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Examines literary engagement with immateriality since the 'material turn' in early modern studiesProvides six case studies of works by Shakespeare, Donne, and Herbert, offering new readings of important literary texts of the English Renaissance alongside detailed chapters outlining attitudes towards immateriality in works of natural philosophy, medicine, and theologyEmploys an innovative organization around three major areas in which problem of immaterial was particularly pitched: Ontology, Theology, and Psychology (or Being, Believing, and Thinking)Includes wide-ranging references to early modern literary, philosophical, and theological textsDemonstrates how innovations in natural philosophy influenced thought about the natural world and how it was portrayed in literatureEngages with current early modern scholarship in the areas of material culture, cognitive literary studies, and phenomenologyImmateriality and Early Modern English Literature explores how early modern writers responded to rapidly shifting ideas about the interrelation of their natural and spiritual worlds. It provides six case studies of works by Shakespeare, Donne and Herbert, offering new readings of important literary texts of the English Renaissance alongside detailed chapters outlining attitudes towards immateriality in works of natural philosophy, medicine and theology. Building on the importance of addressing material culture in order to understand early modern literature, Knapp demonstrates how the literary imagination was shaped by changing attitudes toward the immaterial realm.
In romances—Renaissance England’s version of the fantasy novel—characters often discover books that turn out to be magical or prophetic, and to offer insights into their readers’ selves. The Immaterial Book examines scenes of reading in important romance texts across genres: Spenser’s Faerie Queene, Shakespeare’s Cymbeline and The Tempest, Wroth’s Urania, and Cervantes’ Don Quixote. It offers a response to “material book studies” by calling for a new focus on imaginary or “immaterial” books and argues that early modern romance authors, rather than replicating contemporary reading practices within their texts, are reviving ancient and medieval ideas of the book as a conceptual framework, which they use to investigate urgent, new ideas about the self and the self-conscious mind.
In romances—Renaissance England’s version of the fantasy novel—characters often discover books that turn out to be magical or prophetic, and to offer insights into their readers’ selves. The Immaterial Book examines scenes of reading in important romance texts across genres: Spenser’s Faerie Queene, Shakespeare’s Cymbeline and The Tempest, Wroth’s Urania, and Cervantes’ Don Quixote. It offers a response to “material book studies” by calling for a new focus on imaginary or “immaterial” books and argues that early modern romance authors, rather than replicating contemporary reading practices within their texts, are reviving ancient and medieval ideas of the book as a conceptual framework, which they use to investigate urgent, new ideas about the self and the self-conscious mind.
This volume elucidates the craft practices, cultural conventions and literary attitudes of scribes of late medieval English manuscripts to students and researchers. Introducing misunderstood and overlooked aspects of these manuscripts, it convincingly challenges current understandings of late medieval literary and material culture.
In The Imagination in Early Modern English Literature, Deanna Smid presents a literary, historical account of imagination in early modern English literature, paying special attention to its effects on the body, to its influence on women, to its restraint by reason, and to its ability to create novelty. An early modern definition of imagination emerges in the work of Robert Burton, Francis Bacon, Edward Reynolds, and Margaret Cavendish. Smid explores a variety of literary texts, from Thomas Nashe’s The Unfortunate Traveler to Francis Quarles’s Emblems, to demonstrate the literary consequences of the early modern imagination. The Imagination in Early Modern English Literature insists that, if we are to call an early modern text “imaginative,” we must recognize the unique characteristics of early modern English imagination, in all its complexity.
Iago’s ‘I am not what I am’ epitomises how Shakespeare’s work is rich in philosophy, from issues of deception and moral deviance to those concerning the complex nature of the self, the notions of being and identity, and the possibility or impossibility of self-knowledge and knowledge of others. Shakespeare’s plays and poems address subjects including ethics, epistemology, metaphysics, philosophy of mind, and social and political philosophy. They also raise major philosophical questions about the nature of theatre, literature, tragedy, representation and fiction. The Routledge Companion to Shakespeare and Philosophy is the first major guide and reference source to Shakespeare and philosophy. It examines the following important topics: What roles can be played in an approach to Shakespeare by drawing on philosophical frameworks and the work of philosophers? What can philosophical theories of meaning and communication show about the dynamics of Shakespearean interactions and vice versa? How are notions such as political and social obligation, justice, equality, love, agency and the ethics of interpersonal relationships demonstrated in Shakespeare’s works? What do the plays and poems invite us to say about the nature of knowledge, belief, doubt, deception and epistemic responsibility? How can the ways in which Shakespeare’s characters behave illuminate existential issues concerning meaning, absurdity, death and nothingness? What might Shakespeare’s characters and their actions show about the nature of the self, the mind and the identity of individuals? How can Shakespeare’s works inform philosophical approaches to notions such as beauty, humour, horror and tragedy? How do Shakespeare’s works illuminate philosophical questions about the nature of fiction, the attitudes and expectations involved in engagement with theatre, and the role of acting and actors in creating representations? The Routledge Companion to Shakespeare and Philosophy is essential reading for students and researchers in aesthetics, philosophy of literature and philosophy of theatre, as well as those exploring Shakespeare in disciplines such as literature and theatre and drama studies. It is also relevant reading for those in areas of philosophy such as ethics, epistemology and philosophy of language.
The volume highlights how the Fourth Gospel and First Epistle of Saint John the Evangelist were leading apostolic texts during the early modern period in England, and the importance of Johannine theology to early modern religious poetry.
In the late sixteenth and early seventeenth centuries the Inns of Court and fashionable London taverns developed a culture of clubbing, urban sociability and wit. The convivial societies that emerged created rituals to define social identities and to engage in literary play and political discussion. Michelle O'Callaghan argues that the lawyer-wits, including John Hoskyns, in company with authors such as John Donne, Ben Jonson and Thomas Coryate, consciously reinvigorated humanist traditions of learned play. Their experiments with burlesque, banquet literature, parody and satire resulted in a volatile yet creative dialogue between civility and licence, and between pleasure and the violence of scurrilous words. The wits inaugurated a mode of literary fellowship that shaped the history and literature of sociability in the seventeenth century. This study will provide many insights for historians and literary scholars of the period.
"Responding to the debate stimulated by cultural materialist and new historicist claims that the early modern self was fragmented by forces in Elizabethan England, Sherwood argues that the self was capable of unified subjectivity, demonstrating that the intersection of Protestant vocation and Christian civic humanism was a stabilizing factor in the early modern construction of self"--Provided by publisher.
This book uses textual and material evidence -- in poetry, prayers, physiologies, sermons, church buildings and monuments, manuscript diaries and notebooks -- to explore how material things held spiritual meaning in George Herbert's poetry, and to reflect on scholarly approaches to matter and form in devotional poetry.