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Allison K. Deutermann and András Kiséry

Most such work has more or less explicitly participated in the project of (in Franco Moretti’s words) ‘a history of literature [rewriting] itself as a sociology of symbolic forms, a history of cultural conventions’ hoping to thus ‘finally find a role and a dignity in the context of a total history of society.’ 18 Book history has long been recognized as having a

in Formal matters
Abstract only
Fulke Greville’s Mustapha
Daniel Cadman

. In his challenge to the monarchy's claims of transcendent power, Greville participates in what Franco Moretti has highlighted as Jacobean tragedy's ability to ‘deconsecrate’ sovereign power and disentitle ‘the absolute monarch to all ethical and rational legitimation’. 40 As Moretti goes on to point out, ‘Power is founded in a transcendent design, in an intentional and significant order. Accordingly, political relations have the right to exist only in so far as they reproduce that order symbolically … absolute monarchy can exist because it has a meaning’. 41

in The genres of Renaissance tragedy
Rachel E. Hile

target literature)” (“Laws,” 54). Not surprisingly, given the terminology of the definition, to date these ideas about literary interference have been explored primarily with reference to inter-cultural transfer and influence, such as conceptualizing, for example, the impact that a hegemonic culture can have on the cultural productions of a less powerful culture, as in comparatists’ recent discussions of the disproportionate influence of the English-language literary system on the literary systems of other nations and peoples (e.g., Moretti, “Conjectures”; and Moretti

in Spenserian satire
Elizabeth I’s death rehearsal
Scott L. Newstok

to be herself. Yet, precisely by standing outside of legal strictures, Elizabeth seems to have opened the opportunity for others to do the same. Franco Moretti makes an analogous argument with respect to Renaissance tragedy: ‘Tragedy disentitled the absolute monarch to all ethical and rational legitimation. Having deconstructed the king, tragedy made it possible to decapitate

in Goddesses and Queens
Samuel Daniel and the naturalisation of Italian literary forms
Jason Lawrence

Greg, Pastoral Poetry , p. 254. 149 Proctor argues that Hymens Triumph is ‘more independent of its models’ than the earlier pastoral: Johanna Proctor, ‘ The Queen’s Arcadia and Hymen’s Triumph: Samuel Daniel’s court pastoral plays’ in J. Salmons and W. Moretti, eds, The Renaissance in

in ‘Who the devil taught thee so much Italian?’