摘要:

“The Death of King Arthur and the Waning of the Feudal Age” contains a discussion ofLa Mort Artuin terms of the rapidly changing social and philosophical ethos of thirteenth century France. Although Arthur's kingdom is, politically speaking, a model of the feudal world, its values and institutions—the judicial duel, entrapment influgrunte delicto, system of vendetta and private war—no longer function to insure the unity of the realm. More importantly, the crisis that besets Logres extends to the basic pattern of feudal organization, vassalage, and to the feudal notion of state. Mordret's manipulation of fealty for personal gain points to a fatal flaw within the system as a whole: that the barons can only relate to the ultimate source of power, Arthur, through individuals like Mordret; their singular position in a vertical hierarchy of command gives them sovereignty over its lower echelons. In short, the collapse of Arthurian kingship is the direct result of Arthur's and Gauvain's unawareness of and inability to make crucial distinctions between state‐right and kin‐right, between public and private loyalties and policies: categories that are becoming increasingly important with the reconstitution of the Capetian monarchy and the revival of Aristotelian notions of the state. Only Lancelot is able to distinguish personal and clannish interest from general social interest; because he is willing to sacrifice both Guinevere and the right of his family to avenge his death for the sake of the common good he stands as a new type of individual within the Arthurian world. He seems much closer to the citizen of the modern state than to the subject of the feudal monarchy. Arthur, on the other hand, represents the old king at the end of his reign. His fatigue, blindness and madness reflect, two centuries after the beginning of the end of feudalism in France, the weariness of the f

ISSN:0105-7510    

DOI:10.1111/j.1600-0730.1974.tb01037.x

出版商:Blackwell Publishing Ltd    

年代:1974

数据来源: WILEY

摘要:

Si Mercier n'est pas aujourd'hui un auteur tout à fait réhabilité, sa réhabilitation est bien en cours. Auteur de la deuxième moitik du 18° sièle, intime de nombreux philosophes célèbres, Mercier est un utile point de repère si l'on veut préciser le climat tant littéraire que philosophique de la fin de l'Ancien Régime. En tant qu'homme de lettres, Mercier juge nécessaire de se servir du théštre pour instruire son public, pour l'édifier. II tient è soumettre la scéne non seulement à des intentions moralisatrices, mais aussi à des intentions politiques. II existe, croyons‐nous, un cǒté totalitaire de sa dramaturgie qUi rappelle à certains égards le théàtre communiste contemporain. A tout prendre Mercier mérite toujours de retenir notre attention par l'accent qu'il a mis sur l'engagement social de l'écrivain et par sa participation enthou‐siaste à la cráation du drame, arme indispensable dans la lutte phi

ISSN:0105-7510    

DOI:10.1111/j.1600-0730.1974.tb01038.x

出版商:Blackwell Publishing Ltd    

年代:1974

数据来源: WILEY

摘要:

Samuel Butler's life‐long endeavour to come to terms with the problems of faith and reason, Christianity and iconoclasms is to be considered an integral part of his literary work, of which the two “Erewhons” are but two outstanding examples. On the basis of his major works, the present paper makes an attempt to view Butler's religious peregrination from orthodox theism to atheism and ultimately toward a transcendental vision of polytheism. At the same time, it strives to show the development of Butler's thought against the background of what later became known as the philosophy of pragm

ISSN:0105-7510    

DOI:10.1111/j.1600-0730.1974.tb01039.x

出版商:Blackwell Publishing Ltd    

年代:1974

数据来源: WILEY

摘要:

This study is a concise analysis of Albert Camus' concept of heroism. Attention is drawn to the fact that as a means of depolarking the antipodean forces of both modem Christianity and contemporary Atheism, Camus invoked three Grecian figures ‐ ‐ Sisyphus, Prometheus and Nemesis ‐ ‐ as paradigms from which he declined his own heroes. Seen as prototypes of humanity, these legendary figures embody the absurdity, revolt and moderation which correspond to stages in the development of Camus' own concept of greatness. By cross‐referral of Camus' essays with his plays and novels, the heroes are discussed in an attempt to illustrate how they, like their Grecian counterparts, desire to transcend the absurdity of their various predicaments while realizing the impossibility of their quest. Thus from unawareness to consciousness, from consciousness to revolt and from revolt to re‐integration with life's absurdities, Camus' vision of greatness is presented as consistently maintaining a sacred respect for life, and for the absurd ways of living which

ISSN:0105-7510    

DOI:10.1111/j.1600-0730.1974.tb01040.x

出版商:Blackwell Publishing Ltd    

年代:1974

数据来源: WILEY

摘要:

Hümlbners Randbemerkungen zu Lümlthes ‘Rezeptionsformalismus’ anhand der Leserkonstitution von Fiktionalitämlt werten diesen als Symptom eines verbreiteten Abstrahierens von sozialen Grund‐tatsachen, zugunsten oberflämlchenhaft formaler, dazu unabgeleiteter Bestimmungen, zuschaden aber einer denkbaren methodenintegrativen Literaturtheone. Am Schluß bibliographische Querverweise auf weitere Arbeiten zur Rezeptionsforschung zur weitergehende

ISSN:0105-7510    

DOI:10.1111/j.1600-0730.1974.tb01041.x

出版商:Blackwell Publishing Ltd    

年代:1974

数据来源: WILEY

ISSN:0105-7510    

DOI:10.1111/j.1600-0730.1974.tb01042.x

出版商:Blackwell Publishing Ltd    

年代:1974

数据来源: WILEY