DOCSLIB.ORG

Galatea's Daughters: Dolls, Female Identity and the Material Imagination

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Galatea's Daughters: Dolls, Female Identity and the Material Imagination Galatea‘s Daughters: Dolls, Female Identity and the Material Imagination in Victorian Literature and Culture Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Maria Eugenia Gonzalez-Posse, M.A. Graduate Program in English The Ohio State University 2012 Dissertation Committee: David G. Riede, Advisor Jill Galvan Clare A. Simmons Copyright by Maria Eugenia Gonzalez-Posse 2012 Abstract The doll, as we conceive of it today, is the product of a Victorian cultural phenomenon. It was not until the middle of the nineteenth century that a dedicated doll industry was developed and that dolls began to find their way into children‘s literature, the rhetoric of femininity, periodical publications and canonical texts. Surprisingly, the Victorian fascination with the doll has largely gone unexamined and critics and readers have tended to dismiss dolls as mere agents of female acculturation. Guided by the recent material turn in Victorian studies and drawing extensively from texts only recently made available through digitization projects and periodical databases, my dissertation seeks to provide a richer account of the way this most fraught and symbolic of objects figured in the lives and imaginations of the Victorians. By studying the treatment of dolls in canonical literature alongside hitherto neglected texts and genres and framing these readings in their larger cultural contexts, the doll emerges not as a symbol of female passivity but as an object celebrated for its remarkable imaginative potential. The doll, I argue, is therefore best understood as a descendant of Galatea – as a woman turned object, but also as an object that Victorians constantly and variously brought to life through the imagination. The chapters of my dissertation examine how this imaginative potential was put to use but also how it was perceived as coming under threat by the pressures of materialism and commercialization. iii In my first chapter I examine the doll‘s role as creative muse that elicits imaginative fictions by means of its intrinsic impassive nature but that also embodies and gives material shape to those imaginings. I consider how Victorian authors like Stevenson and Hodgson Burnett saw the fanciful animation of dolls in play as a precursor to the animation of characters in literary production and, in particular, Dickens‘s use of this trope to articulate a vision of himself as an author that draws from the child‘s more fluid relationship with the material world. Then, in Chapter 2, I turn to the ―doll memoir,‖ a once popular but now neglected subgenre within children‘s literature in which dolls are endowed with subjectivity as the narrators of their own stories, to examine how these tales co-opted the imagination to generate a sense of disciplinary surveillance in their young readers, threatening to reverse the power relationship between girls and their dolls. In chapter three, I study the rise of the luxury doll industry and consider how the material excess and consumer promiscuity associated with this ―doll of the period‖ was perceived not only as endangering childhood imagination but also used by writers like Eliza Lynn Linton and Mary Elizabeth Braddon to explore femininity as a commodified form. In my final chapter I turn to narratives of doll production in periodical publications to show how a visit to the factory could deconstruct the fantasy of the doll by reducing it to its material parts, but could also give rise to a more imaginative way of understanding commodities as objects shaped by their material histories. As a mediator between the real and the ideal, I argue, the doll embodies a new kind of imagination, one that operates in conjunction with, rather than against, materiality, and in which woman acts both as medium and as agent. iv Acknowledgments I have long looked forward to writing these acknowledgements as an opportunity to express my most heartfelt thanks to all those without whose support this dissertation could not have been written. I would first like to thank each of the members of my dissertation committee for their great generosity in their willingness to continue to advise me from across the Atlantic. I am grateful to David Riede for introducing me to many of the ideas that inspired this project and for his willingness to continue to offer his guidance even when my research veered away from them, often into unexpected territories. I could not have completed this project without his generous open-mindedness about my subject and his continued and patient support. I am grateful to Jill Galvan, whose careful and incisive comments on my chapter drafts always pushed me to make my claims bolder and clearer, and for her reassuring enthusiasm about my topic. I am also grateful to Clare Simmons, whose expansive knowledge about all aspects of Victorian life and literature always steered me towards thinking about the bigger picture in contextualizing my arguments and highlighting their significance. Heartfelt thanks are also due to Amanpal Garcha, whose advice early on in the conception of this project encouraged me to think creatively about the shape that it could take. I am also grateful for the friendship and support of Amanda Gerber, Meghan Burke Hattaway, Erin Kelly and Lis Lindeman Ravert, the smartest, funniest and kindest v friends that one could ever wish for. To Meghan I owe special thanks, not only for her encouragement and for reading chapter after chapter, but also for making this process a lot less lonely than it could have been. I would also like to thank my family and, in particular, my parents, Guillermo and Adriana, who have always supported me in all my endeavors and have always believed me capable of achieving anything I set out to do. Last, but certainly not least, I would like to thank Alejandro Riaño, my husband, whose belief in my ability to finish sustained me when I was weighed down by doubts of my own, and who, possessed of a seemingly endless supply of kindness, patience, generosity and good humor, has always been my best and most enthusiastic champion. vi Vita July 6, 1982 ....................................................Born, Buenos Aires, Argentina 2003................................................................B.A. International Affairs, George Washington University, Washington, D.C. 2005................................................................M.A. English, Louisiana State University, Baton Rouge, Louisiana 2005-2009 .....................................................Graduate Teaching Associate, Department of English, The Ohio State University Publications Guest co-editor, Special Issue: ―The Intersections of Private and Public Life: Papers from the British Women Writers Conference,‖ Prose Studies 33.3 (2011). ―‗I sometimes think she is a spy on all my actions‘: Dolls, Girls and Disciplinary Surveillance in the Nineteenth-Century Doll Tale.‖ Children’s Literature 39 (2011): 33-57. Entries for ―Violence,‖ ―Fate,‖ and ―Heroism‖ in A Tale of Two Cities in Encyclopedia of Themes in Literature. Ed. Jennifer McClinton-Temple. Facts on File, 2011. Fields of Study Major Field: English vii Table of Contents Abstract .............................................................................................................................. iii Acknowledgments............................................................................................................... v Vita .................................................................................................................................... vii Introduction ......................................................................................................................... 1 Chapter 1: Literary Doll Play and Dickens‘s Fantastic Realism ...................................... 32 Chapter 2: Silent Surveillants: Imaginative Discipline in the Doll Memoir ..................... 88 Chapter 3: Rampant Modernizations: The Luxury Doll, the Girl of the Period and the Sensational Heroine ........................................................................................................ 135 Chapter 4: The Work of Fairies: Deconstruction and Imagination in Narratives of Doll Production ....................................................................................................................... 189 Works Cited: ................................................................................................................... 235 viii List of Figures Figure 1. Illustration of the doll ―At Homes‖ proposed in Funny Folks. ........................... 4 Figure 2. Images of maternal doll play in Miss and her Doll. .......................................... 13 Figure 3. ―Dickens‘ Dream‖ by R. W. Buss.. ................................................................... 61 Figure 4. ―Chirp the Second‖ by Richard Doyle. ............................................................. 62 Figure 5. ―The Arrival of the Doll.‖ From Jeanne Sylvie Mallès de Beaulieu‘s The Well- Bred Doll. ........................................................................................................................ 105 Figure 6. Ethel and the Birch Rod. From Clara Bradford‘s Ethel’s Adventures in the Doll Country. .......................................................................................................................... 124 Figure 7. Nineteen-inch ―Portrait‖ Jumeau doll.. ..........................................................
Load more

Recommended publications
  • Nechronica.Pdf
    A world in which humanity has met its end. A world in which everyone has died. A world in which nothing more can die. In which naught stirs but walking corpses. The protagonists of Nechronica are the girls of this world unfortunate enough to possess hearts- the Dolls. To put it simply, it is a game in which the players become zombie girls and fight against other zombies. The one who caused the dead to wake- the ruler of this shattered world- is the Necromancer. The Necromancer serves as both the master of the game and the archenemy. For it could be none other than the Necromancer who gave hearts to the Dolls. For in a world filled with mindless puppets, the Dolls- they alone whom possess wills of their own- are no more than toys. For the tragic comedy wrought by the foes sent against them is a delightful spectacle. Since Dolls are already dead, they will find no rest when they are broken. The peace of death came to an end long ago, just as did the world itself. As we have a cup of tea, beneath these skies as gray as lead- let us tell the tale of this long, long epilogue. Nechronica -The Long Long Sequel- is a tabletop (pencil-and-paper, face-to-face, et al.) RPG published by Incog Labs/Tsugihagi Honbo/Patch Works and designed by Ryo Kamiya, previously the designer of Golden Sky Stories, Maid RPG, and Zettai Reido. Table of Contents World Section Lexicon 6 Setting Information 8 Timeline 15 ESP Timeline 17 About the Dolls 20 About the Necromancer 23 Sample Characters 25 Patchwork Alice 26 Corpse Sorority 27 Abandoned Automaton 28 Trigger-Happy
    [Show full text]
  • Finding Aid for the Bouchard Collection (MUM00041)
    University of Mississippi eGrove Archives & Special Collections: Finding Aids Library November 2020 Finding Aid for the Bouchard Collection (MUM00041) Follow this and additional works at: https://egrove.olemiss.edu/finding_aids Recommended Citation Bouchard Collection (MUM00041), Department of Archives and Special Collections, J.D. Williams Library, University of Mississippi This Finding Aid is brought to you for free and open access by the Library at eGrove. It has been accepted for inclusion in Archives & Special Collections: Finding Aids by an authorized administrator of eGrove. For more information, please contact [email protected]. University of Mississippi Libraries Bouchard Collection MUM00041 TABLE OF CONTENTS SUMMARY INFORMATION Summary Information Repository University of Mississippi Libraries Scope and Contents note Title Administrative Information Bouchard Collection Controlled Access Headings ID Collection Inventory MUM00041 Special Collections Map Case Drawer 1 Date [inclusive] 1949-1999 Special Collections Map Case Drawer 2 Extent Special Collections Map 4.0 Linear feet Case Drawer 3 Box 1 Preferred Citation Box 2 Bouchard Collection (MUM00041), Department of Archives and Special Collections, J.D. Williams Library, University of Mississippi Return to Table of Contents » SCOPE AND CONTENTS NOTE Mississippi film related items including posters, lobby cards, film stills, publicity books, etc. Return to Table of Contents » ADMINISTRATIVE INFORMATION Publication Information University of Mississippi Libraries Revision Description Revised by Lauren Rogers. 2016 Access Restrictions Open Copyright Restrictions The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted material. Under certain conditions specified in the law, libraries and archives are authorized to furnish a photocopy or other reproduction.
    [Show full text]
  • Chapter Iv Findings and Discussion
    CHAPTER IV FINDINGS AND DISCUSSION The present chapter deals with the result of the research which is divided into two parts namely findings and discussion. In the first part, the researcher reveals the examined data from The Duchess and The Young Victoria movies. It shows the data of negative politeness strategies implemented in those movies and the factors affecting the use of negative politeness strategies employed by main characters in those British movies. In the discussion part, the researcher explores the detailed explanation related to the formulation problems which have been explained in Chapter I. A. Research Findings According to the process of collecting and analysing the data, there are 42 data of negative politeness strategies implemented by the main characters in The Duchess and The Young Victoria movies. The findings are presented in Table 4 and Table 5. 52 TABLE 4. FINDINGS ON NEGATIVE POLITENESS IN THE DUCHESS MOVIE Realizations of Negative Factors Politeness Strategies Circumstances Negative Politeness No Strategies tance H’s Frequency Payoff Be Direct Be Percentage (%) Don’t Coerce Don’t Presume Percentage (%) to H on not impinge Social Dis Relative Power Percentage (%) Percentage Redress other wants ofRedress Communicate S’s want CommunicateS’s want Rankof Imposition Be conventionally 1 2 10 % 1 0 1 0 0 1 7,69% 0 0 1 10 % indirect 2 Question, Hedge 8 40 % 0 5 3 0 0 8 61,54% 1 0 0 10 % 3 Be Pessimistic 1 5 % 0 0 1 0 0 0 0 % 0 1 0 10 % Minimize the 4 3 15 % 0 0 3 0 0 2 15,38% 0 0 1 10 % imposition 5 Give deference 1 5 % 0 0 0 0 1 0 0 % 0 0 1 10 % 6 Apologize 1 5 % 0 0 0 1 0 1 7,69% 0 1 0 10 % Impersonalize speaker 7 1 5 % 0 0 0 1 0 0 0 % 0 0 1 10 % and hearer State the FTA as 8 1 5 % 0 0 0 1 0 0 0 % 0 1 0 10 % general rule 9 Nominalize 1 5 % 0 0 0 1 0 1 7,69 % 1 0 0 10 % Go on record as 10 1 5 % 0 0 0 0 1 0 0 % 0 0 1 10 % incurring debt Total 20 100% 1 5 8 4 2 13 100 % 2 3 5 100% Table 4 presents the data related to negative politeness strategies, realizations and factors affecting the main character in The Duchess movie.
    [Show full text]
  • The Rise of Controversial Content in Film
    The Climb of Controversial Film Content by Ashley Haygood Submitted to the Department of Communication Studies in partial fulfillment of the requirements for the degree of Masters of Arts in Communication at Liberty University May 2007 Film Content ii Abstract This study looks at the change in controversial content in films during the 20th century. Original films made prior to 1968 and their remakes produced after were compared in the content areas of profanity, nudity, sexual content, alcohol and drug use, and violence. The advent of television, post-war effects and a proposed “Hollywood elite” are discussed as possible causes for the increase in controversial content. Commentary from industry professionals on the change in content is presented, along with an overview of American culture and the history of the film industry. Key words: film content, controversial content, film history, Hollywood, film industry, film remakes i. Film Content iii Acknowledgements I would like to thank my family for their unwavering support during the last three years. Without their help and encouragement, I would not have made it through this program. I would also like to thank the professors of the Communications Department from whom I have learned skills and information that I will take with me into a life-long career in communications. Lastly, I would like to thank my wonderful Thesis committee, especially Dr. Kelly who has shown me great patience during this process. I have only grown as a scholar from this experience. ii. Film Content iv Table of Contents ii. Abstract iii. Acknowledgements I. Introduction ……………………………………………………………………1 II. Review of the Literature……………………………………………………….8 a.
    [Show full text]
  • Deconstructing Feminine and Feminist Fantastic Through the Study of Living Dolls
    CLCWeb: Comparative Literature and Culture ISSN 1481-4374 Purdue University Press ©Purdue University Volume 22 (2020) Issue 4 Article 7 Deconstructing Feminine and Feminist Fantastic through the Study of Living Dolls Raquel Velázquez University of Barcelona Follow this and additional works at: https://docs.lib.purdue.edu/clcweb Part of the Comparative Literature Commons, Other Feminist, Gender, and Sexuality Studies Commons, Spanish Literature Commons, and the Women's Studies Commons Dedicated to the dissemination of scholarly and professional information, Purdue University Press selects, develops, and distributes quality resources in several key subject areas for which its parent university is famous, including business, technology, health, veterinary medicine, and other selected disciplines in the humanities and sciences. CLCWeb: Comparative Literature and Culture, the peer-reviewed, full-text, and open-access learned journal in the humanities and social sciences, publishes new scholarship following tenets of the discipline of comparative literature and the field of cultural studies designated as "comparative cultural studies." Publications in the journal are indexed in the Annual Bibliography of English Language and Literature (Chadwyck-Healey), the Arts and Humanities Citation Index (Thomson Reuters ISI), the Humanities Index (Wilson), Humanities International Complete (EBSCO), the International Bibliography of the Modern Language Association of America, and Scopus (Elsevier). The journal is affiliated with the Purdue University Press monograph series of Books in Comparative Cultural Studies. Contact: <[email protected]> Recommended Citation Velázquez, Raquel. "Deconstructing Feminine and Feminist Fantastic through the Study of Living Dolls." CLCWeb: Comparative Literature and Culture 22.4 (2020): <https://doi.org/10.7771/1481-4374.3720> This text has been double-blind peer reviewed by 2+1 experts in the field.
    [Show full text]
  • Living Knowledge – No 6, July 2005
    ISSN 1613-2270 LivingLiving No. 6 - July 2005 KnowledgeKnowledge International Journal of Community Based Research Science and Citizen Participation The Science Communication Escalator Fruitful Interplay: Science and Theatre Universities and Civic Participation Living Knowledge The International Science Shop Network Contents | Editorial Around the World Contents Editorial he fl ow of expert knowledge is undergoing Focus: Science and Ciitizen Participation Trapid change. As information highways are constructed around the globe, new questions about ethics, goals and economics must be an- swered. Science communication addresses theo- The Science Communication retical and pragmatic questions central to many Escalator of today‘s debates. But also the involvement of civil society Every type of knowledge needs its and citizens in policy deliberation and decision-making proc- specifi c way of communication. At the esses relating to scientifi c and technical issues has undergone moment there is no blueprint for the communication be- signifi cant and also highly heterogeneous changes in European tween scientists and society. Ann Van der Auweraert from countries. Ways of involving civil society and empowering the Antwerp describes a model of a ‘science communication community have been very diverse, ranging from social mobi- escalator’, based on the ‘risk communication escalator’ by lisations, the development of associations, Science Shops and Ortwin Renn. » 5 NGOs, to the introduction of formal participatory procedures in decision-making settings. The fact that Science Shops respond to civil society’s needs for expertise and knowledge is a key element that distinguishes them from other knowledge transfer mechanisms. However, many Fruitful Interplay: Science and initiatives are similar to Science Shops and do the same type of Theatre work.
    [Show full text]
  • Sexuality Is Fluid''[1] a Close Reading of the First Two Seasons of the Series, Analysing Them from the Perspectives of Both Feminist Theory and Queer Theory
    ''Sexuality is fluid''[1] a close reading of the first two seasons of the series, analysing them from the perspectives of both feminist theory and queer theory. It or is it? An analysis of television's The L Word from the demonstrates that even though the series deconstructs the perspectives of gender and sexuality normative boundaries of both gender and sexuality, it can also be said to maintain the ideals of a heteronormative society. The [1]Niina Kuorikoski argument is explored by paying attention to several aspects of the series. These include the series' advertising both in Finland and the ("Seksualność jest płynna" - czy rzeczywiście? Analiza United States and the normative femininity of the lesbian telewizyjnego "The L Word" z perspektywy płci i seksualności) characters. In addition, the article aims to highlight the manner in which the series depicts certain characters which can be said to STRESZCZENIE : Amerykański serial telewizyjny The L Word stretch the normative boundaries of gender and sexuality. Through (USA, emitowany od 2004) opowiada historię grupy lesbijek this, the article strives to give a diverse account of the series' first two i biseksualnych kobiet mieszkających w Los Angeles. Artykuł seasons and further critical discussion of The L Word and its analizuje pierwsze dwa sezony serialu z perspektywy teorii representations. feministycznej i teorii queer. Chociaż serial dekonstruuje normatywne kategorie płci kulturowej i seksualności, można ______________________ również twierdzić, że podtrzymuje on ideały heteronormatywnego The analysis in the article is grounded in feminist thinking and queer społeczeństwa. Przedstawiona argumentacja opiera się m. in. na theory. These theoretical disciplines provide it with two central analizie takich aspektów, jak promocja serialu w Finlandii i w USA concepts that are at the background of the analysis, namely those of oraz normatywna kobiecość postaci lesbijek.
    [Show full text]
  • REALLY BAD GIRLS of the BIBLE the Contemporary Story in Each Chapter Is Fiction
    Higg_9781601428615_xp_all_r1_MASTER.template5.5x8.25 5/16/16 9:03 AM Page i Praise for the Bad Girls of the Bible series “Liz Curtis Higgs’s unique use of fiction combined with Scripture and modern application helped me see myself, my past, and my future in a whole new light. A stunning, awesome book.” —R OBIN LEE HATCHER author of Whispers from Yesterday “In her creative, fun-loving way, Liz retells the stories of the Bible. She deliv - ers a knock-out punch of conviction as she clearly illustrates the lessons of Scripture.” —L ORNA DUECK former co-host of 100 Huntley Street “The opening was a page-turner. I know that women are going to read this and look at these women of the Bible with fresh eyes.” —D EE BRESTIN author of The Friendships of Women “This book is a ‘good read’ directed straight at the ‘bad girl’ in all of us.” —E LISA MORGAN president emerita, MOPS International “With a skillful pen and engaging candor Liz paints pictures of modern sit u ations, then uniquely parallels them with the Bible’s ‘bad girls.’ She doesn’t condemn, but rather encourages and equips her readers to become godly women, regardless of the past.” —M ARY HUNT author of Mary Hunt’s Debt-Proof Living Higg_9781601428615_xp_all_r1_MASTER.template5.5x8.25 5/16/16 9:03 AM Page ii “Bad Girls is more than an entertaining romp through fascinating charac - ters. It is a bona fide Bible study in which women (and men!) will see them - selves revealed and restored through the matchless and amazing grace of God.” —A NGELA ELWELL HUNT author of The Immortal “Liz had me from the first paragraph.
    [Show full text]
  • Camp Parody in the British Long Eighteenth Century
    GREAT AFFECTATIONS: CAMP PARODY IN THE BRITISH LONG EIGHTEENTH CENTURY A Dissertation Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Sarah Lynn Cote January 2014 © 2014 Sarah Lynn Cote GREAT AFFECTATIONS: CAMP PARODY IN THE BRITISH LONG EIGHTEENTH CENTURY Sarah Lynn Cote, Ph.D. Cornell University 2014 My dissertation explains that, despite the nominal anachronism, camp has always inhabited literature of the long eighteenth century, namely those examples that were created from and, to some degree, for those experiencing the world from a socially or sexually marginal perspective. To interpret as camp is to not only account for the excesses of style that often infuriate and discompose aesthetic and generic categories of the time period, although it can provide an explanatory motive for noticeably disruptive and even flamboyant literary style. A camp reading can also bring together seemingly disparate texts under the umbrella of alterity. It provides an ideal and common language for discussing formal and generic literary styles alongside feminist, queer, and cultural interpretations. Camp in the eighteenth century is particularly well-positioned to make important contributions to ongoing discussions about the public sphere, the shifts in audience and reception among all media, and the influences of realism, especially relating to the bourgeois representations of affects and emotions. To me, camp is a parodic project, which means that it must bear a symbiotic relationship to the normative text or value that it plays up. Its parody is reliant on those modes opposed as “other” to their marginalized selves; in my examples, the target ranges among the heteronormative family, the orderly body, the sexual object, temporal mastery, aesthetic ownership, sentimental empathy, and even the self.
    [Show full text]
  • Designing for the Machine-Centered World 1 Innovation HUB Innogy
    Designing For The Machine-Centered World 1 © Copyright innogy Innovation GmbH innogy Innovation HUB Venture Idea Designing for the Machine-Centered World As machines drive more buying choices, we must accept them as a new customer group and change how we design, describe, communicate, price and present products and services to them. innogy Innovation Hub GmbH Lysegang 11 45139 Essen Germany innovationhub.innogy.com Venture Idea GmbH Kurze Strasse 6 40213 Düsseldorf Germany www.venture-idea.com/english [email protected] © Copyright innogy Innovation GmbH Designing For The Machine-Centered World 3 Introduction In late 2016, a child in Dallas asked her family’s Amazon Echo “Can you play dollhouse with me and get me a dollhouse?” The device ordered a dollhouse for her. When a news anchor repeated the story, the phrase “Alexa ordered me a dollhouse” triggered Amazon virtual personal assistants (VPAs) in the homes of viewers to also order dollhouses for their unwitting owners. In spring 2017, an advertisement for Burger King included the line “OK Google, what is the Whopper burger?” Which prompted any Google Home VPAs within earshot to begin describing the burgers to their owners? In the future – perhaps the near future – your autonomous car will not only decide when it needs maintenance, but shop for the best price, schedule an appointment and drive itself to the shop. If it is an electric vehicle, it will shop for charging stations and drive itself to the location with the best price and the most open charging poles. A little further in the future it might even own itself and run its own ride-sharing service.
    [Show full text]
  • Buffy's Glory, Angel's Jasmine, Blood Magic, and Name Magic
    Please do not remove this page Giving Evil a Name: Buffy's Glory, Angel's Jasmine, Blood Magic, and Name Magic Croft, Janet Brennan https://scholarship.libraries.rutgers.edu/discovery/delivery/01RUT_INST:ResearchRepository/12643454990004646?l#13643522530004646 Croft, J. B. (2015). Giving Evil a Name: Buffy’s Glory, Angel’s Jasmine, Blood Magic, and Name Magic. Slayage: The Journal of the Joss Whedon Studies Association, 12(2). https://doi.org/10.7282/T3FF3V1J This work is protected by copyright. You are free to use this resource, with proper attribution, for research and educational purposes. Other uses, such as reproduction or publication, may require the permission of the copyright holder. Downloaded On 2021/10/02 09:39:58 -0400 Janet Brennan Croft1 Giving Evil a Name: Buffy’s Glory, Angel’s Jasmine, Blood Magic, and Name Magic “It’s about power. Who’s got it. Who knows how to use it.” (“Lessons” 7.1) “I would suggest, then, that the monsters are not an inexplicable blunder of taste; they are essential, fundamentally allied to the underlying ideas of the poem …” (J.R.R. Tolkien, “Beowulf: The Monsters and the Critics”) Introduction: Names and Blood in the Buffyverse [1] In Joss Whedon’s Buffy the Vampire Slayer (1997-2003) and Angel (1999- 2004), words are not something to be taken lightly. A word read out of place can set a book on fire (“Superstar” 4.17) or send a person to a hell dimension (“Belonging” A2.19); a poorly performed spell can turn mortal enemies into soppy lovebirds (“Something Blue” 4.9); a word in a prophecy might mean “to live” or “to die” or both (“To Shanshu in L.A.” A1.22).
    [Show full text]
  • Galatea : a Pastoral Romance
    Presented to the UNIVERSITY OF TORONTO LIBRARY by the ONTARIO LEGISLATIVE LIBRARY 1980 V C V GALA MIGUEL DE CERVANTES SAAYEDRA 1ITERALLY TEANSLATED FROM THE SPANISH BY GORDON W1LLOUGHBY JAMES GYLL, "A TRACTATE OK "THE HISTORY OF AUTHOR OF LANGUAGE," WRAYSBUBT , HORTON, AND COLNBROOK, BUCKS," ETC. LONDON: GEORGE BELL & SONS, YORK ST., COVENT GARDEN. AND NEW YORK. 1892. ^ LONDON : REPRINTED FROM STEREO-PLATES BY WILLIAM CLOWES AND SONS, LIMITED. STAMFORD STREET AND CHARING CROSS. TRANSLATOE'S PEEFACE. IN this translation of the Galatea of Cervantes, the object has been to convey the story in language as closely as pos- sible to the original. The translator fears he may not alway have succeeded in completely rendering the narratives ot the various incidents which characterise this simple pastoral epic, and that also he may have to apologise for somewhat ot roughness in his transfusion of the poetry, which has found its equivalent, where the lines have been long, in blank verse. The other portions of the poetry he has rendered literally, but wherever the two dialects assimilated he has thought it sufficient to furnish only a kind of metrical rhythm. This elegant and simple production, the earliest from the pen of the eminent poet and novelist of Spain, pour- traying young, fresh, and vivid scintillations of genius, has never been translated into any language. We have only its shadow in the French production of Florian, which is based on the Spanish story, and though written in an en- gaging and graceful style, is not that mature and elegant child of the brain of Cervantes which is now for the first time presented to the English reader.
    [Show full text]