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This new study explores the poetic tradition of the love sonnet sequence in English as written by women from 1621-1931. It connects this tradition to ways of speaking desire in public in operation today, and to the development of theories of subjectivity in Western culture.
This new study explores the poetic tradition of the love sonnet sequence in English as written by women from 1621-1931. It connects this tradition to ways of speaking desire in public in operation today, and to the development of theories of subjectivity in Western culture.
Moore (English, Marshall U.) analyzes and contextualizes the Petrarchan love sonnet sequences of Gaspara Stampa, Louise Labe, Lady Mary Wroth, Charlotte Smith, Elizabeth Barrett Browning, and Edna St. Vincent Millay. Close readings of the poems are accompanied by theory and criticism regarding constructs of women, historical events, and biographical material, illuminating the poets, Petrarchism as a convention, ideas about women, and the range and limitations of female roles as erotic subjects and objects. Annotation copyrighted by Book News Inc., Portland, OR
This first published book on Milton's masculinities exposes how Milton constructs the power-cultures of manhood in his most famous works.
Royal Poetrie is the first book to address the significance of a distinctive body of verse from the English Renaissance—poems produced by the Tudor-Stuart monarchs Henry VIII, Mary, Queen of Scots, Elizabeth I, and James VI/I. Not surprisingly, Henry VIII is no John Donne, but the unique political and poetic complications raised by royal endeavors at authorship imbue this literature with special interest. Peter C. Herman is particularly intrigued by how the monarchs' poems express and extend their power and control. Monarchs turned to verse especially at moments when they considered their positions insecure or when they were seeking to aggregate more power to themselves. Far from reflecting absolute authority, monarchic verse often reveals the need for authority to defend itself against considerable, effective opposition that was often close at hand. In monarchic verse, Herman argues, one can see monarchs asserting their significance and appropriating images of royalty to enhance their power and their position. Sometimes, as in the cases of Henry and Elizabeth, they are successful; sometimes, as for James, they are not. For Mary Stuart, the results were disastrous. Herman devotes a chapter each to the poetic endeavors of Henry VIII, Mary Stuart, Elizabeth I, and James VI/I. His introduction addresses the tradition of monarchic verse in England and on the continent as well as the textual issues presented by these texts. A brief postscript examines the verses that circulated under Charles I's name after his execution. In an argument enhanced by carefully chosen illustrations, Herman places monarchic verse within the visual and other cultural traditions of the day.
This critical edition of the poems of Anna Seward (1742-1809) re-establishes one of the most popular and prolific poets of the early Romantic period. Her work influenced Charllotte Smith and Mary Robinson and later both Wordsworth and Coleridge. Her reputation was so high that Sir Walter Scott edited the posthumous edition of her poems in 1810. Unlike Scott's, this edition reproduces the poems as they were first published in periodicals and collections during Seward's lifetime, allowing scholars to experience them as eighteenth century readers did. It also includes mire than 200 poems that were excluded from the Scott edition.
This critical edition of the poems of Anna Seward (1742-1809) re-establishes one of the most popular and prolific poets of the early Romantic period. Her work influenced Charllotte Smith and Mary Robinson and later both Wordsworth and Coleridge. Her reputation was so high that Sir Walter Scott edited the posthumous edition of her poems in 1810. Unlike Scott's, this edition reproduces the poems as they were first published in periodicals and collections during Seward's lifetime, allowing scholars to experience them as eighteenth century readers did. It also includes mire than 200 poems that were excluded from the Scott edition.
Michael Field, the poetic identity created by Katharine Bradley (1846-1914) and her niece Edith Cooper (1862-1913), ceaselessly experimented with forms of identity and forms of literary expression. The Forms of Michael Field argues that their modes of self-creation are analogous to their poetic creations, and that exploring them in tandem is the best way to understand Michael Field’s cultural and literary importance. Michael Field deploys a different form in each volume of their lyric poetry: translations of Sappho, ekphrasis, songs, sonnets, and devotional verse. They also appropriate and revise the dramatic genres of verse tragedy and the masque. Each of these experiments in form enable Michael Field to differently address the cultural questions that beset late-Victorian women writers. Drawing on the insights of new lyric studies and new formalism, this book analyzes Michael Field’s continual quest for the aesthetic forms that best express their evolving ideas about identity and sexuality, gender and sacrifice, lyric voice and authority.
In each area, the authors discuss a range of issues by applying and debating key critical approaches to Shakespeare including new historicism, cultural materialism, feminism, and postcolonialism."--BOOK JACKET.
A team of distinguished poets and scholars provides an authoritative guide to the history and development of the sonnet.