempts bolstered directly through the medium of his poetry. Hence this part has a tripartite structure 4 examining Swift's poetry and prose concerned with Esther Johnson ('Stella'), Esther Vanhomrigh ('Vanessa'), and Lady Anne Acheson ('Daphne' or herself). The main poems inspected are the Birthday poems to Stella, other miscellaneous poems to Stella including To Stella, Who Collected and Transcribed his Poems, Cadenus and Vanessa, and the 'Market Hill' poems addressed to Lad}, Acheson, written after the deaths of Stella and Vanessa. A process emerges in which Swift as Pygmalion, shaping his women in art and life, is also found to be Swift as Narcissus, attempting to cast these ladies in his own image: by giving them masculine classical virtues he can transcend the fearful chaos of the desiring female body. Unfortunately for him, this proves impossible, even with Stella, the earliest and most malleable of his subjects. Despite his most ingenious efforts to nullify and purge the 'turbulence of the blood' that his classical women have a disturbing habit of expressing, the cracks in the classical facade that he makes of them in his poetry insist on reappearing, suggesting grotesque difficulties behind. A dichotomy also emerges between the classical Swift who idealises his ladies in poetry and advocates a bracing regimen of long walks and diets, and the grotesque Swift of the Journal to Stella and the correspondence with Vanessa, the man who turns from 'Priest to Beast' in the salacious language games with his 'wheedling sluts' that he initiates and controls. The thesis concludes with a consideration of the economy of masculine classical friendship that binds Pope and Swift, particularly their surprisingly passionate correspondence. This is the ideal relationship for the Augustan man: where sameness overcomes difference; where, as Swift puts it, 'ev'ry Being loves its Like'. PART ONE: CLASSICAL AND GROTESQUE 6 CHAPTER ONE BAKHTIN'S THEORY OF THE BODY The Classical 'embody the ideal potentialities of the human figure' that transcend the particularities of 'specific locality or time'. Only exemplary 'heroic ideals' and noble universal passions are valued. 5 Such an art seeks to 'form and control' the 'affections and associations of the beholder' through 'an imitation of the ideal': Such a purpose is ethical in the very broadest sense of the word: for the classical attempt to embody, in plot, design, rhythm, or visual proportion, an...

ın "Gurur ve Önyargı"sına Yakınlaşması: "Gurur sizce bir kusur mudur, yoksa erdem mi?" "Onun gururunu ben de kolaylıkla hoş görebilirdim. Benim gururuma dokunmamış olsaydı." (Aşk ve Gurur filminden, 2005, Elizabeth Bennet) Jane Austen'ın 1813 yılında yazdığı Pride and Prejudice eseri film, dizi, tv programı olmak üzere çeşitli türlerde uyarlandı. Hatta eserdeki baş karakterler başka filmlerde de esinlenilen karakterler oldular. Bizim bu yazıda ele alacağımız yapım, eserin en meşhur uyarlaması olan Joe Wright'ın yönetmenliğini üstlendiği 2005 yılı yapımı özgün adı Pride and Prejudice olan, filmin Türkçe ismi Aşk ve Gurur'dur. Aslında roman Türkçeye Gurur ve Önyargı şeklinde de çevrilmiştir. Austen'ın altı romanından altısında da konu hep toplumun en önemli kurumu olan evliliktir. Evlenme çağına gelmiş genç kadınların muhakkak bazı yanlış anlaşılmalardan ya da sorunlardan sonra evlendiği, evlenirken de maddiyatın çok büyük bir etken olduğu bariz şekilde vurgulanır. Eserlerinde genellikle evlilik kararı verilir verilmez "mutlu son" tarzı ile biter. Okur, o kadar sorunları atlatan çiftlerin evlendikten sonra neler yaşadıklarını neler yaptıklarını bilemez. Çünkü yazarın tek amacı, bütün engebeleri aşıp yalnızca, dengi dengine uygun evlilikleri gerçekleştirmektir. Bu durumun sebebi Austen'ın yaşadığı dönemde kadının toplumda var olabilmesi için ya babasının zenginliği sebebi ile ya da zengin bir koca ile yapacağı evlilik sayesinde yer edinebilmesidir. Bu tabii yalnızca oldukça kısa bir açıklamadır. O sebeple evlilikler; aşk ya da sevgi kavramları altında özellikle de var olabilme savaşıdır bir nevi. Aşk ve Gurur'da bahsettiğimiz konuya yönelik dört çeşit evlilik ilişkisi yaşanmıştır. O dönemde bir kadın zengin olmasa da güzelse şayet (Elizabeth'in kız kardeşi Jane gibi) zengin bir adamla evlenir ve mutlu olur. Eğer bir kadın zengin olamadığı gibi ortalamanın altında bir güzelliğe sahipse (Elizabeth'in arkadaşı Charlotte gibi) akıllılık edip kendisi gibi orta halli bir beyefendiden kendisine sunulacak evlilik teklifini kişiyi sevmese dahi kabul etmesi dönemin şartlarına göre en olması gerekendir. Filmde Elizabeth'in arkadaşı Charlotte şöyle diyordu: "O da beni herkes kadar mutlu edebilir. Herkes romantik olabilecek kadar şanslı değildir. Bana rahat bir ev ve koruma teklif edildi. Bunun için minnettarım. Artık 27 yaşımdayım Lizzy, param ve başka bir talibim yok. Zaten aileme yük oluyorum ve korkuyorum. Yargılama beni Lizzy" (Aşk ve Gurur: 00. 55. 42). Yahut Austen dönemine göre bir genç kadın, belirli bir geliri olmayan bir genç adamla özellikle kaçarak evlenirse muhakkak bu toplum tarafından ayıplanan ve hoş bulunmayan bir olay olarak görülür. Örneğin, Elizabeth'in küçük kardeşi Lydia'nın yaptığı gibi ya da diğer bir eseri olan Mansfield Park'ta Maria Bertram'ın Mr. Crawford ile kaçması gibi. Austen hiç evlenmediği halde, eserlerini evlilik bahsi üzerine kurması incelemeyi hangi merkezden ele alırsak alalım, muhakkak uğradığımız bir yer oluyor. Yönetmen Joe Wright'ın eserde yazılmamış olan fakat aslında verilmek istenen önemli, küçük anları filmin köşe başlarına yerleştirmesi filmi, yapılan diğer uyarlamalardan öne çıkarmaktadır. Elbette iyi oyuncuların filmde olmasının da etkisi vardır fakat, oyuncunun nasıl ve hangi halde kullanılacağını belirlemek, bir filmi iyi yapan faktörler arasında sayılabilir. Eser temelde direkt uyarlamadır. Yazarın çizdiği doğrultuda ilerleyişini sürdüren eserde romandan ayrılan önemli noktalar vardır. Bu noktalar için yönetmenin, Austen'ın kaleminin altında anlatılmak isteneni iyi saptaması ve eserin geçtiği dönemi iyi anlamış olduğunu gösteriyor diyebiliriz. Örneğin; film başlarken yeşilliğin içindeki Elizabeth kitap okuyarak bizi karşılar. Yaşadığı çevrenin dokunulmamış güzellikteki doğasında yürürüz onunla. Bu durum, hem Elizabeth'in yaşadığı dönemi bize görselle anlatır hem de bizi Elizabeth ile bir eder. Çünkü onunla birlikte hareket etmeye devam ederiz (00. 01.30-00. 03.20). Bir süre kamerayla evin içinde, evde yaşayanların çevresinde gezeriz. Bu Austen'ın özellikle insanları anlattığı uzun ve

Henry Fielding's History of Tom Jones, a Foundling (1749) is a picaresque novel that challenges traditional moral judgments, presenting virtue and vice as ever-shifting qualities influenced by human nature and societal norms. The novel critiques the so-called morality of 18thcentury England, arguing that true virtue lies in sincerity and good intentions rather than rigid social customs and beliefs. Through characters like Tom Jones, Blifil, Squire Allworthy, Lady Bellaston, Molly Seagrim and Sophia Western, Fielding explores themes of hypocrisy, class bias, gendered moral expectations and limitation of women autonomy of Fielding's time. By incorporating Enlightenment philosophical ideas from thinkers like Locke, Kant, and Hume, the novel illustrates the complexities of ethical behavior. Ultimately, Tom Jones advocates for a deeper understanding of virtue, one that values empathy and integrity over mere social norms.

This article explores the image of Amir Timur presented by Nicholas Rowe in his tragedy "The Great Temur". The depth of the character, his role as an ideal ruler and protector of humanity, and the political allegory invested by the author are examined. Special attention is paid to the comparison of Timur's character traits with the humanistic ideals of the Enlightenment era.

"Happiness in marriage is entirely a matter of chance." (Pride and Prejudice) In a contemporary context, an article on Jane Austen and the theme of marriage could examine how her insights into social dynamics and relationships remain relevant today. It could discuss the significance of her observations on love, class, and societal expectations within the framework of modern marriage. Analyzing Austen's timeless perspectives can provide valuable insights into the complexities of today's relationships. Furthermore, the article could delve into the parallels between Austen's characters and current dating culture, addressing issues such as the influence of money, social status, and personal choice in selecting life partners. It might also explore how Austen's focus on character and communication aligns with contemporary relationship values and challenges. By connecting Austen's novels to present-day experiences, the article can underscore the lasting relevance of her exploration of marriage themes. Pride and Prejudice is widely regarded as one of the finest romantic novels in English literature. The way Jane Austen weaves the story, focusing on the fluctuating relationships among various characters, reveals that it is more than just a love story. In the end, both men and women become life partners through compromises they had to make. After overcoming initial conflicts, Elizabeth ultimately marries Darcy. Some characters view marriage as a matter of convenience, emphasizing that financial stability often takes precedence over the emotional connection between husband and wife in their life journey.

The consequences of HMS Wager´s shipwreck in 1741 and the presence of another ship of that fleet, the transport Anna, in the present-day Anna Pink Bay, were the campaigns to retrieve the cannons from Wager´s shipwreck, the Jesuit voyages to transport the "new" indians to Chiloe, the utilization by Chiloe´s Spanish authorities of the "Indian passage" in the Isthmus of Ofqui, plus the foundation of a short-lived wooden fort on Caychilu Island.

(if you are interested in downloading a copy, you can use this link.https://www.tandfonline.com/eprint/BUEBPGUGEXGUBNBUTFNY/full?target=10.1080/01916599.2025.2457939)
    Smith’s imagination of sociability and interpersonal relationships in
commercial society carries a strong Epicurean tone. However, in terms
of moral philosophy, Smith severely criticised Epicureanism and firmly
defended the ‘natural beauty of virtue’ within the framework of
sentimentalism (i.e. the existence of moral worth independent of
pleasure and utility). He claimed that Epicureanism’s denial of the
‘natural beauty of virtue’ not only misunderstands the basis of moral
judgement but also ignores people’s corresponding moral motives and
the possibility of their self-formation in character. He similarly criticised
Hume. In Smith’s view, Hume also neglected the ‘natural beauty of
virtue’. This negligence underestimated the dignity of human nature in
terms of moral motives, moral perception and the self-cultivation of
character, thus failing to explain the possibility of justice, self-command,
generosity, and other virtues. In general, drawing on established
intellectual resources, Smith offered a more active, energetic
perspective on the moral agent than Epicurus and Hume. The active
and noble moral agent, rather than rationally maximising individuals,
was an enlightened participant in Smith’s commercial society. (if you are interested in downloading a copy, you can use this link.https://www.tandfonline.com/eprint/BUEBPGUGEXGUBNBUTFNY/full?target=10.1080/01916599.2025.2457939)

This paper examines the contemporary British artist Mark Fairnington’s Mantidae series of paintings (2000) via the representational methods of his working process. Taking each stage of this process in turn, the paper examines key discourses surrounding mid-nineteenthcentury approaches to painting, microscopy, photography and montage dialogically in its analysis of Fairnington’s own approach. The paper subsequently argues that the Mantidae paintings operate as visual metafictions rooted in Victorian explorations of representation and reality. In its consideration of visual artworks through this literary model, the paper argues that close similitude exists between key theorisations within neo-Victorian studies and postmodern art theory. Ultimately, the paper seeks to initiate a cross-disciplinary application of literary theory surrounding metafiction in its examination of how the visual arts demonstrate self-conscious exploitations of historically-located forms of mediation.

The eighteenth century in England witnessed a significant shift in society's openness to alternative perspectives on religion, science, and self-governance. The major political factions of the time were the Whigs and Tories, who held contrasting views on monarchy, governance, and religious tolerance. The Whigs championed parliamentary supremacy, advocating limits on monarchical authority, whereas the Tories maintained allegiance to the divine right of kings and resisted foreign entanglements. This period also saw challenges to the unquestioned authority of science and a growing awareness of history's role in shaping the world. Discussions on civil rights, democracy, and social justice emerged as large portions of the population suffered from poverty and hardship. The long-held belief that poverty was a divine punishment gradually lost ground, prompting legal and social reforms. This environment of economic and social distress fuelled dissent against the crown, inspiring writers to use literature as a vehicle for political and religious discourse. This paper examines the interplay between politics, religion, and literature in early eighteenth-century England through a critical reading of Daniel Defoe's The True-Born Englishman and Jonathan Swift's A Modest Proposal, highlighting their satirical responses to the socio-political and religious challenges of their time.

To date, there is an evident insufficiency and neglect in the current scholarship of masculinity, particularly the deviant masculinity as depicted in eighteenth-century novels which only provides an unrepresented perception of the gender. This thesis problematizes such neglect, hoping that an examination on men’s power-relations across and between gender as exhibited by the selected deviant men, namely The Prince and The Jew from Daniel Defoe’s Roxana (1724), Mr. Robert of Samuel Richardson’s Pamela (1740), Mr. Lovelace of Clarissa (1747), Ephraim Jenkinson from Oliver Goldsmith’s Vicar of Wakefield (1766) and Tom Jones from Henry Fielding’s Tom Jones (1749) will provide insights on deviant masculinity and enable a postulation of a probable correlation between the use of power-relation at establishing masculinity and the role of socio-political conditions, particularly its given space. I propose the use of Foucault’s genealogical approach at examining and problematizing power-relati...

Meditations among the tombs The ideas for Hervey's first published work Meditations among the Tombs developed through conversations with his gentlemen Christian friends George Thomson and Paul Orchard and whilst having the freedom of their libraries. As these two fine men of God were Hervey's closest friends, Hervey dedicated his first volume with several shorter works to Thomson's daughter and a succeeding work to Orchard's son. The actual scene of the writing, however, was in a large graveyard in Cornwall where Hervey sat amongst the tombs, reading the inscriptions to the memory of the dead. There he saw the graves of the newborn , young children, youths, newly-weds, soldiers in the prime of life and the old, drawing out Christian parallels from their various fates. Such melancholy musings hardly meet the taste of modern readers who immediately

This study analyzes the rhetorical techniques adopted in Hannah More's 1788 poem "Slavery", a seminal work in 18th-century British abolitionist literature. By means of in-depth theoretical and textual analysis, the research examines rhetorical devices, including ethos, pathos, and logos, as well as literary strategies crafted by More to sway her readers to oppose the slave business. The results illuminate the poetical rhetoric power in public reform movements .

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George I of Great Britain was no more versed in Arabic than he was in the native tongue of the kingdom he inherited in 1714.1 Nonetheless, when, in 1724, he was presented with manuscripts of the Arabic Psalter and New Testament, he at least appeared to be "very well pleased with the sight of them".2 Indeed, the king was sufficiently impressed that he agreed to confer a royal bounty of five hundred pounds through his minister, Sir Robert Walpole, on the men behind this presentation to aid them in their pious endeavors.3 The men in question were the members of the Society for Promoting Christian Knowledge (SPCK). A London-based association of predominantly lay Anglicans, the SPCK had been founded at the end of the 17 th century as a reforming society concerned with the promotion of charity schools and the printing and distribution of religious literature. It became involved in missions overseas in the 1710s, through its support for the Danish-Halle mission to Tranquebar in India.4 In the early 1720s, the Society embarked on a project for printing Arabic books for the use of Christians in the Ottoman Levant. The fruits of

With the publication of the Kilmarnock edition of Poems, Chiefly in the Scottish Dialect, Bums positioned himself in the literary marketplace through the creation of different literary personae. Among those Bums created in this edition the "ploughman poet" and the "Scotch Bard" are particularly important to subsequent views of Bums as one who personifies the romantic artist. Bums's near contemporary William Wordsworth defined his conceptions of the romantic artist or poet in the Preface to the Lyrical Ballads,! and his reactions to Bums both preceding and following the Preface demonstrate, if not a causal relationship between Bums and Wordsworth's theories of literature, then definitely a distinct parallel. But whereas Wordsworth sees the romantic artist as subjectively independent and timeless, his conception of the romantic artist does not take into account the impact of the marketplace and society on the artist; therefore the purpose underlying the creative act is often ignored or simply viewed in terms of an individualistic assertion of the artist's viewpoint. When viewed in terms of Raymond Williams' definition of the romantic artist and the social forces at work on him,2 Wordsworth's idealization of Bums as a separate and distinct entity dissolves into a product of a changing society and !William Wordsworth, "Preface, Second Edition of the Lyrical Ballads," English Romantic Writers (San Diego, 1967). Henceforth Preface.

Habka waxbarasho ee Soomaaliya wuxuu wajahaa caqabado badan, midka ugu caansanna waa saameynta taban ee ay leedahay manhajka xad-dhaafka ah. Ardayda iyo macallimiinta ayaa inta badan dareema culays, mana aha sabab la xiriirta rabitaan la’aan ama anshax xumo, balse waxaa ugu wacan culeyska xad-dhaafka ah ee waxbarasho. Arrintani waxay saameyn weyn ku leedahay tayada waxbarashada, caafimaadka maskaxda, iyo natiijooyinka guud ee waxbarashada. Hoos waxaa ku faahfaahsan caqabadaha ay keento manhajka culus iyo talooyin lagu xallin karo.

He was not, as has previously been suggested, a 'younger son of the family of the earl of Salisbury' (Jones, 159), a confusion which arose because of his later close friendship with Charles Boyle, fourth earl of Orrery, who married Lady Elizabeth Cecil, sister of John, the sixth earl of Exeter, of whom William Cecil was once thought to be a brother. He was in fact a descendant of a di erent branch of the Cecil family, his father being 'a near Relation of the Right Honourable the Earl of Salisbury' and 'lineally descended from Lord Burleigh, Earl of Exeter' (monument inscription in the Westbrook chapel, Church of St Peter and St Archives Royal Arch., Stuart papers

Les histoires d'amour dans lesquelles un prince charmant sauve sa bien-aimée des griffes d'un dragon ou d'une belle-mère n'intéressent plus les adolescentes d'aujourd'hui. Si les romances sont toujours particulièrement appréciées du jeune public féminin, les intrigues ont fortement évolué, tout comme les formes que prennent ces romances, avec la lecture en ligne notamment. Denis de Rougemont met en garde contre « [Le mythe de la passion qui] se trahit dans la plupart de nos romans et de nos films, dans leur succès auprès des masses, dans les complaisances qu'il réveille au coeur des bourgeois, des poètes, des mal mariés, des midinettes qui rêvent d'amours miraculeuses 1 ». Certes, l'amour reste un sujet central dans les oeuvres culturelles à destination de ces adolescentes qu'il qualifie de « midinettes ». Toutefois, entre viol, kidnapping et possessivité malsaine, les passions qui peuplent les rêves des adolescentes n'ont plus rien de mièvre. L'étude des oeuvres auto-publiées en ligne pour un public de jeunes femmes en priorité participe, comme l'étude des romances en elles-mêmes, à l'étude des objets déclassés, comme l'explique Béatrice Damian-Gaillard : Marchandises de la culture de masse, les romans sentimentaux appartiennent aux objets déclassés, aux « mauvais genres » (La Mothe, 1989), souvent méprisés par les tenants de la culture savante, dont la culture scientifique. Toutefois, analyser cette littérature permet de saisir, dans une société donnée, l'état de représentations collectives et historicisées de conventions censées orienter les conduites amoureuses et sexuelles 2 .

This volume explores current trends in English Studies, presenting fresh research by a new generation of Italian scholars. Featuring work from the aia 30 Pre-Conference Symposium, it delves into linguistic studies on world Englishes, multimodal discourse and English for specific purposes (esp). Equally engaging are the cultural and literary perspectives, which span Elizabethan drama to modern themes like ecological awareness and feminist thought. With a balance of traditional and contemporary methods, this collection showcases interdisciplinary depth, bridging historical context with the future of English Studies in a connected world.

Daniel Foe was born into a family of a successful tradesman in 1660. As a young man he went into business too, dealing at various times in meat, hosiery, wine, tobacco, perfume, horses and bricks, often with disastrous results such as bankruptcy and imprisonment in 1692 and 1703. Defoe married in 1684 and was the father of at least six children, one of whom became a journalist, although without notable success. Foe added the prefix De to his name in 1695, perhaps, as some have speculated, to enhance his social standing by the adoption of a name that sounds more aristocratic (Richetti 2006: 19). He was educated at the Nonconformist Morton's Academy, renowned for its forward-thinking approach to education which stressed science, economics and modern rather than classical languages. Defoe acquired a strong interest in politics and social affairs as well as religion, at a time when deep divisions separated Catholic from Protestant in all aspects of life including the accession to the throne. Along with his business activities Defoe held public office but by the 1690s he was establishing himself as an energetic and eloquent writer of political, religious and moral polemic and satire. This got him into trouble with the authorities for which the punishment was to stand in the pillory. From the early years of the eighteenth century Defoe depended on highlevel patronage for his livelihood and was employed as a propagandist and a secret agent charged with setting up an intelligence network by those in power, most notably

This paper explores the theme of free will in John Milton’s Paradise Lost, focusing on the contrasting choices made by Satan and Adam. It examines how both characters, despite differing motivations—Satan’s pride and rebellion versus Adam’s ignorance and love—embody the tragic and redemptive aspects of free will. Milton presents free will as a powerful force that leads to both destruction and salvation, with Satan’s defiance exemplifying the abuse of choice and Adam’s fall illustrating the potential for redemption. Through their falls, Milton weaves a complex view of human agency, divine justice, and the implications of choice within the framework of divine providence.

Walter Scott made wide use of his knowledge of historical linguistics —of the history of English and Scots— in writing dialogues in Ivanhoe and many other novels. This causes some problems for translators; the opening conversation between Gurth and Wamba in Ivanhoe, analysed here, is a case in point. Scott’s use of period language in his medieval novels, and also of a type of Scots which sometimes blends in with archaic English, as in the case of Rob Roy’s speech, should, ideally, be rendered in translation, since it is part of the author’s historical point of view. This, however, is not always possible to achieve with a result similar to that of the original. Nevertheless, if Scott became known worldwide it was, of course, due to translation.

Romanticism is a literary movement that originated in Europe and spanned roughly from 1790 to 1850. Romanticism was thus a reaction to the Industrial Revolution, aristocratic social and political norms of the Age of Enlightenment, and scientific rationalization of nature. The agricultural and French revolutions caused political upheaval, and the social upheaval caused by the Industrial Revolution led to a shift in attitude towards nature. The female characters in the poem understand their representation during the 18th century. Physical abilities, stereotypical addressing and portrayal, exploring the various binaries, and hierarchy within the social structure are a few aspects I have tried to put forth through this paper.

Michael Sinding, Aura Heydenreich & Klaus Mecke (Eds.). Narrative and Cognition in Literature and Science, Berlín: De Gruyter. In press.
ISBN: 9783110782790.
https://www.degruyter.com/document/isbn/9783110782844/html?lang=en&srsltid=AfmBOoqFIRxYtRBSGUAiyfQR1y6lv4aPYKZvJZZHuAprbRIRr6HBp8n4

The main purpose of the article is to describe the racial interpretation of European history proposed by an eminent British scholar John Pinkerton (1758Pinkerton ( -1826) ) in his book A Dissertation on the Origin and Progress of the Scythians or Goths (1787). The hypothesis suggested by John Pinkerton will be evaluated in a broader historical, intellectual and cultural context and its relationship to traditional Scytho-Celtic paradigm and indology of Royal Asiatic Society will be analyzed. Author argued that we could derive some fundamental similarities between Pinkerton's thesis and Aryan ideology penetrating Western political culture in the second half of nineteenth century. The fact could indicate that Western mentality used to be in a certain sense preadapted at the threshold of modernity for expansion of a new "myth of foundation" in the guise of racial aggressive narrative. John Pinkerton (1758-1826) as scholar has been widely neglected in the debates concerning the emergence of modern racial thinking including the Aryan imagination. 2 In his excellent survey of the intellectual development of British collective identities prior 2) For instance, the name of John Pinkerton is missing in the classic narrative on the roots of Western racial ideology written by Léon Poliakov ( , first edition 1971)). 1) Studie je dílčím výstupem projektu specifického výzkumu Katedry antropologických a historických věd FF ZČU, 2009. John Pinkerton and his vision of ancient Scythians: "Si les Aryens n'existaient pas, il faudrait les inventer" | Ivo Budil

This fascinating obscure book offers an in-depth analysis of Biblical prophecies concerning the roles of the tribes of Judah and Joseph in the unfolding narrative of Israel’s destiny. The book explores the promise of “many nations” to Abraham, focusing on the fulfillment of the birthright blessings given to Joseph’s sons, Ephraim and Manasseh, and their connection to the rise of prominent Western nations, notably Britain and the United States. The work is divided into three parts: the first examines the birthright promises and their implications for the nations of Israel, the second focuses on the Davidic covenant and the enduring nature of the Davidic throne, and the third reveals the historical and prophetic significance of Israel’s scattered tribes, highlighting the global movement of Israelite descendants, particularly in relation to Anglo-Saxon nations. Allen’s analysis draws on scriptural interpretations, historical events, and genealogical connections to argue that the blessings of the Abrahamic covenant were not only spiritual but also have tangible, national consequences. The book is a foundational text for those interested in the British-Israelism and offers a unique perspective on how prophecy and history are interwoven, presenting a vision of the modern world through the lens of ancient Israel’s promises.
CONTENTS
Preface ………………………………………. 5
PART FIRST
THE BIRTHRIGHT; OR, THE PROMISE OF MANY NATIONS TO ABRAHAM
I. Judah's Sceptre and Joseph's Birthright ……………… 13
II. Race Versus Grace ………………………………………… 23
III. The Sceptre and the Birthright ………………………….. 36
IV. Jacob's Seed Divided Into Two Kingdoms ……………. 49
V. All Israelites Are Not Jews ……………………………… 62
VI. The Broken Brotherhood ………………………………… 79
VII. Ephraim-Samaria—Israel's Idolatry …………………… 90
VIII. Samaria-Israel Cast Out and Cast Off ……………….. 101
IX. The Jews Go to Babylon and Return ………………….. 112
X. Joseph-Israel Lost ………………………………………….. 125
XI. Joseph-Israel—(Continued) ……………………………… 137
PART SECOND
THE SCEPTRE; OR, THE PROMISE OF A PERPETUATED HOUSE, THRONE, AND KINGDOM TO DAVID
I. The Sceptre and the Davidic Covenant ………………….. 149
II. Jeremiah's Call and Commission ……………………….. 163
III. The Tearing Down and Rooting Out …………………. 169
IV. Vindication of the Personal Promises of Jeremiah … 183
V. A Royal Remnant That Escapes ………………………… 191
VI. The Prince of the Scarlet Thread ……………………….. 199
VII. The “Prince of the Scarlet Thread” and the Royal Remnant United … 207
PART THIRD
THE VEIL LIFTED FROM ABRAHAMIC NATIONS
I. Lost Israel and the First Overturn Located ………….. 219
II. Jacob's Pillow-Pillar Stone ………………………………. 230
III. The Other Overturns …………………………………….. 246
IV. Dan—The Serpent's Trail ………………………………… 259
V. Israel in the Isles ………………………………………… 271
VI. A Few More Identities …………………………………… 284
VII. A Study in “Scarlet” …………………………………….. 300
VIII. Egypto-Israelitish and Anglo-Saxon Emblems ……. 314
IX. The Two-Fold Aspect of Prophetic Israel …………….. 333
X. The Coming Exodus ………………………………………. 350
Key Themes and Concepts:
• Judah’s Sceptre and the Royal Lineage:
• Allen examines the prophecy of Judah’s scepter in Genesis 49:10, which speaks of a line of kings coming from Judah, pointing to the royal lineage of Judah and ultimately the kingship of Christ. The "sceptre" symbolizes authority and kingship, and Allen explores how this prophecy has enduring implications, particularly in the context of the British monarchy, which he believes has inherited this royal right.
• Joseph’s Birthright and the Nations of Israel:
• The book delves into the blessings given to Joseph in Genesis 48:16, where Jacob (Israel) blesses Joseph’s sons, Ephraim and Manasseh. Allen connects these blessings to the rise of powerful nations, particularly Britain and the United States, which he argues to be modern-day descendants of Joseph’s two sons. These blessings are associated with material prosperity and influence among the nations.
• Israel's Destiny:
• Allen presents the view that the tribes of Israel were scattered, and that many of them became the foundation for European and Western powers. He asserts that the Biblical promises made to Israel regarding greatness and blessings are being fulfilled through the nations descended from Joseph’s line, such as the United States and the British Empire.
• British-Israelism:
• The book is central to the British-Israelism movement, which posits that the British people, and by extension the English-speaking nations, are the direct descendants of the ancient Israelites. Allen’s interpretation suggests that the promises to the tribes of Israel are not only spiritual but also have physical, national implications, especially for the nations that bear the blessings of Joseph’s sons.
Historical Context and Influence:
Rev. J.H. Allen’s work was published during the height of the British Empire, and his views were shaped by the belief in the Empire’s divine role in world history and the fulfillment of Biblical prophecy through Britain’s global influence. The book’s popularity grew in Christian circles that supported the idea that the British people had a special role in God's plan due to their supposed connection with the ancient Israelites.
TAGS RELATED TO BOOK BELOW:
Judah's Sceptre, Joseph's Birthright, Biblical prophecy, British-Israelism, Ephraim, Manasseh, Lost tribes of Israel, Abrahamic covenant, Davidic covenant, Israel’s destiny, Judah’s scepter, Biblical blessings, Anglo-Saxon nations, Biblical history, Scripture interpretation, British monarchy, United States, Israelite heritage, Ancient Israel, Biblical promises, Israelite migration, Biblical prophecy fulfillment, Old Testament, Israel’s future, Royal family of Judah, Twelve Tribes of Israel, Genesis 48, Genesis 49, Messianic prophecy, Modern Israel, Spiritual blessings, Historical theology, Covenant theology, Prophetic interpretation, Israel in the Bible, Jewish history, Christian theology, Messianic lineage, The Davidic throne, Israel's birthright, Lost Israel, Israelite identity, Ephraim-Samaria, Israel’s idolatry, Israel’s exile, Israel’s return from exile, Babylonian captivity, Israel’s scattering, The coming Exodus, Israel’s future restoration, The coming Kingdom, Davidic dynasty, The kingdom of Israel, Israel’s migration, Israel and the nations, Anglo-Israelism, Ephraim and Manasseh, The inheritance of Israel, Promised land, Abraham's descendants, The tribes of Israel, Israel's land promises, Prophetic kingdoms, Israel’s restoration, Biblical genealogies, Israel's rise, Ancient prophecy, The role of Israel in the world, British Empire, United States and Israel, Biblical blessings on nations, Israelite nations, Jacob’s blessing, The prophecy of the scepter, The promise of many nations, Anglo-Saxon roots, Israelite migration theories, The legacy of Judah, God’s promises to Israel, The British throne and Israel, The United States as Israel, The birthright promise, Bible-based nationalism, Jewish-Israelite descent, The Kingdom of Judah, British-Israel movement, Christian Zionism, Prophetic interpretation of the nations, Israel's role in the end times, Royal lineage, Identity of modern Israel, Ancient prophecies in modern times, Identity of the lost tribes, The Davidic line, Anglo-Israel historical claims, Israel’s place in prophecy, Israelite symbolism, Israel and the throne of David, Joseph's prophecy, The throne of David, The Jewish return to Israel, Anglo-Saxon and Jewish links, The scepter of Judah, British-Israel beliefs, The Israelites in Europe, The new Israel, The tribes in the West, Anglo-Saxon nations in prophecy, The future of Israel, Historical connections to Israel, The Israelite diaspora, Prophecy and identity, The Ten Tribes, Abraham's promise to the nations, The kingdom of David restored, Israel's role in God’s plan, The rise of Israelite nations, Prophecy in modern history, Israel and the throne, Israel and the British Empire, Anglo-Saxon Israelite identity, The Israelite covenant today, Israel and global influence, The kingdom of Ephraim, Davidic kingship, Prophetic Israel, Israel’s national identity, The Anglo-Israel movement, The scepter of Israel, The prophecy of Joseph’s sons, British-Israel historical theory, Israel’s future power, Prophetic expectations for Israel, Jacob’s prophecy, The throne of Israel, Israel and the nations of the earth, The lost tribes of Israel’s location, The Anglo-Saxon connection to Israel, The rise of the Israelite nations, The influence of Israel, Ancient Israel’s legacy, Prophetic Israel and the Western nations, Israel's end-times role, Restoration of the tribes, Prophetic significance of Israel.

В письме Елизаветы Петровны к матери от 19 мая 1721 года говорится о том, что Елизавета и Наталья, дочери императора, разучивают Испанскую фолию. В статье анализируется доступная информация об исполнении фолии в начале XVIII века, она была популярным танцем, но требовала значительной подготовки для исполнения. Ранее, в 1709 году, Наталья Алексеевна писала о том, что маленькая Анна Петровна учила менуэт, хотя ей было всего полтора года. Это свидетельствует, что дети Петра Великого с детства обучались танцу на достойном принцесс уровне.


Видео танца, о котором идет речь в статье: https://www.youtube.com/watch?v=5Wpw4GmFC7Y

By using a historical format, Gothic novelists relied on a common understanding or background on the reader's part to appeal to the romantic instincts of the imagination. In the Gothic romance, history provided the framework. The imagination filled in the details. As the Gothic novel developed from 1765 to 1830, its writers created a collective history that allowed them to build on the works of other novelists and further establish the Gothic realm as a discrete plan.

Dans A Vindication of the Rights of Men , Mary Wollstonecraft élabore
une réponse à Edmund Burke en termes d'une opposition entre la justice et le
statut de la propriété foncière aristocratique. Parmi les effets de la domination des propriétaires fonciers, l'un des plus pernicieux est l'oppression des femmes, légitimée par l'utilisation du langage de la sensibilité. L'article vise à discuter l'analyse que fait Wollstonecraft des fondements et valeurs morales de la société aristocratique.

Any work of art, by definition, is so designated because it speaks to all generations, irrespective of time or place, and regardless of artistic, political, economic, or ideological fads. To accept a work as art with anything less than these universalities is blind acceptance and pure idolatry. Each generation must determine the validity of the label art by determining the relevance of the work to its own generations. Unless a work of art can successfully meet such a test, the label is no more than a gentleman\u27s agreement among self-designated arbiters of taste. Two recent critics, writing on the philosophy of literary criticism, have defined what is perhaps the best test which a work of art must meet. Both agree that a work of art must go beyond the contemporary concern of the author. Swift’s “controversies,” particularly his famous indictment of men, have neve lapsed into memories, for the assertions Johnathan Swift makes about man in Gulliver’s fourth voyage are incontrovertib...

Ophelia has become one of the most famous names in the category of female protagonists of world literature. In spite of being a minor character with a relatively small number of lines and a tragic destiny revolving around two male characters, namely Polonius, her father, and Hamlet, her forbidden love, Ophelia has managed to break out of the stereotypes imposed on her by playwright William Shakespeare and has become even more relevant than the protagonist of the play to which she belongs. This work brings to the fore the image of Ophelia on the artist's canvas. Here we will discuss the earliest pictorial representations of the heroine and the conventions used by painters to depict her: what is her most common pose-sitting on a branch, weaving flowers, already in the water, or even dead; what is her physical appearance-hair colour, clothing, and mood. The focus will also be on how various artists interpreted Ophelia, what changes they made to her iconography, what they focused on in their works.

By despecializing the occupation, Barbauld not only demystifies pedagogy but delaborizes it: child-rearing is not a job to be hird out for wages, but the prerogative of every mother. Child-rearing is not the exclusive domain of trained pedagogues but a skill that any mother can learn.

Dans le domaine de la parfumerie, la poudre à poudrer les cheveux, en usage sous l’Ancien Régime, présente une médialité particulière : il s’agit à la fois d’un produit cosmétique changeant l’apparence de la coiffure et d’un support destiné à véhiculer différentes odeurs. Ce double usage de la poudre à poudrer la situe entre le visible et l’olfactif : plus encore que certains cosmétiques qui étaient aussi parfumés (ne serait-ce que pour en masquer l’odeur désagréable), la poudre donnait à voir l’olfactif dont elle constituait un signe visuel. Ce caractère visible de la poudre en a fait un référent privilégié pour évoquer l’usage des parfums dans les représentations de l’époque, ainsi que les connotations morales qui lui étaient alors associées.

Described by the editor of this edition as a "burlesque," Vathek is an amusing recounting of the evil deeds and fate of its eponymous "hero," a mingling of outrageous, even appalling, acts done at the idiosyncratic whim of a caliph, whose unbridled curiosity and desire for infinite knowledge make him succumb to the commands of a Giaour (devil) in the service of evil Edris, lord of the infernal regions. Originally written in French, the novel deliciously describes a wide variety of sensual scenes and gaily advances across unresisting corpses, mutilated servants, and momentarily outraged Muslims to recount the unrestrained indulgences of Vathek and his equally reprehensible mother in a comic inversion of occidental and oriental stereotypes. Abnormal behavior is the norm in a fantastic, rococo-oriental world where Vathek's Faust-like obsession with all knowledge is easily sidetracked either by food or lust, while his "helicopter" mother's desire for her son to become the supreme ruler of the world, albeit in the subterranean depths of Hell, is constantly thwarted by his waywardness.

Si aan u fahmo tobanka dhinac ee dunida bulshada, waxaan horey ula macaamiloodey qayb yar oo ka mid ah sahaminta mowduucyada halkan aniga oo cilmi baaris ku sameeyay, qayb kalena waxaan horey u akhriyey daraasaddo dheeraad ah oo dhamaystiran, laakin cilmi ahaan kuma aanan dhicin inaan halkan ku dhiiraday in aan ku dhiirado abuurista qoraal cilmiyeed madax banaan,  halka inta kalena aan ogaa oo keliya heerka aqoonta guud ee garaadku. Laakiinsa kan dambena wuxuu ahaa mid muhiim ah oo aan su'aalo weydiin karo, isla markaana aan fahmo jawaabaha si horay loogu socdo oo suʼaalo kale la hor isweydiiyo. Tobanka qaybood, waxaan weydiistaa su'aalo guud oo ku saabsan kun su'aalood si aan halkan ugu abuuro dulucda kooban, iyo haddii qof kale uu horumar kale hore oo kala duwan ula samayn lahaa su'aalaha taxanaha ah, soo koobida ChatGPT4o ee aan abuuray wuxuu ahaan lahaa mid aasaas ahaan ka duwan dhamaan tobanka qaybood.

Jacques Amyot, alors jeune erudit, donne en 1547 la premiere traduction d’un roman grec en une autre langue, qui va devenir un modele fondateur pour tout un genre, en France et dans le reste de l’Europe : L’Histoire aethiopique de Heliodorus, contenant dix livres, traitant des loyales et pudiques amours de Theagenes Thessalien et de Chariclea AEthiopienne, nouvellement traduite de grec en Francoys . Amyot n’est mentionne de maniere anonyme que comme « le translateur ». Comme le montre la liste des tres nombreuses reeditions de ce texte, il a eu un enorme succes. La qualite de la traduction d’Amyot est analysee a travers l’examen detaille de passages-clefs, d’abord celui de la rencontre entre les jeunes heros a Delphes, long recit insere fait par le vieux pretre egyptien Calasiris au jeune Athenien Cnemon, avec divers rappels de la situation d’enonciation du recit. Le caractere profondement religieux de la scene est bien mis en evidence dans la traduction. L’art du « translateur » re...