ENGLISH LITERARY RENAISSANCE最新文献_第3页

A Priest to the Table: Eucharistic Causality and Priestly Spirituality in George Herbert’s The Temple 餐桌上的牧师：乔治·赫伯特《圣殿》中的圣餐因果关系和牧师精神

IF 0.3 2区文学

ENGLISH LITERARY RENAISSANCE Pub Date : 2023-01-01 DOI: 10.1086/722732

Jonathan Kanary

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引用次数: 0

Reading a Lost Book: Ben Jonson’s Epigrammes (c.1612) and Disposable Authorship 阅读一本失落的书：本·琼森的Epigrames（约1612年）和一次性作者

IF 0.3 2区文学

ENGLISH LITERARY RENAISSANCE Pub Date : 2023-01-01 DOI: 10.1086/722729

Tara L. Lyons

引用次数: 0

Human Resources: Class and Cannibalism in Herrick’s “The Hock-Cart” 人力资源:赫里克《霍克车》中的阶级与同类相食

IF 0.3 2区文学

ENGLISH LITERARY RENAISSANCE Pub Date : 2023-01-01 DOI: 10.1086/722731

Syrithe Pugh

{"title":"Human Resources: Class and Cannibalism in Herrick’s “The Hock-Cart”","authors":"Syrithe Pugh","doi":"10.1086/722731","DOIUrl":"https://doi.org/10.1086/722731","url":null,"abstract":"Herrick’s “The Hock-Cart, or Harvest Home: To the Right Honourable, Mildmay, Earle of Westmorland” was composed at a time when the unpropertied rural laborers it depicts were facing unprecedented economic hardship—years which one historian has described as “probably the most terrible … through which the country has ever passed.” It is often noted that the final lines of the poem give an unusually frank glimpse of their disempowered state, but this is normally seen as no more than a jarring note in a poem which otherwise reaffirms and celebrates the harmony of their relations with a benevolent landlord. On a closer reading, however, the unsettling close appears as merely the culmination of undercurrents running throughout the poem. Beneath the surface celebration, with its deeply conservative implications, runs a somber critique of socioeconomic injustice and oppression, which draws on traditions of political protest stretching from the Old Testament to contemporary pamphleteers. As well as revealing the artistry with which Herrick’s deeply ambivalent poem sustains its two incompatible perspectives, this reading prompts further reflection on Herrick’s sense of his own socioeconomic position, of his relationship with his wealthy patron, and of the constraints on and purposes of his lyric composition. [S.P.]","PeriodicalId":44199,"journal":{"name":"ENGLISH LITERARY RENAISSANCE","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48424595","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Approaching Playhouse Song in the Archive: The Case of Dekker, Ford, Middleton, and Rowley’s The Spanish Gypsy 走近档案中的剧场歌曲：德克尔、福特、米德尔顿和罗利的《西班牙吉普赛人》

IF 0.3 2区文学

ENGLISH LITERARY RENAISSANCE Pub Date : 2023-01-01 DOI: 10.1086/722730

Simon Smith

{"title":"Approaching Playhouse Song in the Archive: The Case of Dekker, Ford, Middleton, and Rowley’s The Spanish Gypsy","authors":"Simon Smith","doi":"10.1086/722730","DOIUrl":"https://doi.org/10.1086/722730","url":null,"abstract":"This essay considers the archival traces left by early modern playhouse song. Acknowledging that most extant sources of theatrical song were not actually produced as records of playhouse practice per se, it advocates an approach to such material that is as attentive to the context of the surviving textual witnesses as it is to a song’s dramatic origins. By putting playhouse and wider context in direct conversation, this approach seeks not only to elucidate the cultural life of dramatic songs beyond the playhouse, but also to shed new light on playhouse music itself, based on wider engagements with and transformations of the songs. Taking a case study approach, the essay investigates one song, “Come Follow Your Leader, Follow,” from The Spanish Gypsy, tracing its wide cultural circulation as a ballad tune under the title “The Spanish Jeepsie.” Building on previous work focusing on the song’s dramatic function in the playhouse, the essay argues that the song’s theatrical use as a locus of imaginative identification with marginal subject positions is then taken up in a series of ballads encouraging identification with figures ranging from fairies and drunkards to cobblers and Diggers. [S.S.]","PeriodicalId":44199,"journal":{"name":"ENGLISH LITERARY RENAISSANCE","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48537139","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

“Beyond Beyond”: Cymbeline, the Camera Obscura, and the Ontology of Elsewhere “Beyond Beyond”：Cymbeline、Camera Obscura和其他地方的本体论

IF 0.3 2区文学

ENGLISH LITERARY RENAISSANCE Pub Date : 2022-09-01 DOI: 10.1086/721064

W. Hyman

引用次数: 0

Fictions of Race: Racecraft, Reproduction, and Whiteness in Titus Andronicus 种族小说:提图斯·安德洛尼克斯的种族、繁殖和白

IF 0.3 2区文学

ENGLISH LITERARY RENAISSANCE Pub Date : 2022-09-01 DOI: 10.1086/721059

Urvashi Chakravarty

{"title":"Fictions of Race: Racecraft, Reproduction, and Whiteness in Titus Andronicus","authors":"Urvashi Chakravarty","doi":"10.1086/721059","DOIUrl":"https://doi.org/10.1086/721059","url":null,"abstract":"W hat does it mean to speak of fictions in early modern England? What purpose can fiction serve? And to what ends is fiction pressed? By the seventeenth century, the idea of fiction as a literary genre was in place; but so too was the understanding of fiction as “invention as opposed to fact,” without any openly negative connotation. This seeming neutrality, as I will demonstrate, is pertinent for our understandings of race, a term with a history of studied—and staged—objectivity. As I shall discuss, the process of race-making is also a structure of world-making; it is an assemblage and a scaffolding of power, a continuous process of invention that labors to depict itself as natural and naturalized. At the same time, the very notion of the fiction pulls us in different directions. In its most pejorative sense, a fiction can signify something not true, or fabricated, which centers around the sense of dissembling or deceiving. ForThomas Thomas, afiction denotes a “lie, a cogge,” as it does forRandleCotgrave,who glosses the term as a “lie, fib, cog.” Both lexicographers, then, suggest the sense of mendacity associatedwithfiction, but also, by using theword “cog,” invoke the specter of cheating, or tricking. Yet early modern lexicographers also underscore fiction’s association with “feigning” in a positive register, with “a thing imagined, fained,” indeed an “inuention.” In the sense of “fiction” as “invention” or the capacity of imagining, fiction not only becomes a valorized and valuable","PeriodicalId":44199,"journal":{"name":"ENGLISH LITERARY RENAISSANCE","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42780568","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

The Politics of Scale in Shakespeare’s Henry V: Fiction, History, Theater 莎士比亚《亨利五世》中的规模政治：小说、历史、戏剧

IF 0.3 2区文学

ENGLISH LITERARY RENAISSANCE Pub Date : 2022-09-01 DOI: 10.1086/721067

Jennifer Waldron

{"title":"The Politics of Scale in Shakespeare’s Henry V: Fiction, History, Theater","authors":"Jennifer Waldron","doi":"10.1086/721067","DOIUrl":"https://doi.org/10.1086/721067","url":null,"abstract":"I n a self-conscious investigation of how theatrical fictions might recount historical events, the Chorus of Shakespeare’s Henry V opens with a set of contrasts in scale: “Can this cockpit hold / The vasty fields of France?” (11–12). While the Chorus here presents the small scope of the theatrical “cockpit” as an obstacle to the audience’s full appreciation of the “vasty fields” of Agincourt, what follows over the course of the play is a set of powerful claims for the political value of these very kinds of scalar disjunctions. The play’s highly theatrical manipulations of scale afford techniques for viewing and judging things great and small, including the imperial “cause” (1.2.294) of Henry’s war with France. Audiences encounter sharp distinctions not only between entities that operate at different scales—cockpits and vasty fields; actors’ bodies and various political bodies—but also, more importantly, divergent models of historical scale itself. Unlike those scholars who see the power of theatrical display as aligned with Henry’s imperial ambitions, I argue that the highly variable spacetime of live performance helps to expose the faulty scalar devices onwhichHenry’s imperial actions rest. Henry V positions theatrical fictions as tools for scalar literacy—tools that become essential for making ethical and political judgements in a non-uniform historical field. As critics have long noted,HenryV draws on humanist debates about historiography that are closely tied to questions about the justice of Henry’s imperial cause. The play’s promoters of the English war effort deploy a particular view of historical figures as exemplars for imitation—a view that","PeriodicalId":44199,"journal":{"name":"ENGLISH LITERARY RENAISSANCE","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48553088","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Contesting Fiction in Gavin Douglas’ Eneados 加文·道格拉斯·埃涅ados的竞争小说

IF 0.3 2区文学

ENGLISH LITERARY RENAISSANCE Pub Date : 2022-09-01 DOI: 10.1086/721060

Julie Orlemanski

{"title":"Contesting Fiction in Gavin Douglas’ Eneados","authors":"Julie Orlemanski","doi":"10.1086/721060","DOIUrl":"https://doi.org/10.1086/721060","url":null,"abstract":"H istories of fiction—tracing fictionality as idea and as literary mode across time—are often told as narratives of epistemic progress. Modernity, so the story goes, brings with it more sophisticated distinctions between fact and fiction. Zones of mixed referential truth, of legend and lore, are gradually rationalized, and literary authors both participate in and offer consolations for the course of disenchantment. Given this pattern, it is small surprise that the early modern period has loomed large in iterations of fiction’s grand récit. The era’s rhetorics of epistemic rationalization, of a newly clear-eyed distinction among error, fact, truth, and narrative fiction, dovetail smoothly with later accounts of our modern age. Yet such gestures of rationalization can best be interpreted, I suggest, not in terms of the retrospective, teleological narratives they are made to fit— but as local experiments, charged with polemical energy and entangled with the counter-possibilities they define themselves against. This essay explores one early-modern attempt to rationalize fiction, or justify a particular model for fiction’s meaning-making against competing paradigms. This occurs in the pages of the Eneados (1513), a translation into Middle Scots of Virgil’sAeneid by the Scottish poet, nobleman, and eventual bishop Gavin Douglas (c.1475–1522). Douglas’ groundbreaking work of earlymodern vernacular classicism, or “vernacular humanism” as some have called it, seeks to establish Virgil’s poem as a self-authorizing, self-referring work, in part by making polemical arguments about who, and what,","PeriodicalId":44199,"journal":{"name":"ENGLISH LITERARY RENAISSANCE","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46132768","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Artlikeness: Enargeia, Imagination, and the Enlivening of Shakespeare’s Hero 艺术肖像：埃纳吉亚、想象与莎士比亚英雄的复活

IF 0.3 2区文学

ENGLISH LITERARY RENAISSANCE Pub Date : 2022-09-01 DOI: 10.1086/721066

Suparna Roychoudhury

引用次数: 0

VOLUME 52 (2022) 第52卷（2022）

IF 0.3 2区文学

ENGLISH LITERARY RENAISSANCE Pub Date : 2022-09-01 DOI: 10.1086/722216

引用次数: 0