564 Chapters
Medium 9780253209306

Virgil and Dante as Mind-Readers (Inferno XXI and XXIII)

Dante Alighieri Indiana University Press ePub

Virgil and Dante as Mind-Readers (Inferno XXI and XXIII)

ROBERT HOLLANDER

Dante’s experience of the sin of barratry, punished in the fifth of the Malebolge, at first seems to be limited to a single incident (Inf. XXI, 4–57) and to a single exemplary sinner (the unnamed elder of Lucca, first identified as Martino Bottario by Guido da Pisa 1327: 409). This episode comes to an apparent point of closure in the memorable pseudo-simile which compares the tormented sinner to meat being pushed down into a boiling pot the better to be cooked (55–57). Yet immediately thereafter begins the most lengthy episode of all Inferno. The ensuing violent yet comic scene (XXI, 58-XXIII, 57, some 290 verses) includes the following narrative details:

XXI, 58–87: Virgil, protecting the hidden Dante, confronts Malacoda, the leader of this army of demons, and comes to terms with him.

XXI, 88–105: Dante, called from his hiding place by Virgil, is eyed by two demons who would like to hook him; they must be restrained by Malacoda.

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Medium 9780253372086

22. The Architecture of Theories [Initial Version]

Charles S. Peirce Indiana University Press PDF

22

The Architecture of Theories

[Initial Version]

July-August 1890

Houghton Library

Of the fifty or hundred systems of philosophy that have been advanced at different times of the world’s history, perhaps the larger number have been, not so much results of historical evolution, as happy thoughts which have accidentally occurred to their authors. An idea which has been found interesting and fruitful has been adopted, developed, and forced to yield explanations of all sorts of phenomena. The

English have been particularly given to this way of philosophizing; witness, Hobbes, Hartley, Berkeley, James Mill. Nor has it been by any means useless labour; it shows us what the true nature and value of the ideas developed are, and in that way affords serviceable materials for philosophy. Just as if a man, being seized with the conviction that paper was a good material to make things of, were to go to work to build a papier mâché house, with roof of roofing-paper, foundations of pasteboard, windows of paraffined paper, chimneys, bath tubs, locks, etc., all of different forms of paper, his experiment would probably afford valuable lessons to builders, while it would certainly make a detestable house, so those one-idea’d philosophies are exceedingly interesting and instructive, and yet are quite unsound.

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Medium 9780253020444

8 Happily Ever After: The Testament of Erotic Faith

Catherine M. Roach Indiana University Press ePub

In this last chapter, we arrive finally at a consideration of the romance novel’s ending. Here is the moment we’ve been waiting for: that delicious and often tear-jerking emotional resolution where everything works out for the story’s main characters. I often cry at the end of romance novels—indeed, I take it as a sign of a good book if the ending does make me cry. Do you know that opening scene of Romancing the Stone, where the romance novelist played by Kathleen Turner sits sobbing at her desk, typing out the final scene of her book? To the disgust of my boys, I confess to have done the same while working on my own novels.

In romance, this ending is crucial. One could argue that the romance story is defined by what insiders commonly refer to as the HEA. These initials stand for the Happily-Ever-After ending, which Romance Writers of America describes more fully on its website as the “emotionally satisfying and optimistic ending.” In this ending, the protagonists resolve their various internal and external conflicts so as to work out their differences. They come to an understanding of their love for each other and commit their lives to that love. As the RWA website further explains, “The lovers who risk and struggle for each other and their relationship are rewarded with emotional justice and unconditional love.” Stereotypically, this ending involves a hero and heroine declaring without reservation or irony their mutual love, getting married, and conceiving or bearing a child. Increasingly in contemporary romances, the protagonists may not marry and reproduce but will make some sort of deliberate decision to be together for the present. This “happy-for-now” ending—abbreviated as the HFN, as opposed to the HEA—applies often in gay and lesbian romances where only slowly is the option of marriage becoming a legal possibility, and in some erotic romances where marriage or a similar promise of lifelong commitment seems too sudden for the plotline or too bourgeois for the worldview of the novel. In all cases, the characters’ commitment to each other and to the central value of love brings to their lives a sense of deep happiness, personal fulfillment, and the ongoing promise of hot sex, even, as we’ve seen, if this sexual satisfaction is only implied.

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Medium 9780253018618

History Unchained

IU Press Journals Indiana University Press ePub

Yarimar Bonilla

THE YEAR 2013 brought unprecedented attention to representations of slavery in American film. With two major motion pictures nominated for academy awards—Quentin Tarantino’s Django Unchained and Steven Spielberg’s Lincoln—and seven additional movies scheduled for release, including 12 Years a Slave produced by Brad Pitt, there appears to be a sudden groundswell of interest in slavery among U.S. filmmakers and moviegoers. This has been accompanied by an equal swell of public debate regarding not just the quality of these films, but also their propriety. Across the media landscape many wondered: Are certain filmic genres, such as comedy, inherently inadequate for capturing the experience of enslavement? Are certain filmmakers more qualified, or more authorized, to render the experience of African American people? And must representations of slavery strike a certain mood? Can they be “wrong” not just in their facts, but in their affect?

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4. The Subject of Semiotics

Umberto Eco Indiana University Press ePub

Since it has been said that the labor of sign production also represents a form of social criticism and of social practice, a sort of ghostly presence, until now somewhat removed from the present discourse, finally makes an unavoidable appearance. What is, in the semiotic framework, the place of the acting subject of every semiosic act?

If one of the topics of a theory of sign production is the relationship between sender and addressee, which constitutes the basis for a consideration of the various kinds of ‘speech acts’, one could remark that very little attention has been devoted, in the preceding chapters, to the ‘transcendental’ or ‘empirical’ protagonist of these processes.

A theory of the relationship sender-addressee should also take into account the role of the ‘speaking’ subject not only as a communicational figment but as a concrete historical, biological, psychic subject, as it is approached by psychoanalysis and related disciplines. Anyway the approach followed in this book requires that the following assumptions be made:

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