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implications for poetics and literary history of modernist reinventions of Renaissance poetry, we move to three discrete but linked sections examining the influence of Spenser and Donne on Eliot, Yeats, and Joyce respectively. Finally, we seek to begin a new critical conversation about the place of Spenser and Donne in modernist intra- and intertextuality, a task too large for the present chapter. Modernism’s early modern interests involved literary history as much as practice, the remoulding of ‘Tradition’ as well as of individual talents – but

in Spenser and Donne
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Spenser, Donne, and the trouble of periodization

following him on expeditions to Cadiz and the Azores, Spenser by hailing his victorious return in Prothalamion (1596). The second instalment of Spenser’s The Faerie Queene (also 1596) gives a blistering account in Book V of the European wars of religion in which Ireland, where he lived, was a major conflict zone, but it is Donne who travelled extensively on the Continent, including places where ‘mis-devotion’ reigned. 2 Spenser died in 1599 and was buried with much pomp at Westminster Abbey as if poetry itself had died with him. Yet Spenser’s voice would be heard

in Spenser and Donne
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Spenser, Donne, and the philosophic poem

, Chapter 11 below. 8 See for instance the classic accounts in Michel Foucault, The Order of Things: An Archaeology of the Human Sciences (New York: Vintage Books, 1973); Timothy J. Reiss, The Discourse of Modernism (Ithaca: Cornell University Press, 1982); and Steven Shapin, The Scientific Revolution (Chicago: University of Chicago Press, 1996). A useful examination and corrective of these period definitions is Kerrigan and Braden, The Idea . 9 I discuss this broader cultural context and its intellectual

in Spenser and Donne
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Performing the politics of passion: Troilus and Criseyde and Troilus and Cressida and the literary tradition of love and history

injunction, ‘we cannot not periodize’. 14 Yet periods are notoriously fluid and their labels polysemic. ‘Long centuries’ in cultural and literary history make a mockery of the segmentation they repose upon. Terms such as the modern, modernity, modernism, and modernization have multiple overlapping and conflicting denotations exacerbated by their various disciplinary affiliations, for example literary high

in Love, history and emotion in Chaucer and Shakespeare
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Remapping early modern literature

beginnings’, she writes, ‘early modern tends to creep up on the present’: In the field of history … [early modernity] ends with the close of the eighteenth century; modern history begins roughly with the start of the nineteenth. When adopted by literary scholars, however, the term early modern designates a time period that usually ends in the late seventeenth century or the first half of the eighteenth – more than a century before the beginnings of literary modernism, in the twentieth century. 59

in Aesthetics of contingency
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Global Caesars

clearly marked by European Fascism and then in the postcolonial cultures of India and South Africa. Given the many variables which govern a play’s performance history in places with widely differing cultures and histories, it seems unreasonable to expect consistent patterns to emerge; but in the case of Caesar, some tentative observations might be made. First, the play’s political valences, though they

in Julius Caesar
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Print (Princeton: Princeton University Press, 1989); Wendy Wall, The Imprint of Gender: Authorship and Publication in the English Renaissance (Ithaca: Cornell University Press, 1993); Arthur F. Marotti, Manuscript, Print, and the English Renaissance Lyric (Ithaca and London: Cornell University Press, 1995); Lawrence S. Rainey, Institutions of Modernism: Literary

in Formal matters
King Lear and the King’s Men

song, / Dark’ning [his] power to lend base subjects light’ [Sonnet 100]. 33 On all the grand Jacobean gala occasions ‘our bending author’ was truly a royal favourite, whose ‘great succession of Stuart plays’ constituted ‘one of the master oeuvres of European patronage art’, it is proposed, comparable to Velázquez’s canvases for the court of Spain, Monteverdi’s operas in Venice

in Free Will
Caesar at the millennium

the calendar argument to reinforce a sense of the play’s contemporary resonance for the Elizabethan audience, since it connected the Queen to the Roman dictator through popular discontent. Caesar had adjusted the calendar and created a month in his own name, while Elizabeth had failed to bring England into line with Catholic Europe, producing a ten-day discrepancy in dating. The Roman and Elizabethan

in Julius Caesar

Shakespeare would have turned to a familiar source, the poetry of Spenser, for a concentrated treatment of the seven sins—a brilliant pictorial account that had already served paradigmatic purposes for the grandest attempt in epic in sixteenth-century Europe and that might also for him. I will not contend for the inherent appeal of these materials for this subtle master while allowing that the expression

in Shakespeare and Spenser