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This book is an exploration of the viability of applying the post structuralist theory of intertextuality to early modern texts. It suggests that a return to a more theorised understanding of intertextuality, as that outlined by Julia Kristeva and Roland Barthes, is more productive than an interpretation which merely identifies ‘source’ texts. The book analyses several key early modern texts through this lens, arguing that the period’s conscious focus on and prioritisation of the creative imitation of classical and contemporary European texts makes it a particularly fertile era for intertextual reading. This analysis includes discussion of early modern creative writers’ utilisation of classical mythology, allegory, folklore, parody, and satire, in works by William Shakespeare, Sir Francis Bacon, John Milton, George Peele, Thomas Lodge, Christopher Marlowe, Francis Beaumont, and Ben Jonson, and foregrounds how meaning is created and conveyed by the interplay of texts and the movement between narrative systems. This book will be of interest to undergraduate and postgraduate students of early modern literature, as well as early modern scholars.
Singing together is a tried and true method of establishing and maintaining a group’s identity. Identity, Intertextuality, and Performance in Early Modern Song Culture for the first time explores comparatively the dynamic process of group formation through the production and appropriation of songs in various European countries and regions. Drawing on oral, handwritten and printed sources, with examples ranging from 1450 to 1850, the authors investigate intertextual patterns, borrowing of melodies, and performance practices as these manifested themselves in a broad spectrum of genres including ballads, popular songs, hymns and political songs. The volume intends to be a point of departure for further comparative studies in European song culture. Contributors are: Ingrid Åkesson, Mary-Ann Constantine, Patricia Fumerton, Louis Peter Grijp, Éva Guillorel, Franz-Josef Holznagel, Tine de Koninck, Christopher Marsh, Hubert Meeus, Nelleke Moser, Dieuwke van der Poel, Sophie Reinders, David Robb, Clara Strijbosch, and Anne Marieke van der Wal.
The use of Italian culture in the Jacobean theatre was never an isolated gesture. In considering the ideological repercussions of references to Italy in prominent works by Shakespeare and his contemporaries, Michael J. Redmond argues that early modern intertextuality was a dynamic process of allusion, quotation, and revision. Beyond any individual narrative source, Redmond foregrounds the fundamental role of Italian textual precedents in the staging of domestic anxieties about state crisis, nationalism, and court intrigue. By focusing on the self-conscious, overt rehearsal of existing texts and genres, the book offers a new approach to the intertextual strategies of early modern English political drama. The pervasive circulation of Cinquecento political theorists like Machiavelli, Castiglione, and Guicciardini combined with recurrent English representations of Italy to ensure that the negotiation with previous writing formed an integral part of the dramatic agendas of period plays.
This volume shows the pervasiveness over a millennium and a half of the little-studied phenomenon of multi-tier intertextuality, whether as 'linear' window reference - where author C simultaneously imitates or alludes to a text by author A and its imitation by author B - or as multi-directional imitative clusters. It begins with essays on classical literature from Homer to the high Roman empire, where the feature first becomes prominent; then comes late antiquity, a lively area of research at present; and, after a series of essays on European neo-Latin literature from Petrarch to 1600, another area where developments are moving rapidly, the volume concludes with early modern vernacular literatures (Italian, French, Portuguese and English). Most papers concern verse, but prose is not ignored. The introduction to the volume discusses the relevant methodological issues. An Afterword outlines the critical history of 'window reference' and includes a short essay by Professor Richard Thomas, of Harvard University, who coined the term in the 1980s.
Dynamic textual interplay: inherent and inherited
This study explores how Eastern European spaces and meanings are constituted in specific cultural contexts in early modern English drama. Focusing on the ways in which these texts integrate the articulation of Eastern European space and geography into a variety of interpretative conventions, the book develops ways of thinking critically and reflexively about the production of knowledge and identity in Shakespeare and his contemporaries through representations of space in drama.
Patrick Cheney's new book places the sublime at the heart of poems and plays in late sixteenth- and early seventeenth-century England. Specifically, Cheney argues for the importance of an 'early modern sublime' to the advent of modern authorship in Spenser, Marlowe, Shakespeare, and Jonson. Chapters feature a model of creative excellence and social liberty that helps explain the greatness of the English Renaissance. Cheney's argument revises the received wisdom, which locates the sublime in the eighteenth-century philosophical 'subject'. The book demonstrates that canonical works like The Faerie Queene and King Lear reinvent sublimity as a new standard of authorship. This standard emerges not only in rational, patriotic paradigms of classical and Christian goodness but also in the eternizing greatness of the author's work: free, heightened, ecstatic. Playing a centralizing role in the advent of modern authorship, the early modern sublime becomes a catalyst in the formation of an English canon.
This volume explores the early modern manuals on travelling (Artes apodemicae), a new genre of advice literature that originated in the sixteenth century, when it became communis opinio among intellectuals that travelling was an important means of acquiring knowledge and experience, and that an extended tour abroad was a vital, if not indispensable part of humanist, academic and political education. In this volume, the formation of this new genre, between 1550 and 1700, is studied in its historical, social and cultural context. Furthermore, the volume examines the impact of this new genre on the acquisition and collection of knowledge in the early modern period, empirical or otherwise. Contributors: Justin Stagl, Karl Enenkel, Jan Papy, Thomas Haye, Robert Seidel, Gabor Gelléri, Bernd Roling, Harald Hendrix, Jan L. de Jong, Kerstin Maria Pahl, Johanna Luggin, Marc Laureys, and Justina Spencer.
Offering new readings of works by Shakespeare, Spenser, and their contemporaries, this study examines the profound impact of the cultural shift in the English aristocracy from feudal warriors to emotionally expressive courtiers or gentlemen on all kinds of men in early modern English literature. Jennifer Vaught traces the gradual emergence of men of feeling during the sixteenth and seventeenth centuries, to the blossoming of this literary version of manhood during the eighteenth century.