By Marina Warner
This precise research of the cult of the Virgin Mary bargains a manner of puzzling over the interrelations of Catholicism and ideas of excellent femininity over the longue duree. An formidable background of the altering symbolism of the mum of God, by myself of All Her intercourse holds as much as the sunshine assorted emphases taking place at diverse occasions, and highlights that the plain archetype of a magna mater is continually in play with social and old stipulations and values.
Marina Warner's fascinating point of view used to be solid within the aftermath of vital postwar advancements in heritage, anthropology, and feminism and the e-book encouraged fierce debates whilst it was once first released in 1976. by myself of All Her intercourse is additionally an emotive, own assertion, bobbing up from Warner's personal upbringing as a Catholic. It selections up on vintage money owed akin to Mary MacCarthy's Memoirs of a Catholic Girlhood and Antonia White's Frost in could, in addition to the author's personal stories at a Catholic boarding university. hugely debatable in conservative quarters, the book's arguments have been welcomed and known through many readers who shared Warner's reports. during this re-creation, Marina Warner has written a brand new preface which reports the ebook within the mild of the current
debate approximately secularism, religion, countries, and social identities. She takes factor along with her unique wrong end that the trendy age may see the cult of Mary fade away and revises it within the gentle of modern popes' enthusiasm for the mummy of God, a clean wave of visions and revelations, a brand new new release of
female saints, and the reorientation of theological methods to the lady query.
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Additional resources for Alone of All Her Sex: The Myth and the Cult of the Virgin Mary
Jean-Luc Godard, in the following quotation, associates female beauty almost ontologically with the cinema: A beautiful face, as La Bruyere wrote, is the most beautiful of sights. There is a famous legend which has it that Griffith, moved by the beauty of his leading lady, invented the close-up in order to capture it in greater detail. Paradoxically, therefore, the simplest close-up is also the most moving. W. Griffith story is undoubtedly a legend. However, Godard's observation, which links the close-up, fascination with feminine beauty and the specifics of the cinema, illuminates another of the film industry's legendary beginnings.
Second, and partly as a result, Hollywood cinema could provide a 'pool' of narratives and iconographies symptomatic of patriarchal culture, providing the most important material for psychoanalytic criticism. Third, there was a renewed interest in the Hollywood melodrama as a mass entertainment genre specifically designed for and directed at a female audience. The melodrama emerged into film critical consciousness as a genre of interest in its own right, bit by bit: first through directors (Minnelli in Movie and in the Brighton Film Review, Nicholas Ray in Movie, Douglas Sirk in Screen), through historical period (Eisenhower's America, as in Jon Halliday's interview book Sirk on Sirk), through formalist aesthetics (Paul Willemen on Sirk in Screen), through form as expressive of content (Thomas Elsaesser's 'Tales of Sound and Fury'), through content (feminist analyses of 'women's pictures'), through origins (Griffith, the silent cinema and the legacy of theatrical melodrama, as in Christine Gledhill's introduction to Home Is Where the Heart 1$, 1987), through psychoanalytic theory (family drama sited inside the home and the interior of the psyche).
She is told that she is not what she appears to be and refused the right to perform her appearance, the social status of 'whiteness' that is the passport to not being 'different'. While Imitation of Life reflects racial discrimination and persecution, but as a zone of silence and repression, marked by but outside adequate social articulation, Sirk's first successful A-picture melodrama erases the external world altogether. Although Magnificent Obsession mainly takes place in the well-to-do milieu of an ideal, semi-rural, semi-small-town America, the setting is atopian rather than social.