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ABSTRACT Title of Dissertation: MAKING ENGLISH LOW: A
ABSTRACT Title of Dissertation: MAKING ENGLISH LOW: A HISTORY OF LAUREATE POETICS, 1399-1616 Christine Maffuccio, Doctor of Philosophy, 2018 Dissertation directed by: Professor Theresa Coletti Department of English My dissertation analyzes lowbrow literary forms, tropes, and modes in the writings of three would-be laureates, writers who otherwise sought to align themselves with cultural and political authorities and who themselves aspired to national prominence: Thomas Hoccleve (c. 1367-1426), John Skelton (c. 1460-1529), and Ben Jonson (1572-1637). In so doing, my project proposes a new approach to early English laureateship. Previous studies assume that aspiration English writers fashioned their new mantles exclusively from high learning, refined verse, and the moral virtues of elite poetry. In the writings and self-fashionings that I analyze, however, these would-be laureates employed literary low culture to insert themselves into a prestigious, international lineage; they did so even while creating personas that were uniquely English. Previous studies have also neglected the development of early laureateship and nationalist poetics across the fifteenth, sixteenth, and seventeenth centuries. Examining the ways that cultural cachet—once the sole property of the elite—became accessible to popular audiences, my project accounts for and depends on a long view. My first two chapters analyze writers whose idiosyncrasies have afforded them a marginal position in literary histories. In Chapter 1, I argue that Hoccleve channels Chaucer’s Host, Harry Bailly, in the Male Regle and the Series. Like Harry, Hoccleve draws upon quotidian London experiences to create a uniquely English writerly voice worthy of laureate status. In Chapter 2, I argue that Skelton enshrine the poet’s own fleeting historical experience in the Garlande of Laurell and Phyllyp Sparowe by employing contrasting prosodies to juxtapose the rhythms of tradition with his own demotic meter. -
Part 1 Masque and Antimasque
Corso di Laurea magistrale (ordinamento ex D.M. 270/2004) in Lingue e Letterature Europee, Americane e Postcoloniali Tesi di Laurea Topical Allusions on Stage. Elizabethan Courtly Spectacles and the Antimasque. Relatore Ch. Prof. Loretta Innocenti Correlatore Ch. Prof. Laura Tosi Laureando Sara Boldarin Matricola 823182 Anno Accademico 2012 / 2013 CONTENTS INTRODUCTION ........................................................................... 1 PART 1 MASQUE AND ANTIMASQUE: RISE AND DEVELOPMENT. 6 1. Masque ............................................................................................................ 7 1.1. A definition ......................................................................................... 7 1.2. Origins and development ........................................................................ 10 1.2.1. The inheritance from the Middle Ages ........................................... 10 1.2.2. The Tudor maske ............................................................................ 12 1.2.3. The Elizabethan mask ..................................................................... 13 1.2.4. The Stuart court masque ................................................................. 15 2. Antimasque ................................................................................................... 19 2.1. An overview ........................................................................................... 19 2.2. A curious line of development ............................................................... -
Anglica 25-3 Special Issue.Indd
Magdalena Tomaszewska University of Warsaw Some Remarks on Shall’s and a Hypothesis of its Origin Abstract The present study focuses on the origin of the idiom shall’s ‘shall we’ in two corpora: the online database The Collected Works of Shakespeare and a corpus of Ben Jonson works compiled on the basis of online html texts linked to the webpage Luminarium: Anthology of English Literature. The Works of Ben Jonson. The paper discusses available accounts of the issue off ered by late nineteenth and early twentieth century linguists and juxtaposes them with new fi ndings and observations. The author analyzes data concerning shall’s, shall us, shall we, let’s and let us to suggest a new hypothesis on the potential rise of shall’s, i.e. that the idiom resulted from a blending of shall we and let’s. The main focus of the present article is the construction shall’s ‘shall we’ found six times in William Shakespeare’s and once in Ben Jonson’s works. What follows is a review of available accounts and a discussion of fi ndings. The starting point of the study was provided by the online database The Collected Works of Shake- speare (here referred to as the Shakespeare corpus), which consists of (1) (a) histories: Henry VI (3 parts), Richard III, Richard II, King John, Henry IV (2 parts), Henry V, Henry VIII; (b) tragedies: Titus Andronicus, Romeo and Juliet, Julius Caesar, Hamlet, Othello, Timon of Athens, King Lear, Macbeth, Antony and Cleopatra, Coriolanus; (c) comedies: The Two Gentlemen of Verona, The Taming of the Shrew, The Comedy of Errors, Love’s -
MCMANUS-DISSERTATION-2016.Pdf (4.095Mb)
The Global Lettered City: Humanism and Empire in Colonial Latin America and the Early Modern World The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation McManus, Stuart Michael. 2016. The Global Lettered City: Humanism and Empire in Colonial Latin America and the Early Modern World. Doctoral dissertation, Harvard University, Graduate School of Arts & Sciences. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:33493519 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA The Global Lettered City: Humanism and Empire in Colonial Latin America and the Early Modern World A dissertation presented by Stuart Michael McManus to The Department of History in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of History Harvard University Cambridge, Massachusetts April 2016 © 2016 – Stuart Michael McManus All rights reserved. Dissertation Advisors: James Hankins, Tamar Herzog Stuart Michael McManus The Global Lettered City: Humanism and Empire in Colonial Latin America and the Early Modern World Abstract Historians have long recognized the symbiotic relationship between learned culture, urban life and Iberian expansion in the creation of “Latin” America out of the ruins of pre-Columbian polities, a process described most famously by Ángel Rama in his account of the “lettered city” (ciudad letrada). This dissertation argues that this was part of a larger global process in Latin America, Iberian Asia, Spanish North Africa, British North America and Europe. -
Ben Jonson's Use of English Folk Ritual in the Court Masques
The Woman's College of The University of North Carolina LIBRARY COLLEGE COLLECTION Gift of Virginia Acheson Tucker BEN JONSON'S USE OP ENGLISH POLK RITUAL IN THE COURT MASQUES by Virginia Acheson Tucker A Thesis Submitted to the Faculty of the Graduate School at The University of North Carolina at Greensboro In Partial Fulfillment of the Requirements for the Degree Master of Arts Cat Greensboro May, 1964 Approved lC\J'^?n^iA^v>A 4c c APPROVAL SHEET This thesis has been approved by the following committee of the Faculty of the Graduate School at The University of North Carolina at Greensboro, Greensboro, North Carolina. Thesis Director ^ry Oral Examination 44* Aah Committee Members Z^ryx^s- &&Z&1 ■ ( AtjyAs-^-L<D^_ -&* 270341 JJ rt/u, rfc*? Date of Examination li TUCKER, VIRGINIA ACHE30N. Ben Jonson's Use of English Polk Ritual in the Court Masques. (1964) Directed by Dr. Joseph A. Bryant, Jr.. pp. 51 A chronological study of the court masques of Ben Jonson reveals that he began composing masques using the purely classical elements which were the accepted devices of the day but that about 1610 he began to import elements which appear to have their basis in English folk ritual such as the mummers' play, the sword dance, and the plough play. Further study suggests that by 1616 Jonson had realized the full possibilities of the use of native ludl and from that time on used English elements with increasing confidence, producing a well-integrated series of masques in which classical and native motifs are happily blended. -
Jonson's Masque Markets and Problems of Literary Ownership
AlisonSEL 47, 2V. (Spring Scott 2007): 451–471 451 ISSN 0039-3657 Jonson’s Masque Markets and Problems of Literary Ownership ALISON V. SCOTT Books can be owned simultaneously by the author, the mer- chant, and the purchaser, making it possible, as Lucius Annaeus Seneca observes, “for Titus Livius to receive his own books as a present, or to buy them from Dorus,” a bookseller.1 Ownership of a literary text is thus complicated rather than resolved by its presentation or sale: proprietary interest is multiplied as the text is reproduced, yet the author retains a kind of nonpossessive ownership. This appears to have provided little consolation for Ben Jonson, who complained frequently of losing ownership of his work, explaining that when he “suffer’d . [a text] to goe abroad, [he] departed with . [his] right” over that text.2 In moving from the realm of scribal publication into print, from gift economy into the marketplace, Jonson, whose society did not yet conceive of authorial rights, apparently surrendered ownership and control of his text to an agent who would oversee its publication.3 Never- theless, because texts have multiple lives—as works of art and as material objects—Jonson was able to market his work, particu- larly his masques, in gift and sale economies simultaneously.4 A professional poet at Court, Jonson existed at the center of patron- age circles but simultaneously forged ahead with the publication of his works in a new competitive market. His masques provide particularly interesting examples of this approach and highlight complexities of ownership, valuation, and circulation that arose during this time of social and economic flux and that anticipated Alison V. -
'Youthful Revels, Masks, and Courtly Sights'
‘Youthful Revels, Masks, and Courtly Sights’: an introductory study of the revels within the Stuart masque Anne Daye Invocation designated a social occasion shaped by art. Not only might a Although at heart the masque is an entertainment of dancing, ball, a game or a play be conducted in an orderly fashion, but scholarship in this century has concentrated on the literary a sequence of such events might be linked by a single and design elements. An outstanding body of scholarship has conception or device to make an artistic whole. This kind of illuminated the artistic, intellectual and political importance revel might be enacted for a particular celebration. It required of the Stuart court masques, paying testimony to the complex leisure for the revel to unfold, therefore certain seasons of the cultural achievement of their makers. The dance elements year were more conducive to this activity. The Christmas have been marginalised in the discussion. This is chiefly a season in particular was the opportunity for such activity, as consequence of the much smaller body of evidence left winter enforced idleness, whilst Christ’s birth was a pretext behind, but also because scholarly work on seventeenth for celebration for non-Puritan Christians. A revel provided century dance is a comparatively recent development. How- a release from the cares of the world, when normal duties and ever, fresh historical research, including the reconstruction responsibilities were suspended, and when the imagination of dances, is now leading to a firmer grasp of the nature of could be engaged creatively. The spirit of a winter revel is dancing at the time of the masques. -
So We Are Talking Roughly About Twenty‐Five Years of Theatre. Roughly, Because the Tendencies That Characteriz
So we are talking roughly about twenty‐five years of theatre. Roughly, because the tendencies that characterize Jacobean theatre started before James I came to the throne (1603, died 1625) around the year 1599 – the year when the Lord Chamberlain’s Men relocated their theatre from Shoreditch to Southwark (on the southern bank of the Thames) and called it “The Globe”, the year when the private theatre of Paul’s boys was reopened, and a little later the Lord Chamberlain’s Men got hold of the Blackfriars theatre. These developments brought about an unprecedented avalanche of play‐writing and dramaturgical innovation that made the Jacobean period one of the most dynamic and spectacular periods in theatre history as we know it. The period also established a new generation of playwrights: the most prominent of whom are Ben Jonson, John Marston, George Chapman, Thomas Middleton, John Webster, Francis Beaumont and John Fletcher – who worked alongside, competed with, collaborated and learned from William Shakespeare – the major figure that continued to sway the English stage from the Elizabethan well into the Jacobean period. 1 Of course, at the beginning of the period the most successful playwright in London was Shakespeare. So far, his fame rested mainly on the series of history plays: the two tetralogies (Henry VI, Parts I‐III and Richard III; and Richard II, Henry IV, Parts I‐II and Henry V) and King John; and his witty romantic comedies that Queen Elizabeth reportedly liked so much: e.g. Love’s Labour’s Lost, A Midsummer Night’s Dream, Much Ado About Nothing, As You Like It. -
The Politics of the Stuart Court Masque This Book Takes a New Look at the Courtly Masque in Early Seventeenth-Century England
The Politics of the Stuart Court Masque This book takes a new look at the courtly masque in early seventeenth-century England. For a generation, the masque has been a favourite topic of New Historicism, because it has been seen as part of the process by which artistic works interact with politics, both shaping and reflecting the political life of a nation. These exciting new essays move importantly beyond a monolithic view of culture and power in the production of masques, to one in which rival factions at the courts of James I and of Charles I represent their clash of viewpoints through dancing and spectacle. All aspects of the masque are considered, from written text and political context to music, stage picture and dance. The essays, written by distinguished scholars from around the world, present an interdisciplinary approach, with experts on dance, music, visual spectacle and politics all addressing the masque from the point of view of their speciality. David Bevington is the Phyllis Fay Horton Professor in the Human- ities in the Departments of English and of Comparative Literature at the University of Chicago. His books include From ‘Mankind’ to Marlowe: Growth of Structure in the Popular Drama of Tudor England (), Tudor Drama and Politics () and Action is Eloquence: Shake- speare’s Language of Gesture (). He is editor of both The Bantam Shakespeare () and The Complete Works of Shakespeare (, updated ). Peter Holbrook is a Lecturer in the Department of English, at the University of Queensland, Australia, and is the author of Literature and Degree in Renaissance England: Nashe, Bourgeois Tragedy, Shakespeare (). -
Edward Sherburne (18 September 1616 - 4 November 1702) Katherine Quinsey University of Windsor
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Scholarship at UWindsor University of Windsor Scholarship at UWindsor English Publications Department of English 1993 Edward Sherburne (18 September 1616 - 4 November 1702) Katherine Quinsey University of Windsor Follow this and additional works at: http://scholar.uwindsor.ca/englishpub Part of the English Language and Literature Commons Recommended Citation Quinsey, Katherine. (1993). Edward Sherburne (18 September 1616 - 4 November 1702). Dictionary of Literary Biography, Vol. 131: Seventeenth-Century British Nondramatic Poets, Third Series, 131, 245-257. http://scholar.uwindsor.ca/englishpub/29 This Contribution to Book is brought to you for free and open access by the Department of English at Scholarship at UWindsor. It has been accepted for inclusion in English Publications by an authorized administrator of Scholarship at UWindsor. For more information, please contact [email protected]. Title: Edward Sherburne Known As: Sherburne, Edward; Sherburne, Edward, Sir British Poet ( 1616 - 1702 ) Author(s): Katherine M. Quinsey (University of Windsor) Source: Seventeenth-Century British Nondramatic Poets: Third Series. Ed. M. Thomas Hester. Dictionary of Literary Biography Vol. 131. Detroit: Gale Research, 1993. From Literature Resource Center. Document Type: Biography, Critical essay Full Text: COPYRIGHT 1993 Gale Research, COPYRIGHT 2007 Gale, Cengage Learning Table of Contents:Biographical and Critical EssaySeneca's Answer to Lucilius his Quare; Why Good Men suffer Misfortunes seeing there is a Divine Providence?MedeaThe Sphere of Marcus ManiliusTroades, or, The Royal CaptivesWritings by the AuthorFurther Readings about the Author WORKS: WRITINGS BY THE AUTHOR: Books Medea: a Tragedie. Written in Latine by Lucius Annévs Seneca. -
Cambridge Companion Eng Renais Drama
This page intentionally left blank The Cambridge Companion to English Renaissance Drama This second edition of the Companion offers students up-to-date factual and interpretative material about the principal theatres, playwrights, and plays of the most important period of English drama, from 1580 to 1642. Three wide- ranging chapters on theatres, dramaturgy, and the social, cultural, and political conditions of the drama are followed by chapters describing and illustrating various theatrical genres: private and occasional drama, political plays, heroic plays, burlesque, comedy, tragedy, with a final essay on the drama produced during the reign of Charles I. Several of the essays have been substantially revised and all of the references updated. An expanded biographical and bib- liographical section details the work of the dramatists discussed in the book and the best sources for further study. A chronological table provides a full listing of new plays performed from 1497 to 1642, with a parallel list of major political and theatrical events. THE CAMBRIDGE COMPANION TO ENGLISH RENAISSANCE DRAMA EDITED BY A. R. BRAUNMULLER AND MICHAEL HATTAWAY SECOND EDITION cambridge university press Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, São Paulo Cambridge University Press The Edinburgh Building, Cambridge cb2 2ru,UK Published in the United States of America by Cambridge University Press, New York www.cambridge.org Informationonthistitle:www.cambridge.org/9780521821155 © Cambridge University Press 1990, 2003 This publication is in copyright. Subject to statutory exception and to the provision of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. -
PDF Hosted at the Radboud Repository of the Radboud University Nijmegen
PDF hosted at the Radboud Repository of the Radboud University Nijmegen The following full text is a publisher's version. For additional information about this publication click this link. http://hdl.handle.net/2066/148043 Please be advised that this information was generated on 2017-12-05 and may be subject to change. Christoph & Andreas Arnold r and - England The travels and book-collections of two seventeenth-century Nurembergers F.J.M. Blom CHRISTOPH & ANDREAS ARNOLD AND ENGLAND Promotor: Prof. T.A.Birrell nsfopfl.iÀrncid. Trjr. L/rmrt. Nmi.tmil.itDtac.. ILr hiatus J Je . /ггг/. лез?. ^I/fTijfitf a. utf.isun ¿ces С if-mfe/. С sTittmm «- Jms Juhts amas csrittmrn . ял* ft.'ti ¿Mailt.· 'Ut/accs • •ir/. '///<-/·.· J-ltl From Bibliotheca Arnoldtana (1725) by courtesy of the Universitätsbibliothek Erlangen-Nürnberg. CHRISTOPH & ANDREAS ARNOLD AND ENGLAND THE TRAVELS AND BOOK-COLLECTIONS OF TWO SEVENTEENTH-CENTURY NUREMBERGERS Proefschrift ter verkrijging van de graad van doctor in de letteren aan de Katholieke Universiteit te Nijmegen, op gezag van de Rector Magnificus Prof. Dr. P.G.A.B. Wijdeveld volgens besluit van het College van Decanen in het openbaar te verdedigen op 16 juni 1981 des namiddags te 4 uur door FRANCISCUS JOANNES MARIA BLOM geboren te Nijmegen Sneldruk Boulevard Enschede С.1981 F.J.M. Blom, Instituut Engels-Amerikaans Katholieke Universiteit, Erasmusplein 1, Nijmegen ACKNOWLEDGEMENTS I wish to thank the authorities and staffs of the following li braries, institutions and archives for permission to examine printed books