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Thomas Traherne on Punctuation 托马斯·特拉赫恩关于标点符号
Explorations in Renaissance Culture Pub Date : 2022-09-30 DOI: 10.1163/23526963-04802003
Tanya K. Zhelezcheva
{"title":"Thomas Traherne on Punctuation","authors":"Tanya K. Zhelezcheva","doi":"10.1163/23526963-04802003","DOIUrl":"https://doi.org/10.1163/23526963-04802003","url":null,"abstract":"\u0000 Though Thomas Traherne’s punctuation has been harshly criticized for its idiosyncrasy, scholars have also frequently admired the stylistic effects that it creates. His punctuation is linked to baroque art and music, the use of periods to highlighting subordinate ideas, capitalization to its inability to foster figurative language, and parentheses to his writing and editing process. This essay draws attention to a related, but different, issue that has remained unaddressed: what does Traherne himself have to say about punctuation? An examination of Traherne’s works shows that Traherne’s understanding of punctuation falls into two broad categories: the complex-metaphoric and the politico-religious. His metaphoric understanding, which belongs to a long tradition, can be gleaned from his references to the oracle of Delphi’s capital letters inscription; Ficino’s translation of Plato; and Ben Jonson’s borrowing from a fourteenth-century translation of Julius Scaliger’s grammar. Traherne’s politico-religious understanding of punctuation emerges most clearly in his Roman Forgeries (1673) in which he critiques a long list of ecclesiastical sources—epistles, church canons, multi-volume works of the councils—to argue that Catholic scribes and editors used punctuation for ideological purposes: to obfuscate, hide, and forge religious doctrines. Traherne’s comments reveal that early modern readers were likely to skip over text within parenthesis and marginal annotations and to be impressed by the use of all capital letters. Traherne’s textual criticism through the lens of punctuation helps us to understand early modern reading habits as well as the history of textual editing and textual transmission.","PeriodicalId":55910,"journal":{"name":"Explorations in Renaissance Culture","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48532887","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Dark Caravaggism 深色卡拉瓦吉主义
Explorations in Renaissance Culture Pub Date : 2022-09-30 DOI: 10.1163/23526963-04802002
L. Ch’ien
{"title":"Dark Caravaggism","authors":"L. Ch’ien","doi":"10.1163/23526963-04802002","DOIUrl":"https://doi.org/10.1163/23526963-04802002","url":null,"abstract":"\u0000 Many of Caravaggio’s late istoria altarpieces differ from what is commonly called Caravaggism (the artist’s pictorial mode during his Roman period) strongly enough that together the paintings form a distinctive approach to istoria that requires its own term: Dark Caravaggism. This paper identifies and analyzes this second Caravaggism, a pictorial mode as innovative as the first, but one that has been neglected in the literature. In the Resurrection of Lazarus, Burial of St. Lucy, and other works including the Death of the Virgin and Beheading of St. John, Caravaggio extends narrative moments in even muted palettes, stilled movement, and cavernous spaces. These paintings command the viewer’s attention by employing the eye’s physiological process of dark adaption in which the eye adjusts over time to dim light conditions. Eschewing Early Caravaggism’s instantaneity and fragmented tenebrism, Dark Caravaggism asks the viewer for quiet meditation rather than frantic search. If not for the artist’s untimely death at age 38, late Caravaggism likely would have produced a second revolution in European painting on par with the first.","PeriodicalId":55910,"journal":{"name":"Explorations in Renaissance Culture","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49577015","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Music, Prayer, and “Something Understood” 音乐、祈祷和“理解的东西”
Explorations in Renaissance Culture Pub Date : 2022-09-30 DOI: 10.1163/23526963-04802001
Camilo Peralta
{"title":"Music, Prayer, and “Something Understood”","authors":"Camilo Peralta","doi":"10.1163/23526963-04802001","DOIUrl":"https://doi.org/10.1163/23526963-04802001","url":null,"abstract":"\u0000 During the Middle Ages, Christian theologians developed various means for addressing God’s ineffable, or indescribable, nature. One could, for instance, employ apophatic or “negative” theology, or use music and prayer as metaphors for the harmony of the universe and our relationship with Him. This paper examines the use of these and other approaches to the ineffable by the French indiciare Jean Molinet and the English poet George Herbert. Despite being written hundreds of years apart and in different languages, Molinet’s Chroniques (1474–1504) and Herbert’s “Prayer (I)” (1633) both rely on a series of impressionistic metaphors to convey something of the ineffability of their respective subjects (music and prayer). In their efforts to describe that which is difficult, if not impossible, to capture in words, both turn to the long tradition of Christian mysticism, and in particular the works of Pseudo-Dionysius and Boethius.","PeriodicalId":55910,"journal":{"name":"Explorations in Renaissance Culture","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43789290","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
“Deep Dark Truthful Mirror”—The Logic of Petrus Ramus and the Tragedy of Samson Agonistes “深暗真镜”——彼得鲁斯·拉莫斯的逻辑与参孙的悲剧
Explorations in Renaissance Culture Pub Date : 2022-09-30 DOI: 10.1163/23526963-04802004
Elizabeth Skerpan-Wheeler
{"title":"“Deep Dark Truthful Mirror”—The Logic of Petrus Ramus and the Tragedy of Samson Agonistes","authors":"Elizabeth Skerpan-Wheeler","doi":"10.1163/23526963-04802004","DOIUrl":"https://doi.org/10.1163/23526963-04802004","url":null,"abstract":"\u0000 The sixteenth-century educational reformer Petrus Ramus was known for disrupting the traditional relationship between logic and rhetoric. He removed the first two of the traditional five canons of rhetoric—invention and arrangement—and assigned them to logic. Thus, to Ramus, invention became not a means of finding arguments but rather a process of uncovering truth and finding a means of inquiry into the essence of a subject. This intervention affected educators, scientists, playwrights, and poets, most notably John Milton, whose own version of Ramus’s logic was published only a year after Paradise Regained and Samson Agonistes. This chronological association suggests the possibility of a connection between Milton’s understanding of invention and the distinctive nature of the tragedy of Samson. Such a connection suggests that the tragedy represents a process of invention that goes wrong, and that the apparent victory of the Danites leads to the spiritual destruction of their hero.","PeriodicalId":55910,"journal":{"name":"Explorations in Renaissance Culture","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44260424","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Introduction to the Special Issue 特刊简介
Explorations in Renaissance Culture Pub Date : 2022-04-11 DOI: 10.1163/23526963-04801004
K. Bennett
{"title":"Introduction to the Special Issue","authors":"K. Bennett","doi":"10.1163/23526963-04801004","DOIUrl":"https://doi.org/10.1163/23526963-04801004","url":null,"abstract":"","PeriodicalId":55910,"journal":{"name":"Explorations in Renaissance Culture","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-04-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42832683","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Rhetorical Swordfighting and Satire in Thomas Watson’s Hekatompathia 托马斯·沃森《希卡托pathia》中的修辞剑术与讽刺
Explorations in Renaissance Culture Pub Date : 2022-04-11 DOI: 10.1163/23526963-04801001
K. Bennett
{"title":"Rhetorical Swordfighting and Satire in Thomas Watson’s Hekatompathia","authors":"K. Bennett","doi":"10.1163/23526963-04801001","DOIUrl":"https://doi.org/10.1163/23526963-04801001","url":null,"abstract":"\u0000 Thomas Watson’s critics have suggested that The Hekatompathia, Or Passionate Centurie of Love ambitiously aspired to be a pedagogical text, but if this work is designed to teach, then this essay suggests Watson’s manipulations of genre, style, and intertexts combine to offer a pedagogy for poets, a compilation of rhetorical postures one may employ to simultaneously deliver and disguise socio-political satire in Elizabethan England. This essay first discusses how Hekatompathia additionally signals its satirical aims by participating in the pasquinade tradition, and positioning a “pasquine piller” at the volta of this sequence of one hundred passions. Next, it shows how Watson’s “passions” intertextually recall Pierre de Ronsard’s Discours des Misères de ce Temps, a collection of lyrics satirizing the French factionalism that has led to civil war, as well as Thomas Jeney’s later English translation that turns a mirror to princes toward Queen Elizabeth. Upon recognizing the Ronsardian subtexts of courtly factionalism and civil unrest associated with Watson’s “passions,” one may see how they are compounded as the poet sets them forth in the “pathetical style” of Seneca and Lucan. The civil wars of ancient Rome and subsequent imperial tyranny are frequently held up as a cautionary tales for early modern English and European rulers, but Watson’s simultaneous translation of the French Wars of Religion relocates these civil broils in England, implicating Elizabethan court dissidence and hypocrisy.","PeriodicalId":55910,"journal":{"name":"Explorations in Renaissance Culture","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-04-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47751415","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Witty Shrews and Shrewish Wits 狡猾的怪物和狡猾的智慧
Explorations in Renaissance Culture Pub Date : 2022-04-11 DOI: 10.1163/23526963-04801003
Hannah Bredar
{"title":"Witty Shrews and Shrewish Wits","authors":"Hannah Bredar","doi":"10.1163/23526963-04801003","DOIUrl":"https://doi.org/10.1163/23526963-04801003","url":null,"abstract":"\u0000 This essay analyzes the devices and methods of satirical discourse as they are presented by Much Ado About Nothing’s Beatrice and The Taming of the Shrew’s Katherine. By exploring shared points of contact in the “flyting” scenes between Katherine, Beatrice, and their respective suitors, I discuss how ironic, critical speech comes to be elevated as satirical wit in one play, even as it is reduced to shrewish complaint in the other. Both readings complicate conventional understandings of these plays as comedy, especially insofar as they undercut the institution associated with the genre’s successful resolution: marriage. Ado’s and Shrew’s engagement in discourses of satire, complaint, and invective offers an opportunity to recognize how these plays figure women and marriage as vehicles for a satirical critique of the period’s comedic and romantic conventions.","PeriodicalId":55910,"journal":{"name":"Explorations in Renaissance Culture","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-04-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46067245","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Titus’s Revenge and/as Imperial Roman Satire 提图斯的复仇和/作为罗马帝国的讽刺
Explorations in Renaissance Culture Pub Date : 2022-04-11 DOI: 10.1163/23526963-04801002
C. Perry
{"title":"Titus’s Revenge and/as Imperial Roman Satire","authors":"C. Perry","doi":"10.1163/23526963-04801002","DOIUrl":"https://doi.org/10.1163/23526963-04801002","url":null,"abstract":"\u0000 This essay explores the idea that the grotesque denouement of Titus Andronicus—and specifically that portion of the play staged as Titus’s dinner party—draws upon ideas about Rome and decorum from imperial Roman satire. The cannibal banquet in Act 5 of Titus Andronicus is designed to violate Horace’s remarks from the Ars Poetica about how ‘the feast of Thyestes’ should not be staged in a manner commensurate with comedy. In keeping with its exploration of indecorum as an index to corruption, the play’s weird denouement makes use of the generic resources of Roman satire, and especially of Juvenal and Persius, since each of these imperial-era writers positons themselves as indecorous and post-Horatian. Titus uses his dinner party to satirize Roman mores that he has come to recognize as corrupt, and as host he re-enacts Roman satire’s obsessive interest in food, cooking, and the dinner party as both metaphor and setting. In doing so, Titus literalizes a link between cannibalism and post-Horatian indecorum that is figural in Persius.","PeriodicalId":55910,"journal":{"name":"Explorations in Renaissance Culture","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-04-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43501204","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Satire, What Is It Good For? 讽刺，有什么好处?
Explorations in Renaissance Culture Pub Date : 2022-04-11 DOI: 10.1163/23526963-04801005
Emily Rowe
{"title":"Satire, What Is It Good For?","authors":"Emily Rowe","doi":"10.1163/23526963-04801005","DOIUrl":"https://doi.org/10.1163/23526963-04801005","url":null,"abstract":"Satire and war have a longstanding literal and metaphoric relationship. Satire has long been the medium to criticize war, while also being figured itself as literary ‘warfare.’ This essay examines the interplay between war and satire in two early modern English prose texts, Thomas Nashe’s The vnfortunate trauller (1594) and Thomas Dekker’s Worke for armorours (1609). Both writers contributed satirical works to literary ‘wars’ of the period, but this essay moves away from their literary feuds and argues that Nashe and Dekker’s prose employ sites of war as settings for social satire and to explore how war, like satire, functions a force that disrupts as a means to correct social abuses.","PeriodicalId":55910,"journal":{"name":"Explorations in Renaissance Culture","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-04-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41260227","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
“Sir Francis Drake in the Spanish Literature of the Armada” 西班牙无敌舰队文学中的弗朗西斯·德雷克爵士
Explorations in Renaissance Culture Pub Date : 2021-12-07 DOI: 10.1163/23526963-04702004
Cristina Vallaro
{"title":"“Sir Francis Drake in the Spanish Literature of the Armada”","authors":"Cristina Vallaro","doi":"10.1163/23526963-04702004","DOIUrl":"https://doi.org/10.1163/23526963-04702004","url":null,"abstract":"\u0000 The subject of this paper is Sir Francis Drake, Elizabeth I’s most famous privateer, and his role in Spanish texts composed throughout the Armada campaign of 1588. A well-known seaman in both the New World and Europe, Drake had a significant impact on Anglo-Spanish relations, acquiring a reputation as a violent and ambitious man determined to serve his country to the death. The fight against him was conducted not only at sea, but also in literature where he was decried as Spain’s worst enemy. In poems by Juan de Castellanos, Góngora, Cervantes and Lope de Vega, Drake is portrayed as the worst enemy Spain had ever faced. Lope de Vega’s La Dragontea, a long poem about Drake’s last voyage, shows how his fearless and arrogant nature, and his disdain for danger, were not enough to enable him to avoid death and to prevent Spaniards from ridiculing him and his fate.","PeriodicalId":55910,"journal":{"name":"Explorations in Renaissance Culture","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-12-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42246812","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
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