Letters from Dimitris Papanikolaou, Maria Kostaridou, Ivana Bajić
Dimitris Papanikolaou, Maria Kostaridou, and Ivana Bajić
Spiritual Lovesickness in the Letters of Anne-Marie Martinozzi
In February 1654, Anne-Marie Martinozzi, a niece of Cardinal Mazarin, married Armand de Bourbon, Prince of Conti. The newlyweds went on to experience almost concurrent pious conversions that would transform their social behavior for the remainder of their lives. Shortly afterward, Armand was posted to northern Italy as commander of the French army, necessitating a six-month estrangement of the couple between May and October 1657. This article explores a corpus of “love letters” penned by the princess during this separation. It argues that Anne-Marie not only claimed to be suffering from “melancholy” as a result of her separation from her lover and spouse, but that she also constructed an image of herself as spiritually lovesick on account of her deprivation from her mentor and confidant. In doing so, this article sheds light on the centrality of copenitents to the direction of spiritual lives in the aftermath of a pious conversion.
A Portrait, 1894–1930
Birgitta M. Ingemanson
Eleanor Lord Pray (1868-1954), an American woman from New England, lived in Vladivostok from mid-1894 through 1930, and wrote letters to her friends and family in other parts of the world almost daily. She truthfully described her everyday life, scenes from the city and its surroundings, and the extraordinary historic events that occurred there. This Collection of more than 2,000 extant letters, illustrated with hundreds of photos from Mrs. Pray's albums, offers unique information about Old Vladivostok, its people and traditions, and contributes greatly to uncovering some of the history of the city's early bourgeoisie of Russian, German, Scandinavian, and American merchants, consuls, and officers. The Eleanor L. Pray Collection is owned by Patricia D. Silver of Sarasota, Florida.
Engendering Letters in Early Modern Europe
Bianca F.-C. Calabresi
In the 1603 edition of James I’s Basilikon Doron, the epistle from James to Prince Henry ends with a characteristic conflation of paternal and royal identities in James’ printed signature – ‘Your loving Father, I.R.’ – which moves the king from intimacy to authority as much through the shift in form from upper and lower case letters to all capitals as it does in the shift in language from the vernacular to Latin.1 The seventeenth-century printer Joseph Moxon explains the rationale behind capitalizing certain words in print and not others
Letters in Shakespearean Tragedy
When A.C. Bradley came to write about King Lear in his book on Shakespeare’s tragedies, what annoyed him most about the play was what he considered the patently absurd fact that Edgar is supposed to have written Edmund a letter when they were both living in the same castle. That Edmund should have pretended anything so asinine, and, worse still, that Gloucester should have believed it, both seemed to Bradley utterly beyond belief. Approaches to reading Shakespeare’s plays have of course moved on in leaps and bounds in the days since Bradley, but, even so, I want to argue that we may still miss some of the meanings of the very frequent use of letters in Renaissance plays, and particularly those in Shakespeare’s four major tragedies. Letters sprinkle the drama in extraordinary abundance – the word ‘letter’ occurs thirty-three times in King Lear alone – and often occur at moments of particularly heightened significance, as when Lady Macbeth in her sleep repeatedly writes and seals a letter which neither we nor the characters ever discover the contents of. They frequently serve a vital role in plot development, particularly in the uncovering of hidden truths, and occasionally, as when Edmund makes such an issue of ostensibly wanting to conceal the supposed letter from Edgar about his person, they become in themselves significant dramatic properties in ways which seem almost to foreshadow Pamela and Clarissa. What I want to focus on here, though, is not so much the plot function of the letter as its rôle as discourse, and, in particular, its tonal and status relationship to other kinds of discourse in the drama.
Rabindranath Tagore's America, in Letters and Lectures
The Indian writer Rabindranath Tagore visited the United States several times, though his second trip in 1916-1917 seems to have generated the most excitement. On the verge of American entry into World War I, the Nobel prize-winning writer embarked on an extensive lecture tour critiquing the excesses of nationalism and imperialism. The visit generated a number of remarkable texts, including a series of important letters to family and friends written on the trip and the four long lectures collected and published in 1917 as Nationalism. I argue that the lectures on “Nationalism,” can and should be read as a form of “reverse Orientalist” travel writing, where Tagore aimed to show Americans how their own political and economic system could be seen as rather similar to the European powers. Tagore uses the lectures to develop a series of metaphors for the modern, instrumentalist deployment of power in the nation-state and the colonial world, against which he posited an ideal of modern man cultivated and “perfected,” rather like a work of art.
Miriam L. Wallace
Best known as political radicals and novelists, Mary Wollstonecraft and Thomas Holcroft each wrote a travel narrative: Letters Written During a Short Residence in Sweden, Norway, and Denmark ( 1987) and Travels from Hamburg through Westphalia, Holland and the Netherlands to Paris (1804), respectively. Despite their specific differences, both Wollstonecraft and Holcroft reconfigure travel as a politically inflected act of cultural encounter, resisting both the Grand Tour tradition of elite education and Romantic travel as an asocial and personal experience of the sublime. Although Wollstonecraft's account has been examined as a kind of feminine sublime or roman à clef, her political project has frequently been elided, seen as separate from the personal affect of her account. Holcroft's narrative is simply neglected. Reading these two travel accounts as products of late eighteenth-century British radical reform and developing Romantic sensibility enhances our understanding of eighteenth-century travel narrative and British Romanticism itself.
Translation and Reception, 1918–2018
Yael Halevi-Wise and Madeleine Gottesman
abroad reveal about the place of Hebrew literature in what Casanova (  2007 ) characterizes as a ‘world republic of letters’? Since interest in translation history is rising in academic and book industry forums, it is particularly relevant now to
This article analyzes the Gulag memoirs of four women political prisoners—Olga Adamova-Sliozberg, Liudmila Miklashevskaya, Nadezhda Joffe, and Valentina Grigorievna levleva-Pavlenko—to examine the interplay of motherhood and survival. Each was a mother of small children sentenced to forced labor camps in the northern polar regions of the Soviet Union. Motherhood played a complex role in their survival. The rupture in family relations, particularly the separation from their children, magnified the psychological and emotional stress of their incarceration. Yet, being a mother in the camps provided a compelling motivation to stay alive. It helped them to sustain a sense of normalcy by connecting them to their former lives and to the family unit that represented stability and sustenance amid the bleakness of their Gulag existence.
Milena Kirova, ed., Mara Belcheva: Poezia (Mara Belcheva: Poetry), Volume 1, Sofia: Kibea, 2018, 268 pp., BGN 17 (paperback), ISBN 978-954-474-728-2.
Milena Kirova, ed., Mara Belcheva: Proza i prevodi (Mara Belcheva: Prose and translations), Volume 2, Sofia: Kibea, 2018, 350 pp., BGN 19 (paperback), ISBN 978-954-474-729-9.
Vanya Georgieva, Ekaterina Karavelova—Lora Karavelova: Kulturnoistoricheskiat sjuzhet “maiki-dushteri” v bulgarski context (Ekaterina Karavelova—Lora Karavelova: The cultural-historical subject “mothers-and-daughters” in the Bulgarian context), Sofia: Iztok-Zapad, 2017, 543 pp., BGN 25 (paperback), ISBN 978-619-01-0073-7.