indeed space for happiness in incest – even if only for a limited time – is more pressing than one might think. Although any contemporary audience would have immediately foreseen the inevitable damnation of the protagonists for their sinful actions
Incestuous Desires in John Ford's ’Tis Pity She's a Whore
Diversion, Pleasure and the Good
can be identified with happiness, since we choose other goods only for the sake of happiness, and we choose happiness for its own sake. 2 It might seem that Pascal's point of departure is the same. All human beings are searching for happiness
In act 3, scene 1 of Richard Brome's tragicomedy The Queen and Concubine (1635–1636), 1 Eulalia, former queen of Sicily, professes her happiness: … I was not great Till now, nor could I confidently say Anything was mine own till I had
mishaps unwind themselves. The Shorter Oxford Dictionary defines the word simply as ‘happy’ or ‘the state or an instance of being happy; happiness; bliss’. It comes directly from the Latin words felix and felicitas and had been in English usage from
Happiness is not a term, ideal or goal in life that many will immediately associate with Sir Philip Sidney. His established image is not that of a pursuer of happiness; he is rather known as the ambitious male heir of a powerful Elizabethan family
Evoking the Affective Powers of ‘Happiness’ in Commercial Surrogacy
This article explores how the notion of happiness is employed in order to obscure the moral ambiguity and intimate uncertainties of commercial surrogacy. My ethnographic data elucidate the ways in which surrogacy agents and other intermediaries operating in Russia and Ukraine evoke happiness. I discuss three forms of their affective labour: a discourse of fear and hope, the attempt to make surrogacy a joyous and happy process and the claim that there is a right to happiness. I contend that ‘happiness’ serves as the ultimate argument, an argument that has the affective power to override moral concerns and delegitimise critique.
Dorothy Richardson's Oberland
Oberland has typically been viewed as an odd interlude in Dorothy Richardson's novel sequence Pilgrimage. Depicting a fortnight spent in the Swiss Alps, it focuses on the experience and influence of travel and new surroundings, celebrating a state of intense wonder—“the strange happiness of being abroad.” This article argues that reading Oberland within the tradition of travel writing rather than the novel improves our understanding of the volume's distinctiveness as well as themes central to the whole of Pilgrimage—in particular those of wonder and “privileged sight,” faculties that, it is suggested, are essential to the artistic temperament. Concerned less with the protagonist's inner life and more with her immediate experience of place, Oberland may be distinct from the rest of Pilgrimage, but not from modernist travel narratives. This article considers the implications of such genre distinctions for Richardson's text and what it means for her protagonist Miriam's development toward artisthood.
1 At the level of common language, we still adhere to very ancient notions of the heart as the seat of emotion, feeling, passion, love, sincerity, grief, sorrow, sympathy, compassion, generosity and happiness. In most languages the heart
Katrin Röder and Christoph Singer
OH happiness! our being's end and aim! Good, pleasure, ease, content! whate'er thy name: That something still which prompts th’ eternal sigh, For which we bear to live, or dare to die … Fix'd to no spot is happiness sincere, ’Tis no
Daniel Lord Smail
fails to account for one of the most important findings of recent decades of research in the psychology of well-being. We are accustomed to the world we inhabit, and our measures of happiness and contentment are defined by the parameters of the possible