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Following the success in paperback of William Empson's Essays on Shakespeare (1986), this first volume of his Essays on Renaissance Literature (1993) now appears in an accessible format. The volume gathers Empson's passionate and controversial essays on John Donne in the context of contemporary science, and includes previously unpublished pieces on some of the most influential Renaissance writers and scientists. Edited and introduced by leading Empson scholar John Haffenden, this is a book for anyone interested in the Renaissance, the history of science, and the history of literary criticism. 'Some of these passages have a sweep as grand as Empson found in Donne.' Eric Griffiths, The Times Literary Supplement 'Empson's achievement here as elsewhere comes from the generosity of spirit which made him consistently a great critic.' The New York Review of Books
An authoritative review of literary biography covering the seventeenth century to the twentieth century A Companion to Literary Biography offers a comprehensive account of literary biography spanning the history of the genre across three centuries. The editor – an esteemed literary biographer and noted expert in the field – has encouraged contributors to explore the theoretical and methodological questions raised by the writing of biographies of writers. The text examines how biographers have dealt with the lives of classic authors from Chaucer to contemporary figures such as Kingsley Amis. The Companion brings a new perspective on how literary biography enables the reader to deal with the relationship between the writer and their work. Literary biography is the most popular form of writing about writing, yet it has been largely neglected in the academic community. This volume bridges the gap between literary biography as a popular genre and its relevance for the academic study of literature. This important work: Allows the author of a biography to be treated as part of the process of interpretation and investigates biographical reading as an important aspect of criticism Examines the birth of literary biography at the close of the seventeenth century and considers its expansion through the eighteenth, nineteenth and twentieth centuries Addresses the status and writing of literary biography from numerous perspectives and with regard to various sources, methodologies and theories Reviews the ways in which literary biography has played a role in our perception of writers in the mainstream of the English canon from Chaucer to the present day Written for students at the undergraduate level, through postgraduate and doctoral levels, as well as academics, A Companion to Literary Biography illustrates and accounts for the importance of the literary biography as a vital element of criticism and as an index to our perception of literary history.
This volume, the ninth in the series of The Variorum Edition of the Poetry of John Donne, presents newly edited critical texts of 25 love lyrics. Based on an exhaustive study of the manuscripts and printed editions in which these poems have appeared, Volume 4.2 details the genealogical history of each poem, accompanied by a thorough prose discussion, as well as a General Textual Introduction of the Songs and Sonets collectively. The volume also presents a comprehensive digest of the commentary on these Songs and Sonets from Donne's time through 1999. Arranged chronologically within sections, the material for each poem is organized under various headings that complement the volume's companions, Volume 4.1 and Volume 4.3.
All readers of literary history and criticism will benefit from this edition of letters by William Empson, one of the foremost writers and critics of the twentieth century. This correspondence shows him working out his ideas for all of his major books as well as complementary studies in writers including Shakespeare, Marlowe, Donne, Marvell, Coleridge, and Joyce. The edition also gives the fullest possible picture of his robust interactions with many other prominent writers,including the likes of F. R. Leavis, Helen Gardner, Frank Kermode, Christopher Norris, and I. A. Richards.
This book is about the complex ways in which science and literature are mutually-informing and mutually-sustaining. It does not cast the literary and the scientific as distinct, but rather as productively in-distinct cultural practices: for the two dozen new essays collected here, the presiding concern is no longer to ask how literary writers react to scientific writers, but rather to study how literary and scientific practices are imbricated. These specially-commissioned essays from top scholars in the area range across vast territories and produce seemingly unlikely unions: between physics and rhetoric, math and Milton, Boyle and the Bible, plague and plays, among many others. In these essays so-called scientific writing turns out to traffic in metaphor, wit, imagination, and playfulness normally associated with literature provides material forms and rhetorical strategies for thinking physics, mathematics, archeology, and medicine.
Theirs was a world of exploration and experimentation, of movement and growth--and in this, the thinkers of the Renaissance, poets and scientists alike, followed their countrymen into uncharted territory and unthought space. A book that takes us to the very heart of the enterprise of the Renaissance, this closely focused but far-reaching work by the distinguished scholar Angus Fletcher reveals how early modern science and English poetry were in many ways components of one process: discovering and expressing the secrets of motion, whether in the language of mathematics or verse. Throughout his book, Fletcher is concerned with one main crisis of knowledge and perception, and indeed cognition generally: the desire to find a correct theory of motion that could only end with Newton's Laws. Beginning with the achievement of Galileo--which changed the world--Time, Space, and Motion identifies the problem of motion as the central cultural issue of the time, pursued through the poetry of the age, from Marlowe and Shakespeare to Ben Jonson and Milton, negotiated through the limits and the limitless possibilities of language much as it was through the constraints of the physical world.
From folk ballads to film scripts, this new five-volume encyclopedia covers the entire history of British literature from the seventh century to the present, focusing on the writers and the major texts of what are now the United Kingdom and the Republic of Ireland. In five hundred substantial essays written by major scholars, the Encyclopedia of British Literature includes biographies of nearly four hundred individual authors and a hundred topical essays with detailed analyses of particular themes, movements, genres, and institutions whose impact upon the writing or the reading of literature was significant.An ideal companion to The Oxford Encyclopedia of American Literature, this set will prove invaluable for students, scholars, and general readers.For more information, including a complete table of contents and list of contributors, please visit www.oup.com/us/ebl
More than being a volume about the philosophy of Bernard Harrison, this volume is about how Harrison conceptualizes the creation of the human world. One might be tempted to classify Harrison as a major voice in many diverse discussions—philosophy of literature, philosophy of language, philosophy of mind, color studies, epistemology, metaphysics, moral philosophy, philosophy of culture, Wittgenstein, antisemitism, and more—without recognizing a unifying strand that ties them together. Nothing could be farther from the truth. Harrison contests and destabilizes a persistent and misleading alignment of culture with subjectivity—whether found in unexamined distinctions between nature and culture or appearance and reality. His general aim has been to undermine the belief that human culture deals in smoke and mirrors, and that the only realities are those of extra-human nature. He emphasizes the paraxial foundation of meaning, and argues that the creative inventions of language and culture are as real as any extra-linguistic reality. While granting the existence of extra-human reality, he holds it to be, in itself, conceptually unorganised, but nevertheless cognitively accessible by way of sense-perception and physical manipulation. This volume offers new critical essays that examine Harrison’s corpus, written by distinguished voices in philosophy and literary studies. It bridges many of the abysses of conflicting opinion opened by the culture wars of the past half-century. Importantly, it includes an opening essay by Harrison that elucidates the unifying strand running through his variegated philosophical writings, and concludes with a chapter in which he replies to and reflects on the other critical essays herein.
Philosophers working on aesthetics have paid considerable attention to art and artists of the early modern period. Yet early modern artistic practices scarcely figure in recent work on the emergence of aesthetics as a branch of philosophy over the course the eighteenth century. This book addresses that gap, elaborating the extent to which artworks and practices of the fifteenth through the eighteenth centuries were accompanied by an immense range of discussions about the arts and their relation to one another. Rather than take art as a stand-in for or reflection of some other historical event or social phenomenon, this book treats art as a phenomenon in itself. The contributors suggest ways in which artworks and practices of the early modern period make aesthetic experience central to philosophical reflection, while also showing art’s need for philosophy.
Having identified the literary origins of the Faustus legend in the German Faust Book (1587) and its English translation (1592), this book argues that these works transformed a simple rogue's tale into an incisive study of morality and beliefs. The chapbooks' contrastive portrayal of an imaginary experience of hell and a pseudo-scientific journey through the cosmos is interpreted as an unconventional approach to the questions of an inquiring mind. This study offers the first analysis of the chapbooks as literary works in their own right, as opposed to simply being sources for Christopher Marlowe's play. It is also the first study to describe the Faustus typology as a vehicle by which uncompromising thinkers of early modernity and the Enlightenment questioned contemporary views about religion, morality and the possibility of experiencing transcendence. While arguing that Marlowe's Doctor Faustus primarily examines the imaginary foundations of religious rules and standards, the author suggests that the 1616 version of the play revived the chapbooks' accounts of spiritual ravishment and intellectual ecstasy. Imaginary explorations of cosmic space became popular in the seventeenth century and gave rise to strongly diverging works of literature, embracing the arcane spirituality of Milton's Paradise Lost as well as Fontenelle's sociable but essentially secular fantasy of cosmic travel. This book shows that contemporary responses to early modern science also tended to address the most urgent concerns of the Faustus legend, explaining the re-emergence of the typology in Mountfort's late seventeenth-century farcical Faustus play and early eighteenth-century harlequinades about Doctor Faustus