Search Results for widow

... politics in some social contexts. But these negotiations always seem to be dependent upon a model that presents itself as normative—in the case offered here, being a good wife is likened to death through the mimesis of the Hindu myth of the goddess Sati. After examining widow burning in India and its...

... irrémédiable et bref! D’une seule syllabe, sans echo. Mot impair et qui désigne bien l’être dépareillé” (2; And he repeated to himself: “Widower! To be a widower! I am the widower!” Irremediable and brief word! With one syllable, without echo. Uneven word that expresses well the fact of having been dismantled...

..., Gif ony persoun wald approche within that plesand garding. He sees three ladies (two married to lords, one a widow), whom he describes at length (nineteen lines, against the eight lines of the locus amoenus): I saw thre gay ladies sit in ane grein arbeir...

... with the status of a widow —​a crucial association in the context of the film. This costuming decision functions to counterpoint the “Tere Mere Sapne” sequence with the earlier “Aaj Phir,” now suggesting the symbolic death of Marco as Rosie’s husband rather than Rosie’s own literal death. One might also...

... Andromache, I am thinking of you! That little river, Poor and sad mirror where long ago glimmered The immense majesty of your widow’s aching grief, That fraudulent Simoïs enlarged by your tears, Suddenly quickened my fertile memory, As I was crossing...

... muraille immense du brouillard. Andromache, fallen from the arms of a great and noble husband, Common chattel in the hands of haughty Pyrrhus, Crouching, in ecstasy, over an empty tomb— Hector’s widow, alas! Now the wife of Helenus...

... with his eyes closed. Therefore, Humbert’s final manuscript, Lolita, or the Confession of a White Widowed Male , is merely an artistic representation of Humbert’s own perception (as the title Confession indicates). Thus, for Humbert, Dolorès disparue . Choosing to create art, Humbert’s entire life has...

... of the Minstrel through a different indirect reference to the poet. The hint of horror within an otherwise capable figuration (she “Sits half congeal’d with fear”) returns here, figured as the potential violence enacted by the Maniac on a gendered personification of ORPHAN and WIDOW. Robinson’s own life...

... Widow Lack-it tries to persuade the author/narrator that he must alter the conclusion (the heroine is to return to her long-lost father and a life of prosperity) and end the book with the only appropriate ending for a romance: a happy marriage. After conducting my fair parish girl through various...

... Mann; Edmund Burke’s parliamen- tary speeches and writings on India, both before and during the Warren Hastings trial; William Sleeman’s anti-romantic account of a case of sati (Hindu widow-immolation) in his 1844 Rambles and Recollections of an Indian Official ; and Wilkie Collins’s ironic stress...

... Mann; Edmund Burke’s parliamen- tary speeches and writings on India, both before and during the Warren Hastings trial; William Sleeman’s anti-romantic account of a case of sati (Hindu widow-immolation) in his 1844 Rambles and Recollections of an Indian Official ; and Wilkie Collins’s ironic stress...

... Mann; Edmund Burke’s parliamen- tary speeches and writings on India, both before and during the Warren Hastings trial; William Sleeman’s anti-romantic account of a case of sati (Hindu widow-immolation) in his 1844 Rambles and Recollections of an Indian Official ; and Wilkie Collins’s ironic stress...

... Mann; Edmund Burke’s parliamen- tary speeches and writings on India, both before and during the Warren Hastings trial; William Sleeman’s anti-romantic account of a case of sati (Hindu widow-immolation) in his 1844 Rambles and Recollections of an Indian Official ; and Wilkie Collins’s ironic stress...

... to Indian sati (widow sacrifice) is mixed. In Linschoten’s account marital love becomes a “dis- ciplinary technique,” creating dominant European subjectivities while rendering Indian ones submissive and colonized. The last section of chapter 3, recounting an episode (a sort of embedded romance) from...

... borrows from Gayatri Spivak’s memorable articulation of one version of the debate around the practice of widow-burning in nineteenth-century Bengal. See Spivak, “Can the Subaltern Speak?” I discuss this essay later in this article. ALICE WALKER’S AFRICA/357...

..., so that even the narrator’s dawning love for Mustafa Sa’eed’s widow is described by him as “the germ of contagion that oozes from the body of the universe” (86). The language of the other, whether represented by Abu Nuwas or Ford Madox Ford, is Othello’s exotic storytelling, which lures Desdemona...

... the virtuous young Croatian hero is tempted away from the virtuous young embodiment of the homeland, Dora, by the “beautiful, wealthy, bewitching, and immoral young widow, Klara Grubar,” who represents the Austro- Hungarian empire (146). Kuzmic demonstrates that “as embodiments of Croatia and Austria...

... in contemporary literary-critical discourse. Elissa Marder’s “Flat Death: Snapshots of History” will serve as a final example. At one point, addressing Ben- jamin’s mistaken reference to the titular character of “To a Woman Passerby” as a widow, Marder concedes that “there is nothing in the poem to indicate...

... tipo de técnica señaló aquí Kodama . . . (“María Kodama rechaza El hacedor [de Borges], Remake”) María Kodama, Borges’s widow, claimed that intertextuality is not to copy and change three words, hence her rejection of the book El hacedor (de Borges), Remake by Agustín Fernández Mallo. “This publi...

.... __________ Instead of indulging in speculations over the wanderings of Edward, or rather those of his unfaithful wife (who must as such already be older than the unfaithful widow who is so ingeniously treated by E. Grisebach, 1 and who is incidentally based only on a prose tradition); it is permitted here...