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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. -
Queen Anne and the Arts
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by MURAL - Maynooth University Research Archive Library TRANSITS Queen Anne and the Arts EDITED BY CEDRIC D. REVERAND II LEWISBURG BUCKNELL UNIVERSITY PRESS 14_461_Reverand.indb 5 9/22/14 11:19 AM Published by Bucknell University Press Copublished by The Rowman & Littlefield Publishing Group, Inc. 4501 Forbes Boulevard, Suite 200, Lanham, Maryland 20706 www.rowman.com Unit A, Whitacre Mews, 26-34 Stannery Street, London SE11 4AB All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without written permission from the publisher, except by a reviewer who may quote passages in a review. British Library Cataloguing in Publication Information Available Library of Congress Cataloging-in-Publication Data <insert CIP data> ™ The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI/NISO Z39.48-1992. Printed in the United States of America 14_461_Reverand.indb 6 9/22/14 11:19 AM CONTENTS List of Illustrations ix Acknowledgments xiii Introduction 1 1 “Praise the Patroness of Arts” 7 James A. Winn 2 “She Will Not Be That Tyrant They Desire”: Daniel Defoe and Queen Anne 35 Nicholas Seager 3 Queen Anne, Patron of Poets? 51 Juan Christian Pellicer 4 The Moral in the Material: Numismatics and Identity in Evelyn, Addison, and Pope 59 Barbara M. Benedict 5 Mild Mockery: Queen Anne’s Era and the Cacophony of Calm 79 Kevin L. -
Download Master List
Code Title Poem Poet Read by Does Note the CD Contain AIK Conrad Aiken Reading s N The Blues of Ruby Matrix Conrad Aiken Conrad Aiken Time in the Rock (selections) Conrad Aiken Conrad Aiken A Letter from Li Po Conrad Aiken Conrad Aiken BEA(1) The Beat Generation (Vol. 1) Y San Francisco Scene (The Beat Generation) Jack Kerouac Jack Kerouac The Beat Generation (McFadden & Dor) Bob McFadden Bob McFadden Footloose in Greenwich Village Blues Montage Langston Hughes Langston Hughes / Leonard Feather Manhattan Fable Babs Gonzales Babs Gonzales Reaching Into it Ken Nordine Ken Nordine Parker's Mood King Pleasure King Pleasure Route 66 Theme Nelson Riddle Nelson Riddle Diamonds on My Windshield Tom Waits Tom Waits Naked Lunch (Excerpt) William Burroughs William Burroughs Bernie's Tune Lee Konitz Lee Konitz Like Rumpelstiltskin Don Morrow Don Morrow OOP-POP-A-DA Dizzy Gillespie Dizzy Gillespie Basic Hip (01:13) Del Close and John Del Close / John Brent Brent Christopher Columbus Digs the Jive John Drew Barrymore John Drew Barrymore The Clown (with Jean Shepherd) Charles Mingus Charles Mingus The Murder of the Two Men… Kenneth Patchen Kenneth Patchen BEA(2) The Beat Generation (Vol.2) Y The Hip Gahn (06:11) Lord Buckley Lord Buckley Twisted (02:16) Lambert, Hendricks & Lambert, Hendricks & Ross Ross Yip Roc Heresy (02:31) Slim Gaillard & His Slim Gaillard & His Middle Middle Europeans Europeans HA (02:48) Charlie Ventura & His Charlie Ventura & His Orchestra Orchestra Pull My Daisy (04:31) David Amram Quintet David Amram Quintet with with Lynn Sheffield Lynn Sheffield October in the Railroad Earth (07:08) Jack Kerouac Jack Kerouac / Steve Allen The Cool Rebellion (20:15) Howard K. -
Rising from the Ruins
Rising from the Ruins Rising from the Ruins: Roman Antiquities in Neoclassic Literature By Bruce C. Swaffield Rising from the Ruins: Roman Antiquities in Neoclassic Literature, by Bruce C. Swaffield This book first published 2009 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 © 2009 by Bruce C. Swaffield 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): 1-4438-1400-8, ISBN (13): 978-1-4438-1400-3 This entire work is dedicated to my wife, Jeannine, and our two children, BethAnn and Brendon. Each one of them sacrificed much through the years so that I could pursue my passion for writing and learning, especially about the ruins of Rome. In addition, I would like to thank my three grandchildren—Ellie, Lexi and Dom—for showing me the true spirit of life. TABLE OF CONTENTS Foreword .................................................................................................... ix John Paul Russo Preface...................................................................................................... xiii Acknowledgements ................................................................................... xv Chapter One................................................................................................ -
The History of King Lear [1681]: Lear As Inscriptive Site John Rempel
Document generated on 09/29/2021 12:39 a.m. Lumen Selected Proceedings from the Canadian Society for Eighteenth-Century Studies Travaux choisis de la Société canadienne d'étude du dix-huitième siècle Nahum Tate's ('aberrant/ 'appalling') The History of King Lear [1681]: Lear as Inscriptive Site John Rempel Theatre of the world Théâtre du monde Volume 17, 1998 URI: https://id.erudit.org/iderudit/1012380ar DOI: https://doi.org/10.7202/1012380ar See table of contents Publisher(s) Canadian Society for Eighteenth-Century Studies / Société canadienne d'étude du dix-huitième siècle ISSN 1209-3696 (print) 1927-8284 (digital) Explore this journal Cite this article Rempel, J. (1998). Nahum Tate's ('aberrant/ 'appalling') The History of King Lear [1681]: Lear as Inscriptive Site. Lumen, 17, 51–61. https://doi.org/10.7202/1012380ar Copyright © Canadian Society for Eighteenth-Century Studies / Société This document is protected by copyright law. Use of the services of Érudit canadienne d'étude du dix-huitième siècle, 1998 (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ 3. Nahum Tate's ('aberrant/ 'appalling') The History of King Lear [1681]: Lear as Inscriptive Site From Addison in 1711 ('as it is reformed according to the chimerical notion of poetical justice, in my humble opinion it has lost half its beauty') to Michael Dobson in 1992 (Shakespeare 'serves for Tate .. -
Tennyson's Poems
Tennyson’s Poems New Textual Parallels R. H. WINNICK To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/944 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. TENNYSON’S POEMS: NEW TEXTUAL PARALLELS Tennyson’s Poems: New Textual Parallels R. H. Winnick https://www.openbookpublishers.com Copyright © 2019 by R. H. Winnick This work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the work; to adapt the work and to make commercial use of the work provided that attribution is made to the author (but not in any way which suggests that the author endorses you or your use of the work). Attribution should include the following information: R. H. Winnick, Tennyson’s Poems: New Textual Parallels. Cambridge, UK: Open Book Publishers, 2019. https://doi.org/10.11647/OBP.0161 In order to access detailed and updated information on the license, please visit https://www.openbookpublishers.com/product/944#copyright Further details about CC BY licenses are available at http://creativecommons.org/licenses/by/4.0/ Digital material and resources associated with this volume are available at https://www.openbookpublishers.com/product/944#resources Every effort has been made to identify and contact copyright holders and any omission or error will be corrected if notification is made to the publisher. -
Literature in Context: a Chronology, C16601825
Literature in Context: A Chronology, c16601825 Entries referring directly to Thomas Gray appear in bold typeface. 1660 Restoration of Charles II. Patents granted to reopen London theatres. Actresses admitted onto the English and German stage. Samuel Pepys begins his diary (1660 1669). Birth of Sir Hans Sloane (16601753), virtuoso and collector. Vauxhall Gardens opened. Death of Velàzquez (15591660), artist. 1661 Birth of Daniel Defoe (c16611731), writer. Birth of Anne Finch, Countess of Winchilsea (16611720), writer. Birth of Sir Samuel Garth (16611719). Louis XIV crowned in France (reigns 16611715). 1662 Publication of Butler’s “Hudibras” begins. The Royal Society is chartered. Death of Blaise Pascal (16231662), mathematician and philosopher. Charles II marries Catherine of Braganza and receives Tangier and Bombay as part of the dowry. Peter Lely appointed Court Painter. Louis XIV commences building at Versailles with Charles Le Brun as chief adviser. 1663 Milton finishes “Paradise Lost”. Publication of the Third Folio edition of Shakespeare. The Theatre Royal, Bridges Street, opened on the Drury Lane site with a revival of Fletcher’s “The Humorous Lieutenant”. Birth of Cotton Mather (16631728), American preacher and writer. 1664 Birth of Sir John Vanbrugh (16641726), dramatist and architect. Birth of Matthew Prior (16641721), poet. Lully composes for Molière’s ballets. “Le Tartuffe” receives its first performance. English forces take New Amsterdam and rename it New York. Newton works on Theory of Gravity (16641666). 1665 The Great Plague breaks out in London. Newton invents differential calculus. The “Journal des Savants”, the first literary periodical, is published in Paris. -
Nahum Tate's Richard II and the Late Stuart Succession Crisis
Nahum Tate’s Richard II and the Late Stuart Succession Crisis Professor Paulina Kewes in conversation with Dr Joseph Hone www.stuarts-online.com Joseph Hone: I'm sitting here in the Bodleian Library with Professor Paulina Kewes, and we’re looking at some plays from the Restoration, particularly adaptations of Shakespeare made after the Restoration. Now, Paulina, why exactly did these Restoration playwrights turn to Shakespeare and adapt his plays for their audiences? Paulina Kewes: Theatres reopened in 1660 after an eighteen year hiatus, and there was a huge demand for new plays. obviously there were no playwrights because there had been no theatres before. so there was push to adapt older plays in order to make them effective on the new stage. And there were three key requirements: (a) to have more parts for women, because this is the first time when we have actresses. Secondly, to take advantage of movable scenery which again appeared for the first time. And, thirdly, to take advantage of special effects of machines. So just to give you an example: Macbeth adapted by having more parts for women. In addition to Lady Macbeth we have a larger part for Lady Macduff, and more witches. The witches are now flying across the stage. But adapting Shakespeare also gave the opportunity to play right to address political themes. Immediately after the Restoration, early after the Restoration, we have for example a version of the Tempest which revisits the themes of rebellion and regicide in the tragicomic mode whilst also adding more parts for women. -
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University of Warwick institutional repository: http://go.warwick.ac.uk/wrap A Thesis Submitted for the Degree of PhD at the University of Warwick http://go.warwick.ac.uk/wrap/44291 This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. Death, Inheritance and the Family: A Study of Literary Responses to Inheritance in Seventeenth- Century England by Sarah McKenzie A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in English University of Warwick, Department of English and Comparative Literary Studies May 2003 ABSTRACT This thesis argues that a study of literary genres from the seventeenth century pertaining to death and inheritance in the family yields evidence about the way in which inheritance was understood and interpreted by early modern society; these genres include parental legacies, women writers’ interpretations of Genesis, Anne Clifford’s personal account of her struggle to gain her inheritance, plays (comedies and tragedies) and elegies on the death of children. A study of literature related to the topics of wills, legacies and lineage imparts insight into early modern concepts of family relations and parental roles, and challenges Lawrence Stone’s views on the late development of the affective family. The textual legacies of Elizabeth Joceline, Elizabeth Grymeston, Dorothy Leigh and Edward Burton, and the elegies of Ben Jonson and Katherine Philips will be used to demonstrate emotive parenting and the extension of parental roles beyond the death of the parent or beyond the death of an heir. -
Political and Social Subtext in Nahum Tate's Shakespeare Adaptations Polityczne I Społeczne Podteksty W Adaptacjach Szekspi
DOI: 10.25951/4104 ORCID: 0000‒0002‒8305‒1289 Political and social subtext in Nahum Tate’s Shakespeare adaptations Polityczne i społeczne podteksty w adaptacjach Szekspirowskich autorstwa Nahuma Tate’a Agnieszka Szwach UNIWERSYTET JANA KOCHANOWSKIEGO W KIELCACH Varia Keywords adaptation, classicism, Restoration theatre, Shakespeare, Nahum Tate Varia Słowa klucze adaptacje, klasycyzm, scena angielska okresu restauracji, Szekspir, Nahum Tate Abstract This paper attempts to analyse two of Nahum Tate’s Shakespeare adaptations namely: The Sicilian Usurper (1680), the adaptation of Richard II and The History of King Lear (1681). This is done with the aim to show that Tate’s adaptations were in a twofold way shaped by the political and social matters. Firstly, as it was the requirement of the Restoration theatre, he had to subject his works to the rules of French classicism, a literary theory, which was devised to strengthen the royal power as the authority of the rules in the theatre was supposed to reflect the authority of the royal power. Secondly, Tate had to be cautious that his works were critically, socially and politically acceptable in the turbulent times of 1680s. Therefore, the characters of Shakespearean drama became over-simplified reflections of the original heroes. Numerous scenes, language puns or literary figures were just cut out. However, everything that was removed from the plays, everything that was “unsaid” on the Restoration stage provided a rich, open to interpretation subtext of political and social anxiety in England during the reign of Charles II. Political and social subtext in Nahum Tate’s Shakespeare adaptations 401 Abstrakt W niniejszej pracy podjęto próbę analizy dwóch adaptacji szekspirowskich autorstwa Nahuma Tate’a, a mianowicie: Sycylijskiego Uzurpatora (1680), adapta- cji Ryszarda II oraz Historii Króla Lear (1681). -
GARRICKS JUBILEE.Pdf
fr na A comprehensive — and occasionally hilarious—study of the three-day fes tival staged by David Garrick, the brilliant actor and manager of the Drury Lane Theatre in London, at Stratford-upon-Avon, in September, 1769. This was the first Shakespeare fes tival to engage national interest, and although its critics vilified it as a fiasco and a monumental example of bad taste, its defenders thought it a glorious occasion. James Boswell, a member of the latter group, de scribed it as being ((not a piece of farce . , but an elegant and truly classical celebration of the memory of Shakespeare." Reproduced on the stage in vary ing moods of glorification and satire, the Jubilee ultimately became en tangled in the very threads of Eng lish life. The combination of Garrick and Stratford produced a catalyst (Continued on back flap) Garrick's Jubilee Garrick's Jubilee By Martha Winburn England Ohio State University Press Copyright © 1964 by the Ohio State University Press All Rights Reserved Library of Congress Catalogue Card Number: 64-17109 Chapters II and V and portions of Chapters I and III are reprinted from the author's Garrick and Stratford, © 1962, 1964 by The New York Public Library. They are used here by permission of the publisher. A portion of Chapter VI first appeared in Bulletin of the New York Public Library, LXIII, No. 3 (March, 1959) ; and a portion of Chapter VIll in Shakespeare Survey, No. 9 (1956). They are reprinted here by permission of the publishers. To Harry Levin Preface THE LIBRARIES of Harvard University, Yale University, and Queens College, the Folger Shakespeare Library, the New York Public Library, and the archives of the Shakespeare Birthplace Trust have made my work possible. -
UNIVERSITY of CALIFORNIA Los Angeles Mongrel Forms Tragedy
UNIVERSITY OF CALIFORNIA Los Angeles Mongrel Forms Tragedy, Comedy, and Mixed Genres in Britain, 1680-1760 A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in English by Vivian Leigh Davis 2012 © Copyright by Vivian Leigh Davis 2012 ABSTRACT OF THE DISSERTATION Mongrel Forms Tragedy, Comedy, and Mixed Genres in Britain, 1680-1760 By Vivian Leigh Davis Doctor of Philosophy in English University of California, Los Angeles, 2012 Professor Felicity A. Nussbaum, Chair This dissertation analyzes the unlicensed mixtures of tragedy and comedy that appeared in the playhouses, periodicals, and novels of the eighteenth century. Scholars have argued that in the Restoration’s coterie theaters, the Hegelian dialectic of tragicomedy functioned as a heuristic device for debates about political theory. “Mongrel forms” extends this premise, contending that by the turn into the eighteenth century, the tidiness of bipartite tragicomedy had been replaced by powerful ideas about generic contagion and corruption. For an increasingly bourgeois audience, tragicomic monsters and mongrels, widely derided by literary and dramatic critics, became associated less with debates about kingship and more closely aligned with a discourse on the perils and pleasures of different kinds of social mixing. As dramatic genres were mediated by live, feeling bodies, the “mongrelization” of tragedy and comedy created sites of contact in which social categories, such as race, class, gender and sexuality, could be contested or confirmed. Inverted generic hierarchies, and the social re-organization they intimated, could be ii attacked as aesthetically monstrous. The blended form’s resistance to regulation was also deployed subversively to make visible identities and experiences not otherwise legible.