The Female Baroque is a contribution to the revival since the 1980s of early modern women's writings and cultural production in English. Its originality is twofold: it links women's writing in ...English with the wider context of Baroque culture, and it introduces the issue of gender into discussion of the Baroque. The title comes from Julia Kristeva's study of Teresa of Avila, that 'the secrets of Baroque civilization are female'. The book is built on a schema of recurring Baroque characteristics - narrativity, hyperbole, melancholia, kitsch, and plateauing, pointing less to surface manifestations and more to underlying ideological tensions. The crucial concept of the Female Baroque is developed in detail. Attention is then given particularly to Gertrude More, Mary Ward, Aemilia Lanyer, The Ferrar/Collet women, Mary Wroth, the Cavendish sisters, Hester Pulter, Anne Hutchinson, Margaret Cavendish and Aphra Behn, the latter two whose lives and writings point to the developing cultural transition to the Enlightenment.
The Female Baroque is a contribution to the revival since the 1980s of early modern women's writings and cultural production in English. Its originality is twofold: it links women's writing in ...English with the wider context of Baroque culture, and it introduces the issue of gender into discussion of the Baroque. The title comes from Julia Kristeva's study of Teresa of Avila, that 'the secrets of Baroque civilization are female'. The book is built on a schema of recurring Baroque characteristics - narrativity, hyperbole, melancholia, kitsch, and plateauing, pointing less to surface manifestations and more to underlying ideological tensions. The crucial concept of the Female Baroque is developed in detail. Attention is then given particularly to Gertrude More, Mary Ward, Aemilia Lanyer, The Ferrar/Collet women, Mary Wroth, the Cavendish sisters, Hester Pulter, Anne Hutchinson, Margaret Cavendish and Aphra Behn, the latter two whose lives and writings point to the developing cultural transition to the Enlightenment.
Purpose
The purpose of this study is to gain a deeper understanding on if and how hotel senior managers (HSMs) in four-star chain hotels in London and Stockholm implemented crisis management ...techniques (CMTs) as a response to the economic impacts of the COVID-19 pandemic in 2020.
Design/methodology/approach
Qualitative questionnaires were sent to 30 HSMs in London and Stockholm. From the feedback, this paper assesses, using thematic analysis, differences in CMTs used, past and present, alluding to COVID-19’s economic impacts on hotels.
Findings
Results determined that crises broadly economically impacted destinations similarly through loss of travellers and thus revenue. However, with a more intricate and specific assessment, destinations are impacted differently; thus, CMTs must alter. Findings show many CMTs can be implemented to reduce crises’ economic impacts. The literature review and empirical results allude to many previous and current CMTs, although these must be relevant and specific to the crisis, hotel and/or destination.
Practical implications
This paper has theoretical implications for academics on, among other things, theory building. Practically, it supports hotels in developing and determining CMTs to reduce the economic impacts of crises, to be better prepared when another pandemic emerges and contributes to the tourism and hospitality industry’s knowledge of management strategy within crises.
Originality/value
To the best of the authors’ knowledge, this is the first Swedish study focusing on post-COVID-19 crisis management in hotels in London and Stockholm.
The RSC's 2014 "Roaring Girls" season seemed in part designed to compensate for the RSC's past uneasiness before gender politics in the theatre. The White Devil, directed by Maria Aberg, was designed ...to compensate for gender imbalance. However, the usual reading of Vittoria as an affirmation of female struggles against patriarchy was downplayed and the play was staged as a feminist indictment of the objectification and brutalization of women. Vittoria became a helpless puppet, while Aberg turned the villainous Flamineo into a woman buying into patriarchy. Unfortunately, too much of the production did not support, and even undermined, Aberg's goal. To work, immaculate attention needed to be paid to the details of script and action; the text too often fought against the concept and at times suffered from inadequate re-scripting. Some powerful speeches by Flamineo were cut, and lines inappropriate for a woman left in; we were temporarily aware rather that we were watching not a woman character but a woman actor playing a man's role. However admirably intended, the result was in part a blur, a "mist" (5.6.256) of both intention and execution.
The initial phrase in my title is adapted from Julia Kristeva, whose complex insights and uncannily Baroque-like speculations have danced across most of my thinking and writing ever since, fascinated ...but at that point largely uncomprehending, I first heard her speak at a conference in the late 1970s. Thirty years later, comprehending a little more and with increased admiration, I encountered, first in French and then translated into English, the book she describes – again not a little Baroquely – as a ‘novel’ based on the life of Saint Teresa, in which she remarks that the saint of Avila reveals that ‘
From Baroque to Enlightenment Waller, Gary
The Female Baroque in Early Modern English Literary Culture,
04/2020
Book Chapter
Of all the women studied here, Margaret Cavendish, second Duchess of Newcastle, is at first sight the most obviously Baroque figure, not only in her writings but also in her personal ambitions and ...self-presentation. But it has also been argued that Cavendish may be seen specifically as a Baroque writer rather than merely demonstrating a Baroque personality. Her poems bear examples of what Canfield sees as characteristic ‘Metaphysical’ conceits — mixed metaphors that sound like parodies of Crashaw’s blending of blood, ice, tears, and dust — and her prose works and plays feature recurring dramatic upsurges of ‘astonishing, bizarre Baroque’ twists of
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