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Author: Nicholas Royle

This book provides a lucid, wide-ranging and up-to-date critical introduction to the writings of Hélène Cixous (1937–). Cixous is often considered ‘difficult’. Moreover she is extraordinarily prolific, having published dozens of books, essays, plays and other texts. Royle avoids any pretence of a comprehensive survey, instead offering a rich and diverse sampling. At once expository and playful, original and funny, this micrological approach enables a new critical understanding and appreciation of Cixous’s writing. If there is complexity in her work, Royle suggests, there is also uncanny simplicity and great pleasure. The book focuses on key motifs such as dreams, the supernatural, literature, psychoanalysis, creative writing, realism, sexual differences, laughter, secrets, the ‘Mother unconscious’, drawing, painting, autobiography as ‘double life writing’, unidentifiable literary objects (ULOs), telephones, non-human animals, telepathy and the ‘art of cutting’. Particular stress is given to Cixous’s work in relation to Sigmund Freud and Jacques Derrida, as well as to her importance in the context of ‘English literature’. There are close readings of Shakespeare, Emily Brontë, P. B. Shelley, Edgar Allan Poe, Lewis Carroll, Virginia Woolf, James Joyce and Samuel Beckett, for example, alongside in-depth explorations of her own writings, from Inside (1969) and ‘The Laugh of the Medusa’ (1975) up to the present. Royle’s book will be of particular interest to students and academics coming to Cixous’s work for the first time, but it will also appeal to readers interested in contemporary literature, creative writing, life writing, narrative theory, deconstruction, psychoanalysis, feminism, queer theory, ecology, drawing and painting.

Thomas Heywood’s 3D engagement with the classics
Janice Valls-Russell

Thomas Heywood died in 1641, outliving his contemporary William Shakespeare by a quarter of a century. As the introduction and preceding chapters of this volume have demonstrated, Heywood’s active, cross-generic interest in the classics runs through his long and prolific career, from his earliest publications in the mid-1590s to the end of the 1630s. During that last creative decade, he published Loves Maistresse and 1 and 2 Iron Age ; and he pursued his writing of voluminous compendia with Pleasant Dialogues and Dramma’s , and The Hierarchie of the

in Thomas Heywood and the classical tradition
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Thomas Heywood and ‘the antique world’
Janice Valls-Russell and Tania Demetriou

identified this as being by Heywood (mentioned in the previous section of this chapter). This creative period is marked by Heywood’s several large compendia, all of which draw on classical, biblical and historical material: Gynaikeion (1624), a collection of ‘Various History Concerninge Women’ organised in nine books, named after each of the Muses; The Hierarchie of The Blessed Angells (1635), a gathering of religious, astrological and allegorical knowledge, narratives and legends, also organised in nine books named after so many angels; and Heywood’s answer to the

in Thomas Heywood and the classical tradition
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James Doelman

poem, 9 a sentiment not far removed from Wordsworth’s description of the elegist as        a voice Obedient to the strong creative power Of human passion. 10 Whether in the ‘vertuous

in The daring muse of the early Stuart funeral elegy
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Homer and Ausonius in Thomas Heywood’s Various History Concerninge Women
Tania Demetriou

circulating in translation during this period, and how writers responded to them from their various creative situations. 6 Heywood’s scholarship in the Gynaikeion has drawn little critical attention across this span of time. Yet, as Yves Peyré’s chapter on Heywood’s mythographical reading shows ( chapter 7 ), there is much to be gained from revisiting this work’s classical practices. In what follows, I explore how Heywood’s traffic with one Greek author, Homer, might figure most productively in our view of this unusual book of vernacular scholarship. Deferring to Martin

in Thomas Heywood and the classical tradition
The world of Lucian in Thomas Heywood’s stage poetry
Camilla Temple

, this chapter explores the significance of the dialogue form as it imagined an alternative kind of theatrical world for the Renaissance stage. The eclectic nature of Heywood’s Pleasant Dialogues reflects the creative nexus into which Lucian was placed in the early modern period and shows how his work was connected to other examples of the dialogue form; Heywood was alert to the way Lucian’s forms oscillated between genres. Lucian is particularly influential for any post-classical dramatist because his dialogues represented a hybrid between the different styles

in Thomas Heywood and the classical tradition
Mythographic complexities in 1 Iron Age
Charlotte Coffin

’s text) has accomplished tremendous work in identifying several of the sources he combined and pinpointing specific borrowings. 4 Such textual scholarship lays the groundwork for investigations into Heywood’s creative methods of rewriting and of incorporating classical material which are, to a great extent, the object of the present volume. As I explore Heywood’s debt to the late medieval Recuyell , my aim is first to complicate our understanding of ‘the classical tradition’. Does the expression suggest a straight line from antiquity to Renaissance, with Heywood

in Thomas Heywood and the classical tradition
Theorising practice in Thomas Heywood’s Ages plays
Chloe Kathleen Preedy

unlearned the knowledge of many famous histories, [and] instructed such as ca[n]not reade in the discovery of all our English Chronicles’. 14 While Apology is regularly compared to Sidney’s Defence of Poesy , there are also important differences in their theorisation of imaginative composition. Perhaps responding to Sidney’s example, Heywood adapts the trope of the Four Ages to evoke a ‘golden’ poetic state and establish a classical, even aristocratic, lineage for his creative endeavours: in the dedicatory epistle ‘To the Right Honourable Edward, Earl of Worcester

in Thomas Heywood and the classical tradition
Print culture, multimodality, and visual design in Derricke’s Image of Irelande
Andie Silva

days’. 26 Yet Derricke was not interested in following just his printer’s creative footsteps. One unique feature in Derricke but not elsewhere I have seen in Day’s catalogue is the inclusion of typeset letter keys to annotate an image. 27 Although both Bateman’s Christall Glassse and Robert Grosseteste’s The Testaments of the Twelve Patriarches 28 include captioned commentary – the former adding a short explanation detailing the ‘signification of the picture’, and the latter including short verse

in John Derricke’s The Image of Irelande: with a Discoverie of Woodkarne
Derricke, paratext, and poetic reception
Denna J. Iammarino

). In fact, in Part 1 alone, Derricke evokes the terms ‘fame’ or ‘famous’ eighteen times. In Derricke’s reference to these ‘inward’ and ‘outward’ shows of praise – to the delicate balance between a work’s expected external expression and the poet’s creative aspirations – he explains how, ‘some outward and externall token, of necessitie bee thereto adioyned lively to expresse outwardly, the secrete affectes of the same, though notwithstandyng inwarde good will’. 12 Here, Derricke shows his understanding of how

in John Derricke’s The Image of Irelande: with a Discoverie of Woodkarne