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This study examines concepts of morality and structures of domestic relationships in Samuel Richardson’s novels, situating them in the context of eighteenth-century moral writings and reader reactions. Based on a detailed analysis of Richardson’s work, this book maintains that he sought both to uphold hierarchical concepts of individual duty, and to warn of the consequences if such hierarchies were abused. In his final novel, Richardson aimed at a synthesis between social hierarchy and individual liberty, patriarchy and female self-fulfilment. His work, albeit rooted in patriarchal values, paved the way for proto-feminist conceptions of female character.

Literary studies: c 1500 to c 1800 --- English literature --- Eighteenth-century novel --- Samuel Richardson --- ethics --- gender

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Shakespeare's As You Like It is a play without a theme. Instead, it repeatedly poses one question in a variety of forms: What if the world were other than it is? As You Like It is a set of experiments in which its characters conditionally change an aspect of their world and see what comes of it: what if I were not a girl but a man? What if I were not a duke, but someone like Robin Hood? What if I were a deer? "What would you say to me now an [that is, "if"] I were your very, very Rosalind?" (4.1.64-65). "Much virtue in 'if'," as one of its characters declares near the play's end; 'if' is virtual. It releases force even if the force is not that of what is the case. Change one thing in the world, the play asks, and how else does everything change? In As You Like It, unlike Shakespeare's other plays, the characters themselves are both experiment and experimenters. They assert something about the world that they know is not the case, and their fictions let them explore what would happen if it were--and not only if it were, but something, not otherwise apparent, about how it is now. What is as you like it? What is it that you, or anyone, really likes or wants? The characters of As You Like It stand in 'if' as at a hinge of thought and action, conscious that they desire something, not wholly capable of getting it, not even able to say what it is. Their awareness that the world could be different than it is, is a step towards making it something that they wish it to be, and towards learning what that would be. Their audiences are not exempt. As You Like It doesn't tell us that it knows what we like and will give it to us. It pushes us to find out. Over the course of the play, characters and audiences experiment with other ways the world could be and come closer to learning what they do like, and how their world can be more as they like it. By exploring ways the world can be different than it is, the characters of As You Like It strive to make the world a place in which they can be at home, not as a utopia--Arden may promise that, but certainly doesn't fulfill it--but as an ongoing work of living. We get a sense at the play's end not that things have been settled once and for all, but that the characters have taken time to breathe--to live in their new situations until they discover better ones, or until they discover newer desires. As You Like It, in other words, is a kind of essay: a set of tests or attempts to be differently in the world, and to see what happens. These essays in As If: As You Like It, originally commissioned as an introductory guide for students, actors, and admirers of the play, trace the force and virtue of some of the claims of the play that run counter to what is the case--its 'ifs.'

Literary studies: c 1500 to c 1800 --- Shakespeare, William, --- Characters. --- Criticism and interpretation. --- William Shakespeare --- Early Modern studies --- As You Like It --- cultural studies --- experimentation --- literary studies

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Many types of works are characterized as folk plays: the peasant play, the passion play, the knightly drama, the tradition play, the mass festival, the anti-folk play, and the social drama. This book reconstructs the development of the folk play from the 18th century until today and puts into context the various forms it has taken. Textual examples from Johann Gottfried Herder to Elfriede Jelinek serve as illustration. Volksschauspiele waren seit Jahrzehnten kein Thema der Literatur- und Theaterwissenschaft mehr. Anders auch als die ältere Volksstück- und Volksschauspielforschung des 20. Jahrhunderts nimmt dieses Buch sehr unterschiedliche Verständnisweisen von Volksschauspiel und Volksstück synoptisch in den Blick: Bauernstücke und Passionsspiele, patriotisches Nationaltheater und militärisches Propagandastück des späten 18. Jahrhunderts, Legendenspiel, Ritterspektakel und Brauchtumsspiel des 19. Jahrhunderts, aber auch Massenfestspiel, Thingspiel, Agit-Prop- und Arbeitertheater, Antivolksstück und soziales Drama des 20. Jahrhunderts. Das Buch rekonstruiert die Genese des Volksschauspiels vom 18. bis zum 21. Jahrhundert und verortet die unterschiedlichen Formationen in ihren jeweiligen literarischen und theatergeschichtlichen Kontexten. Es gibt Antwort auf die Fragen, ob und inwiefern Volksschauspiel als Idee, Dramengattung oder Behauptung gelten kann. Kommentierte Textbeispiele, die von Johann Gottfried Herder bis Elfriede Jelinek reichen, begleiten die literaturwissenschaftliche und dramenkundliche Studie.

Literature: history & criticism --- Literary studies: general --- Literary studies: c 1500 to c 1800 --- Literary studies: from c 1900 --- -Literature: history & criticism --- -Folk plays. --- folk piece. --- folk theater. --- Folk plays.

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The rebirth of Ancient Greek in Europe was promoted by Humanist education and ideas to such an extent that we can consider the Greek language as a formative element of Humanist culture. Next to Latin, the default common language, a Humanist has to know and use Greek, because he is not, cannot and will not be a barbarian: barbaros ou pelomai, as Julius Caesar Scaliger claimed in his verses in 1600. Wreaths (stephanoi) have been the symbols of the cult of Muses from ancient times. After the love for Greek Muses had been revived by Renaissance Humanist poets and scholars, it has remained with us both in poetic activity and in scholarship. The Hellenostephanos volume presents a collection of papers by scholars who study Humanist Greek, aspiring towards another revival of Hellenism, and trying to avoid being barbarians. The volume includes papers by Christian Gastgeber, Gita Bērziņa, Janika Päll, Charalampos Minaoglou, Erkki Sironen, Kaspar Kolk, Tua Korhonen, Johanna Akujärvi, Bartosz Awianowicz, Jean-Marie Flamand, Walther Ludwig, Alessandra Lukinovich, Martin Steinrück, Tomas Veteikis, Grigory Vorobyev, Vlado Rezar, Pieta van Beek, and Antoine Haaker.

Hellenic languages --- Classical texts --- Literary studies: classical, early & medieval --- Literary studies: c 1500 to c 1800 --- Early modern history: c 1450/1500 to c 1700 --- Social & cultural history --- Humanism --- Humanist education --- Humanist culture --- Humanist Greek --- Ancient Greek --- Hellenism --- Greeks --- Renaissance humanism --- Classical texts. --- Hellenic languages. --- Literary studies: c 1500 to c 1800. --- Social & cultural history. --- Early modern history: c 1450/1500 to c 1700. bicssc. --- History --- Europe --- Intellectual life --- Classical texts. bicssc. --- Hellenic languages. bicssc. --- Literary studies: c 1500 to c 1800. bicssc. --- Social & cultural history. bicssc. --- Philosophy --- Classical education --- Classical philology --- Philosophical anthropology --- Renaissance --- Council of Europe countries --- Eastern Hemisphere --- Eurasia --- Classical literature. --- Greek language, Modern. --- Social history. --- Civilization --- Cultural history --- Descriptive sociology --- Social conditions --- Social history --- Sociology --- Romaic language --- Literature, Classical --- Literature --- Literature, Ancient --- Greek literature --- Latin literature --- History.

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"New Perspectives on Power and Political Representation from Ancient History to the Present Day offers a unique perspective on political communication between rulers and ruled from antiquity to the present day by putting the concept of representation center stage. It explores the dynamic relationship between elites and the people which is shaped by constructions of self-representation and representative claims. The contributors to this volume -- specialists in ancient, medieval, early modern and modern history -- move away from reductionist associations of political representation with formal aspects of modern, democratic, electoral, and parliamentarian politics. Instead, they contend that the construction of political representation involves a set of discourses, practices, and mechanisms that, although they have been applied and appropriated in various ways in a range of historical contexts, has stood the test of time"--

Church --- Unity. --- Cassander, George, --- Hotman, Jean, --- History and criticism. --- Hotman de Villiers, Jean, --- Saint-Paul, Jean Hotman, --- Villers-Saint-Paul, Jean Hotman, --- Villiers, Jean Hotman de, --- Turlupinus de Turlupinis, Nicodemus, --- Cassander, Georgius, --- Literary studies: c 1500 to c 1800 --- Communication in politics. --- Kings and rulers. --- Power (Social sciences) --- Representative government and representation --- History.