By Stephen Greenblatt
Stephen Greenblatt argued in those celebrated essays that the paintings of the Renaissance could basically be understood within the context of the society from which it sprang. His strategy - 'New Historicism' - drew from background, anthropology, Marxist conception, post-structuralism, and psychoanalysis and within the technique, blew aside the educational limitations insulating literature from the realm round it.
Learning to Curse charts the evolution of that strategy and gives a brilliant and compelling exploration of a posh and contradictory epoch.
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Extra resources for Learning to Curse: Essays in Early Modern Culture (Routledge Classics)
Adrienne, of course, refuses. Meanwhile, young chorine Daisy Henderson (Peggy Pierce), a ﬁctional version of Edith May recently removed from rural life, “still dazed by the fact she is now a member of the Frivolity beauty squad,” is shocked by the Machiavellian behavior of her new colleague. But Adrienne, in a sequence of wild bacchanalia and table dancing, instructs the new small town ingénue in the ways of handling married men. Adrienne, however, soon ends up casting Overman aside when she falls for self-effacing but “rich as sin” Pittsburgh industrialist David Wallace (Irving Cummings).
In one supposedly selfauthored article written while temporarily in the employment of Florenz Ziegfeld, May describes this mix of fear and desire in her ﬁrst encounter with a very unfamiliar kind of village, Greenwich Village: “I had heard of this place back home and that it was very queer—and wicked. We went into a basement place for dinner. There was sawdust on the ﬂoor and the tables were bare and the air was choked with smoke. Then my dream of naughtiness was realized—ALL THE WOMEN WERE SMOKING!
Rudolph Valentino). The narrative concerns the fate of a wealthy émigré princess living in America and her melodramatic amorous entanglements. ” In Pollyanna, Mary Pickford incarnates her established role as “little Mary,” despite being twenty-six at the time. As the title indicates, she plays a perennially optimistic girl who, though paralyzed, triumphs merrily over adversity. Suds (which ran in Coshocton, Ohio) gives Pickford a chance at a less sunny role as Amanda, a London laundress whose dreams of being saved by an imaginary Prince Charming come to naught.