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This revised and augmented edition of four mythological tales translated from Ovid during the Elizabethan period calls attention to the genre of the epyllion and suggests a possible literary influence on later poets and playwrights such as Marlowe and Shakespeare. Indeed, while openly concerned with the central theme of metamorphosis, these short narrative poems express deep male anxiety about female desire. Elizabethan epyllia always seemed prone to renegociate the orthodoxy of early modern desire in a masculine, somewhat misogynous sphere, addressing the issues of mutability in a world of large-scale social changes. Finally, beyond the restricted readership of the spheres of the Inns of court for which they were originally intended, these works reached a much wider audience. And as students of early modern English poetry and Renaisance scholars in general are likely to find out, these witty poetic variations and rhetorical displays represent a real embarrassment of riches.
Dreaming the English Renaissance examines ideas about dreams, actual dreams people had and recorded, and the many ways dreams were used in the culture and politics of the Tutor/Stuart age in order to provide a window into the mental life and the most profound beliefs of people of the time.
Through analyses of the contents of six commentaries affiliated with or influenced by Tameaki, Susan Blakeley Klein presents examples of this interpretive method and discusses its influence on subsequent texts, both elite and popular."--BOOK JACKET.
"As recounted here by Ingrid D. Rowland, Curzio preyed on the Italian fixation with ancestry to forge an array of ancient Latin and Etruscan documents. For authenticity's sake, he stashed the counterfeit treasure in scarith (capsules made of hair and mud) near Scornello. To the seventeenth-century Tuscans who were so eager to establish proof of their heritage and history, the scarith symbolized a link to the prestigious culture of their past. But because none of these proud Italians could actually read the ancient Etruscan language, they couldn't know for certain that the documents were frauds. The Scarith of Scornello traces the career of this young scam artist whose "discoveries" reached the Vatican shortly after Galileo was condemned by the Inquisition, inspiring participants on both sides of the affair to clash again - this time over Etruscan history."--BOOK JACKET.
This ground-breaking volume connects the situatedness of genre in English poetry with developments in classical scholarship, exploring how an emphasis on the interaction between English literary criticism and Classics changes, sharpens, or perhaps even obstructs views on genre in English poetry. “Genre” has classical roots: both in the etymology of the word and in the history of genre criticism, which begins with Aristotle. In a similar vein, recent developments in genre studies have suggested that literary genres are not given or fixed entities, but subjective and unstable (as well as historically situated), and that the reception of genre by both writers and scholars feeds back into the way genre is articulated in specific literary works. Classical scholarship, literary criticism, and genre form a triangle of key concepts for the volume, approached in different ways and with different productive results by contributors from across the disciplines of Classics and English literature. Covering topics from the establishment of genre in the Middle Ages to the invention of female epic and the epyllion, and bringing together the works of English poets from Milton to Tennyson to Josephine Balmer, the essays collected hereargue that the reception and criticism of classical texts play a crucial part in generic formation in English poetry.
'Thus she was decapitated, and this was the end to which she was brought by her unbridled lusts.' For over two centuries after Boccaccio's groundbreaking Decameron, the Italian novella exercised a crucial influence over European prose fiction. With thirty-nine stories by nineteen authors, many translated for the first time, this anthology presents tales from the whole genre and period. Here we meet a rich cast of humble peasants and shrewd craftsmen, frustrated wives, libidinous friars, ill-fated lovers, and vengeful nobles. These works had a considerable impact in English, and the selection includes tales that have provided sources for Chaucer, Shakespeare, Webster, Marston, Dryden, Byron and Keats. The typical novella is situated in a precise time and place and features people who either existed historically or are presumed to have done so. The subject-matter, whether ribald or sentimental, comic or tragic, often reflects the social and economic conditions of its age and thus the novella has been seen as a crucial stage in the development of fictional realism and the emergence of the novel
This collection of provocative new essays, mainly by French scholars, on Shakespeare’s great tragedy, focuses on linguistic, aesthetic and philosophical issues with specific attention paid to the dimension of early modern desire, sexuality and gender relations. King Lear is here re-examined in the perspective of Lucrece, Montaigne, Renaissance medicine and anatomy, the grotesque, myth and imagery as well as negative theology. It is hoped that this will serve to update our approaches to this elusive, undecided play, neither Christian nor as completely nihilistic as some critics have argued, which nevertheless remains quite popular on French and English stages alike.
With its many rites of initiation (religious, educational, professional or sexual), Elizabethan and Jacobean education emphasized both imitation and discovery in a struggle to bring population to a minimal literacy, while more demanding techniques were being developed for the cultural elite. The Circulation of Knowledge in Early Modern English Literature examines the question of transmission and of the educational procedures in16th- and 17th-century England by emphasizing deviant practices that questioned, reassessed or even challenged pre-established cultural norms and traditions. This volume thus alternates theoretical analyses with more specific readings in order to investigate the multiple ways in which ideas then circulated. It also addresses the ways in which the dominant cultural forms of the literature and drama of Shakespeare’s age were being subverted. In this regard, its various contributors analyze how the interrelated processes of initiation, transmission and transgression operated at the core of early modern English culture, and how Christopher Marlowe, William Shakespeare and Thomas Middleton, or lesser known poets and playwrights such as Thomas Howell, Thomas Edwards and George Villiers, managed to appropriate these cultural processes in their works.
Quixotic Frescoes delves into the politics of imitation, self-censorship, religious ideology expressed through the pictorial, as well as the gendering of art as reflected in Cervantes' work.
Throughout the early modern period, the nymph remained a powerful figure that inspired and informed the cultural imagination in many different ways. Far from being merely a symbol of the classical legacy, the nymph was invested with a surprisingly broad range of meanings. Working on the basis of these assumptions, and thus challenging Aby Warburg’s famous reflections on the nympha that both portrayed her as cultural archetype and reduced her to a marginal figure, the contributions in this volume seek to uncover the multifarious roles played by nymphs in literature, drama, music, the visual arts, garden architecture, and indeed intellectual culture tout court, and thereby explore the true significance of this well-known figure for the early modern age. Contributors: Barbara Baert, Mira Becker-Sawatzky, Agata Anna Chrzanowska, Karl Enenkel, Wolfgang Fuhrmann, Michaela Kaufmann, Andreas Keller, Eva-Bettina Krems, Damaris Leimgruber, Tobias Leuker, Christian Peters, Christoph Pieper, Bernd Roling, and Anita Traninger.