ENGLISH LITERARY RENAISSANCE最新文献_第7页

Leander in the Ottoman Mediterranean: The Homoerotics of Abduction in the Global Renaissance 奥斯曼地中海的莱安德：全球文艺复兴时期绑架的同性恋

IF 0.3 2区文学

ENGLISH LITERARY RENAISSANCE Pub Date : 2021-01-01 DOI: 10.1086/711601

Abdulhamit Arvas

{"title":"Leander in the Ottoman Mediterranean: The Homoerotics of Abduction in the Global Renaissance","authors":"Abdulhamit Arvas","doi":"10.1086/711601","DOIUrl":"https://doi.org/10.1086/711601","url":null,"abstract":"This essay revisits Leander’s abduction in the Hellespont with a focus on the geopolitical significations in Marlowe’s Hero and Leander. The imagery of the abducted boy, often recast as the iconic Ganymede, as object of desire is prevalent in early modern literature. Tracing representations of the abducted boy within the historical context of abductions in the Ottoman Mediterranean, the essay argues that the abducted boy is not just a classical prototype from a Greco-Roman lineage, but is also a reflection of the boys actually abducted in the early modern period, especially the boys who were objects of cross-cultural circulations generated by imperial hierarchies in the greater Mediterranean space. In his addition of a homoerotic abduction plot to the classical story from Musaeus and Ovid, Marlowe deploys the figure of Ganymede as well as a rhetoric of Mediterranean trade to imprint on Leander’s body an erotic-cultural history of abducted boys. Pursuing Leander in the Mediterranean waters and thus traveling between English and Ottoman contexts, this essay offers a relational reading strategy in exploring sexual, racial, and imperial components of literary and historical abductions in a global context. This approach ultimately reveals a connected history of homoerotic desire and imperial violence between English and Ottoman cultures in the global Renaissance. [A.A.]","PeriodicalId":44199,"journal":{"name":"ENGLISH LITERARY RENAISSANCE","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/711601","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48046862","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: 1

James Bell’s Narrative of Cecilia Vasa’s Journey to England: Travelogue as Encomium 詹姆斯·贝尔对塞西莉亚·瓦萨英格兰之旅的叙述:作为赞美诗的游记

IF 0.3 2区文学

ENGLISH LITERARY RENAISSANCE Pub Date : 2021-01-01 DOI: 10.1086/711600

A. Swärdh

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引用次数: 0

Interpersonal Soliloquy: Self and Audience in Shakespeare and Augustine 人际独奏：莎士比亚和奥古斯丁的自我与观众

IF 0.3 2区文学

ENGLISH LITERARY RENAISSANCE Pub Date : 2021-01-01 DOI: 10.1086/711602

Nancy Selleck

{"title":"Interpersonal Soliloquy: Self and Audience in Shakespeare and Augustine","authors":"Nancy Selleck","doi":"10.1086/711602","DOIUrl":"https://doi.org/10.1086/711602","url":null,"abstract":"This essay re-examines the meaning of Shakespearean soliloquies in light of both historical context and performance practice, arguing that they stage the interpersonal dimensions of identity in early modern culture. Solo speeches in Richard II and Hamlet offer textual evidence of their intended performance not as mere inward contemplation but as direct encounters with the playhouse audience. As dialogic speech acts, they constitute a deliberate ontological paradox: the act of speaking “alone” onstage becomes a dynamic interpersonal process in which the audience plays a crucial role. This key stage-audience exchange resonates with the practice of Augustinian “soliloquy” as exemplified in contemporary religious texts. Augustine’s own Soliloquies are alive with the paradox that his fullest act of self-speaking is inherently a dialogue, voicing not just subjective experience but the reciprocal recognition of an interlocutor. By the late seventeenth century, however, the neoclassical disparagement of direct-address soliloquy as unnatural and ridiculous reflects a radical shift toward conceptions of the self as a more discrete and self-contained entity. Critical readings of Shakespearean soliloquy have often followed that post-Renaissance view, missing the significant role of the audience that Shakespeare writes into the action of soliloquy. Today’s players have helped to recover that dramaturgy of interplay. [N.S.]","PeriodicalId":44199,"journal":{"name":"ENGLISH LITERARY RENAISSANCE","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/711602","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43287435","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

Volume 50 (2020) 第50卷(2020)

IF 0.3 2区文学

ENGLISH LITERARY RENAISSANCE Pub Date : 2020-09-01 DOI: 10.1086/710821

引用次数: 0

Spenser’s Panthea and Lucian’s: Elizabeth, Gloriana, and The Faerie Queene’s Protocols of Encomium Spenser的Panthea和Lucian的：Elizabeth、Gloriana和The Faerie Queene的Encomium协议

IF 0.3 2区文学

ENGLISH LITERARY RENAISSANCE Pub Date : 2020-08-14 DOI: 10.1086/709865

Kenneth Borris

{"title":"Spenser’s Panthea and Lucian’s: Elizabeth, Gloriana, and The Faerie Queene’s Protocols of Encomium","authors":"Kenneth Borris","doi":"10.1086/709865","DOIUrl":"https://doi.org/10.1086/709865","url":null,"abstract":"Spenser and his friend Gabriel Harvey enjoyed reading Lucian, and at that time this ancient writer’s two dialogues celebrating Panthea were prominent exemplars of encomium for an exalted woman. Although the name Panthea also appears in The Faerie Queene, explicitly linked with Cleopolis and Gloriana, its Lucianic implications there have been hitherto unnoticed. Spenser thereby strategically invites comparison of his epic’s panegyrical enterprise with Lucian’s in those dialogues, as well as with their assessments of appropriate encomiastic expression that avoids mere flattery. Hence The Faerie Queene incorporates means of evaluating its own celebratory project, limits its praise of Elizabeth I, and ensures that its homage to her is definitively provisional. This new perspective on Spenser’s major text clarifies the significance of its fundamental conceit, Elizabeth’s idealization as Gloriana, illuminates the distinction between these two queens, and confirms the advisory and critical functions of Spenserian encomium. So as to ensure that England’s Queen remains open to instructive critique and that his own depiction of faery’s indicates a far higher standard, the poet significantly distances his actual Queen from her “true glorious type” manifested in Gloriana (I.pr.4). [K.B.]","PeriodicalId":44199,"journal":{"name":"ENGLISH LITERARY RENAISSANCE","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2020-08-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/709865","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42839724","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

A Doctor of Another Facultie: Robert Aylett and Early Modern Interdisciplinary Poetics 另一系博士:罗伯特·艾尔特与早期现代跨学科诗学

IF 0.3 2区文学

ENGLISH LITERARY RENAISSANCE Pub Date : 2020-08-14 DOI: 10.1086/709867

E. Whewell

引用次数: 0

Kairic Complexity in Fulke Greville’s A Dedication to Sir Philip Sidney 富尔克·格雷维尔的《献给菲利普·西德尼爵士》中的凯瑞·复杂性

IF 0.3 2区文学

ENGLISH LITERARY RENAISSANCE Pub Date : 2020-08-14 DOI: 10.1086/709866

J. Gouws

{"title":"Kairic Complexity in Fulke Greville’s A Dedication to Sir Philip Sidney","authors":"J. Gouws","doi":"10.1086/709866","DOIUrl":"https://doi.org/10.1086/709866","url":null,"abstract":"Fulke Greville’s major prose work has for many generations puzzled and misled its readers. In this essay I suggest how often-occluded rhetorical presuppositions may be used to clarify the nature of historically embedded textual conduct. In particular, I deploy the resources of rhetorical agency to trace the exigencies of ethos, occasion, and audience through Greville’s composition and revision of his Dedication to Sir Philip Sidney, and to suggest that a work composed for a select Jacobean readership resorted to the attitudes and language of Elizabeth’s last decade to represent selectively people and events in the earlier years of her reign. The work has come down to us as an amalgam of two projects—a dedication to Sidney and a summary history of Elizabeth—which was subjected to one major revision and many minor ones in the processes of preparing separate working copies. Greville changed his mind often, but did not revise systematically, and much of the puzzlement induced by the Dedication arises from his working habits. One further change of mind had far-reaching consequences: Greville’s decision to abandon composition and revision. It was not published with the bulk of his literary works in the posthumous Certain Learned and Elegant Workes of 1633, but had to wait almost two decades to be repurposed by another agent in 1652 as The Life of the Renowned Sir Philip Sidney. Because agency is constitutive of holistic understanding, there are implications for how textual, including rhetorical, literary, critical, and editorial, conduct proceeds: we, as self-interpreting agents, are bound reciprocally to acknowledge and respect the self-disclosures and self-enactments manifested through conduct other than our own. [J.G.]","PeriodicalId":44199,"journal":{"name":"ENGLISH LITERARY RENAISSANCE","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2020-08-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/709866","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41715198","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

John Donne’s Sermons: Counsel and the Politics of the Dynamic Middle 约翰·多恩的布道:动态中间派的顾问和政治

IF 0.3 2区文学

ENGLISH LITERARY RENAISSANCE Pub Date : 2020-08-14 DOI: 10.1086/709868

J. Walters

引用次数: 1

Tudor Turks: Ottomans Speaking English in Early Modern Sultansbriefe 都铎土耳其人：现代早期讲英语的奥斯曼人

IF 0.3 2区文学

ENGLISH LITERARY RENAISSANCE Pub Date : 2020-08-14 DOI: 10.1086/709869

M. Dimmock

引用次数: 0

“As it was Played in the Blackfriars”: Jonson, Marston, and the Business of Playmaking 《黑修士》：琼森、马斯顿和游戏制作

IF 0.3 2区文学

ENGLISH LITERARY RENAISSANCE Pub Date : 2020-03-01 DOI: 10.1086/708231

L. Munro

{"title":"“As it was Played in the Blackfriars”: Jonson, Marston, and the Business of Playmaking","authors":"L. Munro","doi":"10.1086/708231","DOIUrl":"https://doi.org/10.1086/708231","url":null,"abstract":"This essay places Jonson, Chapman, and Marston’s Eastward Ho! at the center of a set of textual, theatrical, and financial negotiations that are revealed by a hitherto overlooked lawsuit in the Court of Chancery. It reveals for the first time that Jonson—like Marston—had a financial stake in the Blackfriars playhouse where Eastward Ho! was performed, and it argues that the play both epitomizes and scrutinizes a set of social and literary transactions surrounding the playhouse. In doing so, it reappraises three important contexts for the production of Eastward Ho! First, it revises our understanding of the Blackfriars enterprise and its investors. Second, it reassesses the careers of Jonson and Marston in the years 1604–1606—revisiting their collaboration with Chapman, their interpersonal relationships, and the revision of Jonson’s The Case is Altered and Every Man in his Humor—and offers a new picture of Jonson as a company man. Third, it offers fresh insights into city comedy’s engagements with London during a crucial period of its development. A coda turns to Jonson’s The Alchemist, suggesting that this play glances back at Jonson’s own contractual and emotional involvement with the Blackfriars venture and its entangled financial structures. [L.M.]","PeriodicalId":44199,"journal":{"name":"ENGLISH LITERARY RENAISSANCE","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/708231","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47530957","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: 11