" Your Name Shall Live/In the New Yeare As in the Age of Gold": Sir
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Ambiguity and the Search for Meaning: English and American Studies at the Beginning of the 21St Century
Ambiguity and the Search for Meaning: English and American Studies at the Beginning of the 21st Century Volume 1: Literature Ambiguity and the Search for Meaning: English and American Studies at the Beginning of the 21st Century Volume 1: Literature Edited by Monika Coghen Zygmunt Mazur Beata Piątek Jagiellonian University Press The publication of this volume was supported by the Faculty of Philology of the Jagiellonian University, and the Institute of English Philology, Jagiellonian University. BOARD OF REVIEWERS Teresa Bela Joelle Biele Julie Campbell Benjamin Colbert Marta Gibińska-Marzec Aleksandra Kędzierska David Malcolm Irena Przemęcka Krystyna Stamirowska-Sokołowska Lisa Vargo Anna Walczuk COVER DESIGN Marcin Klag TYPESETTING Sebastian Leśniewski TECHNICAL EDITOR Mirosław Ruszkiewicz © Copyright by Monika Coghen, Zygmunt Mazur, Beata Piątek & Wydawnictwo Uniwersytetu Jagiellońskiego First edition, Kraków 2010 No part of this book may be reproduced, translated, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, microfilming, recording, or otherwise, without written permission from the Publisher. ISBN 978-83-233-3117-9 I WYDAWNICTWO] UNIWERSYTETU JAGIELLOŃSKIEGO www.wuj.pl Wydawnictwo Uniwersytetu Jagiellońskiego Redakcja: ul. Michałowskiego 9/2, 31-126 Kraków tel. 12-631-18-81, 12-631-18-82, fax 12-631-18-83 Dystrybucja: tel. 12-631-01-97, tel./fax 12-631-01-98 tel. kom. 0506-006-674, e-mail: [email protected] Konto: PEKAO SA, nr 80 1240 4722 1111 0000 4856 3325 A Bibl. Jagiell. ■ Contents Preface................................................................................................................................... 9 ELINOR SHAFFER Seven Times Seven Types of Ambiguity: William Empson and Twentieth-Century Criticism....................................................................................... 11 ROBERT REHDER Meaning and Change of Form: Eliot, Pound and Niedecker............................................ -
Praise, Patronage, and the Penshurst Poems: from Jonson (1616) to Southey (1799)
University of Calgary PRISM: University of Calgary's Digital Repository Graduate Studies The Vault: Electronic Theses and Dissertations 2015-09-24 Praise, Patronage, and the Penshurst Poems: From Jonson (1616) to Southey (1799) Gray, Moorea Gray, M. (2015). Praise, Patronage, and the Penshurst Poems: From Jonson (1616) to Southey (1799) (Unpublished master's thesis). University of Calgary, Calgary, AB. doi:10.11575/PRISM/27395 http://hdl.handle.net/11023/2486 master thesis University of Calgary graduate students retain copyright ownership and moral rights for their thesis. You may use this material in any way that is permitted by the Copyright Act or through licensing that has been assigned to the document. For uses that are not allowable under copyright legislation or licensing, you are required to seek permission. Downloaded from PRISM: https://prism.ucalgary.ca UNIVERSITY OF CALGARY Praise, Patronage, and the Penshurst Poems: From Jonson (1616) to Southey (1799) by Mooréa Gray A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS GRADUATE PROGRAM IN ENGLISH CALGARY, ALBERTA SePtember, 2015 © Mooréa Gray 2015 Abstract The Penshurst grouP of Poems (1616-1799) is a collection of twelve Poems— beginning with Ben Jonson’s country-house Poem “To Penshurst”—which praises the ancient estate of Penshurst and the eminent Sidney family. Although praise is a constant theme, only the first five Poems Praise the resPective Patron and lord of Penshurst, while the remaining Poems Praise the exemplary Sidneys of bygone days, including Sir Philip and Dorothy (Sacharissa) Sidney. This shift in praise coincides with and is largely due to the gradual shift in literary economy: from the Patronage system to the literary marketPlace. -
Epicoene. for the Moment, I Want to Particularly Consider
DANGEROUS BOYS DANGEROUS BOYS AND CITY PLEASURES: SUBVERSIONS OF GENDER AND DESIRE IN THE BOY ACTOR'S THEATRE By ERIN JULIAN, B.A. A Thesis Submitted to the School of Graduate Studies in Partial Fulfilment of the Requirements for the Degree Master of Arts McMaster University © Copyright by Erin Julian, September 2010 MASTER OF ARTS (2010) McMaster University (English and Cultural Studies) Hamilton, Ontario TITLE: Dangerous Boys and City Pleasure: Subversions of Gender and Desire in the Boy Actor's Theatre AUTHOR: Erin Julian, B.A. (Brock University) SUPERVISOR: Dr H.M. Ostovich NUMBER OF PAGES: vi, 143 ii ABSTRACT: This thesis draws on the works of Will Fisher, Lucy Munro, Michael Shapiro, and other critics who have written on the boy actor on the early modem English stage. Focussing on city comedies performed by children's companies, it argues that the boy actor functions as a kind of "third gender" that exceeds gender binaries, and interrogates power hierarchies built on those gender binaries (including marriage). The boy actor is neither man nor woman, and does not have the confining social responsibilities ofeither. This thesis argues that the boy's voice, his behaviours, and his epicene body are signifiers of his joyous and unconfined social position. Reading the boy actor as a metaphor for the city itself, it originally argues that the boy's innocence enables him to participate in the games, merriment, and general celebration of carnival, while his ability to slip fluidly between genders, ages, and other social roles enables him to participate in and embody the productively disruptive carnival, parodic, and "epicene" spaces of the city itself. -
The Sacred and the Secular
Part 3 The Sacred and the Secular Allegory of Fleeting Time, c. 1634. Antonio Pereda. Kunsthistorisches Museum, Vienna, Austria. “I write of groves, of twilights, and I sing L The court of Mab, and of the Fairy King. I write of hell; I sing (and ever shall) Of heaven, and hope to have it after all.” —Robert Herrick, “The Argument of His Book” 413 Erich Lessing/Art Resource, NY 00413413 U2P3-845482.inddU2P3-845482.indd 413413 11/29/07/29/07 10:19:5210:19:52 AMAM BEFORE YOU READ from the King James AKG Images Version of the Bible he Bible is a collection of writings belong- ing to the sacred literature of Judaism and- TChristianity. Although most people think of the Bible as a single book, it is actually a collec- tion of books. In fact, the word Bible comes from the Greek words ta biblia, meaning “the little books.” The Hebrew Bible, also called the Tanakh, contains the sacred writings of the Jewish people and chronicles their history. The Christian Bible was originally written in Greek. It contains most of the same texts as the Hebrew Bible, as well as twenty-seven additional books called the New Testament. The many books of the Bible were written at different times and contain various types The Creation of Heaven and Earth (detail of writing—including history, law, stories, songs, from the Chaos), 1200. Mosaic. Monreale proverbs, sermons, prophecies, and letters. Cathedral, Sicily. Protestants living in Switzerland; and the Rheims- “I perceived how that it was impossible Douay Bible, translated by English Roman to establish the lay people in any truth Catholics living in France. -
The First Quarto Edition of Shakespeare's Othello William Shakespeare, Othello. London: Thomas Walkley, 1622. 7 Inches X 4
The first quarto edition of Shakespeare’s Othello William Shakespeare, Othello. London: Thomas Walkley, 1622. 7 inches x 4 3/4 inches (178 mm x 121 mm); [4], 80, 89–99, [1] pages; A2 B–M4 N2 (Title, A2, B1–D4, I2, I3, K1–N2 in facsimile). The | Tragœdy of Othello, | The Moore of Venice. | As it hath beene diuerse times acted at the | Globe, and at the Black-Friers, by | his Maiesties seruants. | Written by VVilliam Shakespeare. | [Okes’ device] | London, | Printed by N. O. for Thomas Walkley, and are to be sold at his | shop, at the Eagle and Child, in Brittans Bursse. | 1622. Shakespeare’s quartos, so named because of their format (a single sheet folded twice, creating four leaves or eight pages), are the first printed representations of his plays and, as none of the plays survives in manuscript, of great importance to Shakespeare scholarship. Only twenty-one of Shakespeare’s plays were published in quarto before the closure of the theaters and outbreak of civil war in 1642. These quartos were printed from either Shakespeare’s “foul papers” (a draft with notations and changes that was given in sections to actors for their respective roles); from “fair copies” created from foul papers that presented the entire action of the play; from promptbooks, essentially fair copies annotated and expanded by the author and acting company to clarify stage directions, sound effects, etc.; or from a previously published quarto edition. The quartos were inexpensive to produce and were published for various reasons, including to secure the acting company’s rights to the material and to bring in money during the plague years in London when the theaters were closed. -
Sidney, Shakespeare, and the Elizabethans in Caroline England
Textual Ghosts: Sidney, Shakespeare, and the Elizabethans in Caroline England Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Rachel Ellen Clark, M.A. English Graduate Program The Ohio State University 2011 Dissertation Committee: Richard Dutton, Advisor Christopher Highley Alan Farmer Copyright by Rachel Ellen Clark 2011 Abstract This dissertation argues that during the reign of Charles I (1625-42), a powerful and long-lasting nationalist discourse emerged that embodied a conflicted nostalgia and located a primary source of English national identity in the Elizabethan era, rooted in the works of William Shakespeare, Sir Philip Sidney, John Lyly, and Ben Jonson. This Elizabethanism attempted to reconcile increasingly hostile conflicts between Catholics and Protestants, court and country, and elite and commoners. Remarkably, as I show by examining several Caroline texts in which Elizabethan ghosts appear, Caroline authors often resurrect long-dead Elizabethan figures to articulate not only Puritan views but also Arminian and Catholic ones. This tendency to complicate associations between the Elizabethan era and militant Protestantism also appears in Caroline plays by Thomas Heywood, Philip Massinger, and William Sampson that figure Queen Elizabeth as both ideally Protestant and dangerously ambiguous. Furthermore, Caroline Elizabethanism included reprintings and adaptations of Elizabethan literature that reshape the ideological significance of the Elizabethan era. The 1630s quarto editions of Shakespeare’s Elizabethan comedies The Merry Wives of Windsor, The Taming of the Shrew, and Love’s Labour’s Lost represent the Elizabethan era as the source of a native English wit that bridges social divides and negotiates the ii roles of powerful women (a renewed concern as Queen Henrietta Maria became more conspicuous at court). -
© 2012 Scott A. Trudell ALL RIGHTS RESERVED
© 2012 Scott A. Trudell ALL RIGHTS RESERVED LITERARY SONG: POETRY, DRAMA AND ACOUSTIC PERFORMANCE IN EARLY MODERN ENGLAND by SCOTT A. TRUDELL A Dissertation submitted to the Graduate School-New Brunswick Rutgers, The State University of New Jersey in partial fulfillment of the requirements for the degree of Doctor of Philosophy Graduate Program in Literatures in English written under the direction of Henry S. Turner and approved by ______________________________________ ______________________________________ ______________________________________ ______________________________________ New Brunswick, New Jersey May, 2012 ABSTRACT OF THE DISSERTATION Literary Song: Poetry, Drama and Acoustic Performance in Early Modern England by SCOTT A. TRUDELL Dissertation Director: Henry S. Turner This dissertation traces the development of verse with a musical dimension from Sidney and Shakespeare to Jonson and Milton, in genres ranging from prose romance and printed songbooks to outdoor pageantry and professional theater. Song was an essential part of the early modern literary canon, and it circulated ubiquitously in written format. Yet it was also highly performative, inseparable from the rhythmic, vocal and instrumental conditions of its recital. As such, song brings out the extensive interaction between writing and sound in sixteenth- and seventeenth-century literary culture. Drawing on media theory, I argue that song reveals a continual struggle to define literature, from Sidney’s emphasis on the musical properties of writing in The Defence of Poesie to Milton’s conception of the printed book as a profoundly performative medium in Areopagitica. I use song to rethink Shakespeare’s Ophelia, whom I see as a disruptive, non-scriptive versifier whose mad songs amount to an extreme type of poetry. -
1 November 2018 CURRICULUM VITAE
1 November 2018 CURRICULUM VITAE HEATHER DUBROW Department of English Fordham University home address (for all correspondence): 115 East 87 Street #21F New York, NY 10128-1139 [email protected] EDUCATION Harvard Graduate School of Arts and Sciences (July 1967-June 1972) Girton College, University of Cambridge (October 1966-June 1967) Radcliffe College (September 1962-June 1966) Hunter College High School (September 1956-June 1962) DEGREES Ph.D., Harvard University (November 1972) B.A., summa cum laude, Harvard University (June 1966) HONORS AND AWARDS National Merit Scholarship (1962-1966) Chosen as "a sophomore showing promise of scholarly achievement" by Radcliffe chapter of Phi Beta Kappa Election to Phi Beta Kappa Captain Jonathan Fay Award, given by Radcliffe College to the graduating senior "who in the judgment of the Deans has during her whole course, by her scholarship, conduct, and character given evidence of the greatest promise" Doris Russell Scholarship, awarded by Girton College, University of Cambridge (1966-1967) Fulbright Fellowship (1966-1967) Honorary Woodrow Wilson Fellowship (1967-1968) Harvard Graduate Prize Fellowship (1967-1972) Leverhulme Visiting Fellowship (1973-1974) Visiting Research Fellow, University of Sussex (summer term 1976) General Research Board Fellowship, University of Maryland (1977, 1979) Nominee for Student Award for Outstanding Teaching, University of Maryland (1979) Harvard University Mellon Faculty Fellowship (1979-1980) Honorary American Association of University Women Fellowship (1979-1980) -
The Country House Poem Revisited
Connotations Vol. 8.1 (t 998/99) as it art t A Pattern of the Mind: stab The Country House Poem Revisited stat, con fore JUDITH DUNDAS thee wit1 Criticism of country house poems of the seventeenth century has been the largely concerned with generic characteristics. What has been for the most con part ignored is the essentially playful nature of the genre. Instead, critical Pall emphasis tends to be placed on the moral value of country life. But in these but poems, goodness itself is so married to pleasure that the epicurean ard permeates all features. It is true that morality helps to supply structure littll for the poem but does not, at its best, weigh down the meditation on an als( ordered, yet free, space enclosed by architecture and the boundaries of hur a park or estate. T It is also important to recognize that experience in these poems is the retrospectively described. In that sense, these are poems of revisiting, even fam when the present tense is used. Imagination converts the original Res experience-always asserted to be real-into a play of fancy. A quality par that memory retains is given form by a more or less extravagant use of arc1 metaphor, culminating, as we shall see, in Marvell's "Upon Appleton mir House." One could say that the words of the poems do not simply recreate dOE experience but create it. In effect, the country house poem, in the greater the part of the seventeenth century, evolves in the direction of an emphasis StrE on subjective response, rather than on objective description. -
Piozzi) and the Pursuit of Her "Nova Scotia Fortune"
Ronald Rompkey Mrs. Hester Thrale (Piozzi) and the Pursuit of her "Nova Scotia Fortune" In the Public Archives of Nova Scotia a little-known letter from Mrs. Hester Piozzi to the Halifax lawyer Jonathan Sterns dated 30 October 1790 is preserved amongst a collection of miscellaneous eighteenth century documents that includes a journal of a British army officer, Lt. Wm. Booth. Perhaps this curious arrangement accounts for its neglect, for Mrs. Piozzi had never been to Nova Scotia and was not connected with the Booth family. At the time, she was enjoying a reputation as a woman of letters in England. Having reluctantly married the Southwark brewer Henry Thrale. she had become the intimate of Dr. Samuel John son until her subsequent marriage in 1784 to Gabriel Piozzi, her daughters' music master. The marriage had turned Johnson against her, but after his death the publication of her Anecdotes of the Late Samuel Johnson LL. D ( 1788) had made her the subject of much controversy and attention. lames Clifford's authoritative biography of Mrs. Thrale (Piozzi) portrays a proud, ambitious woman who, in spite of her literary achievements, never fully attained the social recognition she felt she deserved as a member of the Salusbury family, distinguished Welsh landowners who had served the Crown from the time of the Crusades. 1 Not until she sold Thrale's brewery for £135,000 in 1781 did she achieve, as she put it, "Restoration to my original Rank in Life, and a Situation undisturbed by Commerical Jargon, unpolluted by Commercial Frauds; undisgraced by Commercial Connections ... -
Looking for Lovelace: Identity, Style and Inheritance in the Poetry of the Interregnum
Looking for Lovelace: Identity, Style and Inheritance in the Poetry of the Interregnum Thesis Submitted by Dosia Reichardt, BA (Hons) James Cook, BA York in September 2003 for the degree of Doctor of Philosophy in the School of Humanities Faculty of Arts, Education and Social Sciences James Cook University Abstract This thesis discusses the work of the Cavalier poet Richard Lovelace in two contexts in particular: first, within the political and cultural constraints operating during the period of the English Civil War and the Interregnum; second, against the background provided by the work of contemporary, often obscure, poets whose aesthetic and political attitudes help illuminate Lovelace’s own. The study examines a number of apparent paradoxes in the work and status of poets in Lovelace’s milieu. The desire to fashion an individual and lasting literary persona in the mould of Ben Jonson, for example, conflicts with the practice of circulating essentially un-authored lyrics within an educated and exclusive male coterie. Lovelace’s amatory verse is viewed through the prism of contemporary attitudes towards female constancy, but also through seventeenth-century poets’ habitual borrowings from Latin and Greek sources. Lovelace’s attempt at a lengthy pastoral partakes of the cultural poetics of nostalgia for a vanished Court and the genres associated with it. His interest in music and the fine arts inspires many poems which comment on contemporary politics while participating in an immemorial debate about art and artificiality versus nature. His prison and drinking songs have earned him a place in anthologies of poetry as a minor classic, but they also crystallize a conjunction of genres peculiar to the years between 1640 and 1660. -
Reading Menstruation and Vaginal Bleeding
Notes Introduction: ‘Those Sweet and Benign Humours That Nature Sends Monthly’: Reading Menstruation and Vaginal Bleeding 1. Helen King, Hippocrates’ Woman: Reading the Female Body in Ancient Greece (London: Routledge, 1998), p. 71. 2. Peter Laslett Family Life and Illicit Love in Earlier Generations: Essays in Historical Sociology (Cambridge: Cambridge University Press, 1977), p. 217. 3. Roy Porter, Flesh in the Age of Reason: The Modern Foundations of Body and Soul (London: W.W. Norton, 2003), pp. 44–5. 4. Herbert Silvette, Doctor on the Stage: Medicine and Medical Men in Seventeenth- Century England (Knoxville: University of Tennessee Press, 1967), p. 2. 5. Tim Hitchcock and Robert Shoemaker, Tales from the Hanging Court (London: Hodder Arnold, 2007), p. xvi. 6. Garthine Walker, Crime, Gender and Social Order in Early Modern England (Cambridge: Cambridge University Press, 2003), p. 3. 7. Elizabeth Furdell, Publishing and Medicine in Early Modern England (London: University of Rochester Press, 2002), pp. 45–6. 8. See Elaine Hobby, ‘Introduction’ in Thomas Raynalde, The Birth of Mankind: Otherwise Named, The Woman’s Book, ed. by Elaine Hobby (Aldershot: Ashgate, 2009), pp. xv–xxxiv (p. xix). 9. Dror Wahrman, ‘Change and the Corporeal in Seventeenth- and Eighteenth-Century Gender History: Or, Can Cultural History Be Rigorous?’ Gender & History, 20.3 (2008), 584–602 (p. 585). 10. Tim Hitchcock, English Sexualities, 1700–1800 (Basingstoke: Macmillan, 1997), p. 25. 11. Jennifer Evans, ‘ “Gentle Purges Corrected with Hot Spices, Whether They Work of Not, Do Vehemently Provoke Venery”: Menstrual Provocation and Procreation in Early Modern England’, Social History of Medicine, 25.1 (2012), 2–19.