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“I Am No Woman, I”: Gender, Sexuality, and Power in Elizabethan Erotic Verse
Volume 2 (2), 2009 ISSN 1756-8226 “I Am No Woman, I”: Gender, Sexuality, and Power in Elizabethan Erotic Verse CHLOE K PREEDY University of York Introduction: England’s “Female Prince” Elizabeth Tudor’s accession to the English throne in 1558 significantly challenged and disrupted contemporary assumptions about gender roles. Elizabeth I was an anointed monarch, but she was also a woman in a world of men. Early modern England was a patriarchal society in which the monarch’s control over the kingdom was often compared to a father’s power over his household (Shuger, 1997), and virtually all the powerful figures at Elizabeth’s court were male, including the members of her Privy Council. The expectation was that the highest political position of all, that of England’s sovereign, should also be held by a man, and in contemporary writings on the institution of monarchy the ruler’s body is always imagined to be male. During Elizabeth I’s reign, however, tension was generated by the gap between rhetoric and reality; while the ideal royal body might be gendered male in political discourse, Elizabeth’s own physical body was undeniably female. Elizabeth I’s political androgyny – she was known at home and abroad as a “female Prince”, and Parliamentary statute declared her a “king” for political purposes (Jordan, 1990) – raised serious questions about the relationship between gender and power, questions which were discussed at length by early modern lawyers and political theorists (Axton, 1977). However, such issues also had an influence on Elizabethan literature. Elizabeth I often exploited her physical femininity as a political tool: for instance, she justified her decision not to marry by casting herself as the unobtainable lady familiar to Elizabethans from the Petrarchan sonnet tradition, 1 and encouraged her courtiers to compete for political favour by courting 1 Francesco Petrarch was a fourteenth-century Italian scholar and poet who wrote a series of sonnets ( Il Conzoniere ) addressed to an idealised, sexually unavailable mistress. -
The Influence of Ovid's Metamorphoses and Marlowe's
The Influence of Ovid’s Metamorphoses and Marlowe’s Hero and Leander upon Shakespeare’s Venus and Adonis Most literary critics and historians of English Renaissance literature agree that the basic story of Shakespeare’s epic poem Venus and Adonis is drawn from Book Ten of Ovid’s first-century Latin narrative poem Metamorphoses, namely Arthur Golding’s 1567 translation of the text (a book which Shakespeare probably first read as a child). Ovid’s version of the legend of Venus and Adonis tells the story of Venus taking Adonis on as her first human lover. The two become romantic companions and hunting partners. The mortal Adonis wishes to hunt dangerous beasts, hence Venus attempts to dissuade him but Adonis ignores Venus and is killed by a bore he is hunting. Shakespeare reworks Ovid’s basic story into a poem that is nearly 2,000 lines in length. Shakespeare, however, does not merely adapt Ovid’s poem, but instead reworks Ovid’s basic story of Venus and Adonis into a far more complicated poem that explores the nature of love and sexual desire from a variety of different perspectives. Shakespeare, interestingly, repositions Venus as the pursuer of Adonis, who is far more interested in hunting than romantic relations. While the poem represents a radical thematic break from Ovid’s original poem, Shakespeare nevertheless adheres quite closely to Ovid’s own poetic style throughout the poem, as well as Ovid’s particular use of setting and general story-structuring. Some critics have argued that Shakespeare’s version of Venus is meant to mock the role of Venus in classical mythology, while others argue that Shakespeare presents Venus and Adonis as being more akin to mother and son than lovers, and that Venus functions as something of a sexually empowered subverter of standard Elizabethan gender and romantic relations. -
2016; Pub. 2018
2016 Volume 6 Volume Volume 6 2016 Volume 6 2016 EDITORS at Purdue University Fort Wayne at Mount St. Mary’s University Fort Wayne, Indiana Emmitsburg, Maryland M. L. Stapleton, Editor Sarah K. Scott, Associate Editor Cathleen M. Carosella, Managing Editor Jessica Neuenschwander, Pub. Assistant BOARD OF ADVISORS Hardin Aasand, Indiana University–Purdue University, Fort Wayne; David Bevington, University of Chicago; Douglas Bruster, University of Texas, Austin; Dympna Callaghan, Syracuse University; Patrick Cheney, Pennsylvania State University; Sara Deats, University of South Florida; J. A. Downie, Goldsmiths College, University of London; Lisa M. Hopkins, Sheffield Hallam University; Heather James, University of Southern California; Roslyn L. Knutson, University of Arkansas, Little Rock; Robert A. Logan, University of Hartford; Ruth Lunney, University of Newcastle (Australia); Laurie Maguire, Magdalen College, Oxford University; Lawrence Manley, Yale University; Kirk Melnikoff, University of North Carolina at Charlotte; Paul Menzer, Mary Baldwin College; John Parker, University of Virginia; Eric Rasmussen, University of Nevada, Reno; David Riggs, Stanford University; John P. Rumrich, University of Texas, Austin; Carol Chillington Rutter, University of Warwick; Paul Werstine, King’s College, University of Western Ontario; Charles Whitney, University of Nevada, Las Vegas. Marlowe Studies: An Annual is a journal devoted to studying Christopher Marlowe and his role in the literary culture of his time, including but not limited to studies of his plays and poetry; their sources; relations to genre; lines of influence; classical, medieval, and continental contexts; perfor- mance and theater history; textual studies; the author’s professional milieu and place in early modern English poetry, drama, and culture. From its inception through the current 2016 issue, Marlowe Studies was published at Purdue University Fort Wayne in Indiana. -
Did William Shakespeare and Thomas Kyd Write Edward Iii ?
International Journal on Natural Language Computing (IJNLC) Vol. 6, No.6, December 2017 DID WILLIAM SHAKESPEARE AND THOMAS KYD WRITE EDWARD III ? David Kernot 1, 2, Terry Bossomaier 3 and Roger Bradbury 1 1 National Security College. The Australian National University, Canberra, ACT, Australia. 2Defence Science &Technology Group, Edinburgh, SA, Australia. 3 The Centre for Research in Complex Systems. Charles Sturt University, Bathurst, NSW, Australia. ABSTRACT William Shakespeare is believed to be a significant author in the anonymous play, The Reign of King Edward III, published in 1596. However, recently, Thomas Kyd, has been suggested as the primary author. Using a neurolinguistics approach to authorship identification we use a four-feature technique, RPAS, to convert the 19 scenes in Edward III into a multi-dimensional vector. Three complementary analytical techniques are applied to cluster the data and reduce single technique bias before an alternate method, seriation, is used to measure the distances between clusters and test the strength of the connections. We find the multivariate techniques robust and able to allocate up to 14 scenes to Thomas Kyd, and further question if scenes long believed to be Shakespeare’s are not his. KEYWORDS Authorship Identification; Personality; Vector Space Method; Seriation 1. INTRODUCTION The Reign of King Edward III (Edward III ) was first published in 1596 and is of uncertain authorship (Slater, 1988). However, it is a new addition to the Shakespeare canon, and even while there is a suggestion that Shakespeare is not the sole author, he is considered to be a significant one (Shakespeare, & Melchiori, 1998) .The idea that the work might be Shakespeare's was first suggested by Edward Capell in 1760 (Champion, 1988). -
The Greek Myth (Hero and Leander - Christopher Marlowe) Christopher Marlowe
Hero and Leander: The Greek Myth (Hero and Leander - Christopher Marlowe) Christopher Marlowe Click here if your download doesn"t start automatically Hero and Leander: The Greek Myth (Hero and Leander - Christopher Marlowe) Christopher Marlowe Hero and Leander: The Greek Myth (Hero and Leander - Christopher Marlowe) Christopher Marlowe Hero and Leander by Christopher Marlowe. Hero and Leander is a poem by Christopher Marlowe that retells the Greek myth of Hero and Leander. After Marlowe's untimely death it was completed by George Chapman. The minor poet Henry Petowe published an alternative completion to the poem. The poem was first published posthumously, five years after Marlowe's demise. Hero and Leander is the Greek myth relating the story of Hero, a priestess of Aphrodite who dwelt in a tower in Sestos on the European side of the Hellespont (today's Dardanelles), and Leander, a young man from Abydos on the opposite side of the strait. Leander fell in love with Hero and would swim every night across the Hellespont to be with her. Hero would light a lamp at the top of her tower to guide his way. Succumbing to Leander's soft words and to his argument that Venus, as the goddess of love, would scorn the worship of a virgin, Hero allowed him to make love to her. These trysts lasted through the warm summer. But one stormy winter night, the waves tossed Leander in the sea and the breezes blew out Hero's light; Leander lost his way and was drowned. When Hero saw his dead body, she threw herself over the edge of the tower to her death to be with him. -
The Ironic Narrator in Christopher Marlowe's Hero and Leander
THE IRONIC NARRATOR IN CHRISTOPHER MARLOWE’S HERO AND LEANDER by KYLIE LEMON A THESIS Submitted in partial fulfillment of the requirements for the degree of Master of Arts in The Department of English to The School of Graduate Studies of The University of Alabama in Huntsville HUNTSVILLE, ALABAMA 2013 i In presenting this thesis in partial fulfillment of the requirements for a master's degree from The University of Alabama in Huntsville, I agree that the Library of this University shall make it freely available for inspection. I further agree that permission for extensive copying for scholarly purposes may be granted by my advisor or, in his/her absence, by the Chair of the Department or the Dean of the School of Graduate Studies. It is also understood that due recognition shall be given to me and to The University of Alabama in Huntsville in any scholarly use which may be made of any material in this thesis. ii THESIS APPROVAL FORM Submitted by Kylie Lemon in partial fulfillment of the requirements for the degree of Master of Arts in English and accepted on behalf of the Faculty of the School of Graduate Studies by the thesis committee. We, the undersigned members of the Graduate Faculty of The University of Alabama in Huntsville, certify that we have advised and/or supervised the candidate on the work described in this thesis. We further certify that we have reviewed the thesis manuscript and approve it in partial fulfillment of the requirements for the degree of Master of Arts in English. iii ABSTRACT The School of Graduate Studies The University of Alabama in Huntsville Degree: Master of Arts College/Dept: Liberal Arts/English Name of Candidate: Kylie Lemon Title: The Ironic Narrator in Christopher Marlowe’s Hero and Leander In his minor-epic poem Hero and Leander, Christopher Marlowe creates a narrator whose distinctive narrative presence and unique personality make him impossible for the reader to ignore. -
The Interpretation of Marlowe's Hero and Leander Poem in Correlation
International Journal of Applied Linguistics & English Literature E-ISSN: 2200-3452 & P-ISSN: 2200-3592 www.ijalel.aiac.org.au The Interpretation of Marlowe’s Hero and Leander Poem in Correlation with Elizabethan Era Luh Nyoman Seri Malini*, Effa Chalisah Jawas English Department, Faculty of Arts,Universitas Udayana PO box 80361, Denpasar, Bali, Indonesia Corresponding Author: Luh Nyoman Seri Malini, E-mail: [email protected] ARTICLE INFO ABSTRACT Article history This research aims to discover the relation between the historical background in the Elizabethan Received: November 14, 2017 Era and the poem by Christopher Marlowe entitled Hero and Leander which is written during this Accepted: January 26, 2018 Era (published in 1598) and the characters’ gender orientation which are also influenced by the Published: May 01, 2018 Era. This research uses descriptive-qualitative method since the data is collected by reading then Volume: 7 Issue: 3 it is identified and analyzed by the writers about the characters’ gender orientation of Marlowe’s Advance access: March 2018 Hero and Leander poem. In analyzing the data, for the maindata, the writers usetheprimary data source. As it is a poem that isobserved, the writer uses Hero and Leander poem by Christopher Marlowe, from Renaissance Edition text transcribed by Bear, January 2001, from the 1598 Conflicts of interest: None edition (STC number 17413). In order to present the data that has been collected and analyzed, Funding: None the writer uses thedescriptive technique. It finds that the romantic theme is greatly influenced by the Elizabethan Era and the Roman mythological elements described in the poem. -
Verse Parallels Between Oxford and Shakespeare
Verse Parallels between Oxford and Shakespeare Robert R. Prechter , Jr. n numerous articles, including three for The Oxfordian , E.Y. Elliott and Robert J. Valenza—Professors of American Political Institutions, and Mathe- I matics, respectively, at Claremont McKenna College—have argued that the poetry of Edward de Vere is nothing like that of Shakespeare. Their conclusion is based on computer analyses. In “The Shakespeare Clinic and the Oxfordians” ( The Oxfordian , 2010), the authors singled out for mockery one of Oxford’s poems from A Paradyse of daynty devises (1576). They contrasted the final stanza with a passage in Hamlet , referring to the two sources’ “glaring stylometric mismatches” (2010, 149). They asked and answered: “Is there a stylometric match with each other? Anything but.” (2010, 138.) Elliott and Valenza concluded: “The styles seem to be worlds apart” (2000, 90), and reported that Shakespeare scholars agreed with their posi- tion, as “nine out of ten of the top scorers on our Shakespeare Golden Ear test” (2010, 138) apparently found nothing in common with this poem and the verse of Shakespeare. They also posted May’s stark assertion, “nothing in Oxford’s ca- nonical verse in any way hints at an affinity with the poetry of William Shake- speare.” (2004, 242.) But the collector of the verses in Paradyse , Richard Edwards, died in 1566, suggesting that Oxford probably wrote these poems before age sixteen. Among the most effective counters to Elliott and Valenza is that one hardly expects teen- age poetry to read like mature verse, especially after years of theatrical experience and feedback. -
Marlowe's Ghost in As You Like It
2 Marlowe’s ghost in As You Like It In 1767 Edward Capell recognized Phebe’s breathless exclamation in As You Like It 3.5, Dead Shepheard, now I find thy saw of might, ‘Who ever lov’d, that lov’d not at first sight?’ (82–3)1 as a nod from William Shakespeare to Christopher Marlowe and his Hero and Leander (2.176).2 In 1925 Leslie Hotson’s discovery of documents related to Marlowe’s violent death revived interest in the poet’s presence in the play.3 In May of the same year Oliver W. F. Lodge identified Touchstone’s ‘it strikes a man more dead than a great reckoning in a little roome’ (3.3.12–13) as a glance at the Coroner’s Jury’s verdict on Marlowe’s homicide and an echo of his ‘Infinite riches in a little room’ (The Jew of Malta 1.1.37).4 Six weeks later Paul Reyher connected Touchstone’s remark ‘When a man’s verses cannot be understood …’ (3.3.10–12) to the sup- pression of Marlowe’s translation of Ovid’s Amores.5 Ever since the 1926 Cambridge edition of Quiller-Couch and Dover Wilson declared that Lodge’s suggestion ‘carries conviction’ commentators have variously embraced or disputed these inferences.6 And there the record of Marlowe sightings in As You Like It has rested until now.7 In this chapter I suggest that Christopher Marlowe is not merely an occasional visitor to Shakespeare’s anti-pastoral comedy; rather, that in the interval 1599–1600 Shakespeare wrote As You Like It as an emphatic (if discreet) memorial for Marlowe; that Shakespeare created the character of Jaques in the image of Marlowe; and that Shakespeare himself may have taken the part of Jaques in perfor- mance. -
1 Marlowe's Amplification of Musaeus in Hero and Leander Bruce Brandt South Dakota State University [email protected] M
Marlowe’s Amplification of Musaeus in Hero and Leander Bruce Brandt South Dakota State University [email protected] Musaeus’s Hero and Leander, as Gordon Braden has shown, is ‘indisputably the principal and direct source’ of Marlowe’s poem, and as T. W. Baldwin has demonstrated, Marlowe read Musaeus in Greek, very likely using the edition that he had studied in grammar school.1 Braden concludes that the only ancillary sources of any importance are Ovidian: ‘the Heroides, apparently in Tuberville’s translation, and the Amores, in Marlowe’s own translation’.2 Suggestions have been made concerning Marlowe’s possible debts to other sixteenth-century adaptations of Hero and Leander, and surely Marlowe must have been aware of at least some of these works. However, Braden’s examination of these other adaptations reveals no compelling parallels that cannot ‘be explained without trouble in terms of general Renaissance narrative practice’.3 This article explores the way in which Marlowe’s amplification of details of plot and language from the Hero and Leander of Musaeus transforms his own Hero and Leander into a poem which is funnier, psychologically richer, and attuned to a much different vision 1 Gordon Braden, The Classics and English Poetry: Three Case Studies (New Haven: Yale University Press, 1978), p. 125; and T. W. Baldwin, ‘Marlowe’s Musaeus’, Journal of Germanic and English Philology, 54 (1955), 478–85. 2 Braden, p. 125. 3 Braden, p. 125. Warren Boutcher affirms the value of Braden’s discussion, but protests that ‘the search for demonstrable textual sources’ can too quickly eliminate consideration of the interrelation of the European vernacular versions and their meaning for sixteenth-century readers: ‘“Who taught thee Rhetoricke to deceive a maid?”: Christopher Marlowe’s Hero and Leander, Juan Boscán’s Leandro, and Renaissance Vernacular Humanism’, Comparative Literature, 52 (2000), 11–52 (pp. -
Alicia Wood & Lauren Boblenz
Alicia Wood & Lauren Boblenz Period 5 Hero and Leander Characters: Hero (faithful and ardent) Leander (fearless and passionate) Symbols: The torch/light The sea as a barrier/wall The tower (a lighthouse; also separates Hero as residing on the earth as opposed to Leander who is of the sea) Significant Concepts: Love > Death Disobedience in the name of love Defiance of customs Summary: Hero and Leander were lovers separated by the Hellespont strait. Hero lived in a tower on the side of Sestos. Leander, on the other side, hailed from Abydos. Although Hero was a priestess of Aphrodite, and therefore a sworn virgin, she and Leander were ardently devoted to one another. Every single night, Leander would make the treacherous swim across the Hellespont to be with Hero. To help him find his way, she would ignite a torch or lamp to act as a guiding light towards her tower. One fateful night, a tempest drove the sea violent, and a gust extinguished the comforting glow of Hero’s light. Lost among the dark, wild waves, Leander drowned. His body washed ashore in Sestos the next morning. Unable to accept the demise of her beloved, the grieving priestess threw herself from her tower to join him in the afterlife. Literary Examples: “And as I sat there brooding on the old, unknown world, I thought of Gatsby’s wonder when he first picked out the green light at the end of Daisy’s dock. He had come a long way to this blue lawn, and his dream must have seemed so close that he could hardly fail to grasp it. -
Renaissance Tales of Desire
Renaissance Tales of Desire Renaissance Tales of Desire: Hermaphroditus and Salmacis, Theseus and Ariadne, Ceyx and Alcione and Orpheus his Journey to Hell. A Revised and Augmented Edition Edited by Sophie Chiari Renaissance Tales of Desire: Hermaphroditus and Salmacis, Theseus and Ariadne, Ceyx and Alcione and Orpheus his Journey to Hell . A Revised and Augmented Edition, Edited by Sophie Chiari This book first published 2012 Cambridge Scholars Publishing 12 Back Chapman Street, Newcastle upon Tyne, NE6 2XX, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2012 by Sophie Chiari and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-3668-0, ISBN (13): 978-1-4438-3668-5 In memory of my father. TABLE OF CONTENTS Acknowledgements .................................................................................... ix Preface by Sarah Annes Brown .................................................................. xi General Introduction.................................................................................... 1 Part I: Hermaphroditus and Salmacis Introduction to The Pleasant Fable of Hermaphroditus and Salmacis ...... 21 The Pleasant Fable of Hermaphroditus and Salmacis .............................. 47 Thomas