Papers by D.E. Frydrychowski
If the verisimilitude of mimesis derives from the creative appropriation of the object, the Kanti... more If the verisimilitude of mimesis derives from the creative appropriation of the object, the Kantian judgment of free aesthetic beauty is agnostic to both the form of the object and the congruency of the object to an expected form. The judgment, Kant clearly states, is from the arising of the form, not the shape of the result. Even where the faculty of cognition predominates in the reception of an aesthetic idea, the subjective originality in the representation is dispositive for the judgment. Since the conceptual form of the object does not determine the judgment, an object (such as a mechanical butterfly) might perfectly resemble a natural object and still be subject to the reflective judgment of free aesthetic beauty.
Quite simply, beauty is in the eye of the beholder, not in the object. Post-dramatic theatre and other fine art and performance that seeks to reject forms of conventional beauty can then instead be read as sublime, and not only potentially still freely beautiful but perhaps as seemingly counter-purposive in its form from a desire to represent free beauty itself.
Building upon a suggestion of Robertson Davies, the paper examines the character of "Cloten" in S... more Building upon a suggestion of Robertson Davies, the paper examines the character of "Cloten" in Shakespeare's Cymbeline in light of the tradition of boorish and notably non-Norman knights such as Sir Kay (Cei).
With the break with Rome, early modern England for the first time began active trade with Persia,... more With the break with Rome, early modern England for the first time began active trade with Persia, Morocco and Turkic lands. The paper briefly reviews, in light of the theories of Spivak and Said, some recent critical reactions to the emergence of Islamic themes on the public stages of London.
Available at: https://medium.com/@david.frydrychowski
Through the nineteenth century, the doctri... more Available at: https://medium.com/@david.frydrychowski
Through the nineteenth century, the doctrine of limited-publication common-law copyright allowed American courts to protect works not eligible for the protections of the statutory scheme. This paper examines the leading cases of the time, including the litigation surrounding Our American Cousin and Parsifal. In closing, the paper suggests that the Metropolitan Opera's initial production of Parsifal was legitimated by a curious publication decision by the work's German publisher.
The beginning of The Exeter Book seems to bear the signs of the proto-textual arts of memory, as ... more The beginning of The Exeter Book seems to bear the signs of the proto-textual arts of memory, as taught by classical tradition and practiced by clerics of the time. The spoken and inscribed sensibilities of the text might be read as a spiritual exercise in anticipation of the Feast of the Nativity.
Available at: https://medium.com/@david.frydrychowski
Called by one modern historian “(t)he mos... more Available at: https://medium.com/@david.frydrychowski
Called by one modern historian “(t)he most notorious female criminal of the Restoration,” Mary Moders traveled widely, made extravagant claims, had several marriages, defended herself several times in court while on trial for her life (once in a case notable for its place in the formation of the doctrine of hearsay evidence), and, as one of England’s first professional actresses, briefly appeared on the London stage in a play written about her life.
A new solution for the textual cruce of Malvolio's "Lady of the Strachy," (TN 2.5.37) a longstand... more A new solution for the textual cruce of Malvolio's "Lady of the Strachy," (TN 2.5.37) a longstanding puzzle of Shakespearean textual annotation. Following George Steevens suggestion that the word might be read as "Starchy," the author suggests that the reference was to Frances Howard, Countess of Somerset, a politically significant contemporary of Shakespeare, whose household was linked in the popular mind with a certain fashion of yellow starch.
In the American conception, privacy inheres in the individual – it is not a grant of the governme... more In the American conception, privacy inheres in the individual – it is not a grant of the government. I suggest that the development of a right to privacy in the American system usually begins with a popular ethic’s creation of a flawed legislative protection. This flawed law then serves as a signal to the courts of the people's expectations. The courts are then given the opportunity to ratify the expectation by defining the right. The two types of protection are philosophically and practically distinct; a positivist proscription functions in a different way than a judicial ethic, and is of necessity more susceptible to fracture and breach, as the citizen is bound to the specific prohibition, not the overarching principle. I begin with a brief exploration of the “first principles” of the right to privacy, and then trace the historical evolution of the right through the dialectic of positive law and judicial ethic. In the second section, I examine the current statutory scheme for electronic privacy as both positive law and dialectical signal to the courts, and contrast the protections of the mails of two centuries ago with the protection accorded modern social networking sites.
Conference Presentations by D.E. Frydrychowski
ATHE, Boston, MA; 2 August 2018
Available at Medium.com via the link below or at: https://medium... more ATHE, Boston, MA; 2 August 2018
Available at Medium.com via the link below or at: https://medium.com/@david.frydrychowski
Not available as part of any "Whole PDF Package," whatever that might be.
Thesis Chapters by D.E. Frydrychowski
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Papers by D.E. Frydrychowski
Quite simply, beauty is in the eye of the beholder, not in the object. Post-dramatic theatre and other fine art and performance that seeks to reject forms of conventional beauty can then instead be read as sublime, and not only potentially still freely beautiful but perhaps as seemingly counter-purposive in its form from a desire to represent free beauty itself.
Through the nineteenth century, the doctrine of limited-publication common-law copyright allowed American courts to protect works not eligible for the protections of the statutory scheme. This paper examines the leading cases of the time, including the litigation surrounding Our American Cousin and Parsifal. In closing, the paper suggests that the Metropolitan Opera's initial production of Parsifal was legitimated by a curious publication decision by the work's German publisher.
Called by one modern historian “(t)he most notorious female criminal of the Restoration,” Mary Moders traveled widely, made extravagant claims, had several marriages, defended herself several times in court while on trial for her life (once in a case notable for its place in the formation of the doctrine of hearsay evidence), and, as one of England’s first professional actresses, briefly appeared on the London stage in a play written about her life.
Conference Presentations by D.E. Frydrychowski
Available at Medium.com via the link below or at: https://medium.com/@david.frydrychowski
Not available as part of any "Whole PDF Package," whatever that might be.
Thesis Chapters by D.E. Frydrychowski
Quite simply, beauty is in the eye of the beholder, not in the object. Post-dramatic theatre and other fine art and performance that seeks to reject forms of conventional beauty can then instead be read as sublime, and not only potentially still freely beautiful but perhaps as seemingly counter-purposive in its form from a desire to represent free beauty itself.
Through the nineteenth century, the doctrine of limited-publication common-law copyright allowed American courts to protect works not eligible for the protections of the statutory scheme. This paper examines the leading cases of the time, including the litigation surrounding Our American Cousin and Parsifal. In closing, the paper suggests that the Metropolitan Opera's initial production of Parsifal was legitimated by a curious publication decision by the work's German publisher.
Called by one modern historian “(t)he most notorious female criminal of the Restoration,” Mary Moders traveled widely, made extravagant claims, had several marriages, defended herself several times in court while on trial for her life (once in a case notable for its place in the formation of the doctrine of hearsay evidence), and, as one of England’s first professional actresses, briefly appeared on the London stage in a play written about her life.
Available at Medium.com via the link below or at: https://medium.com/@david.frydrychowski
Not available as part of any "Whole PDF Package," whatever that might be.