Search results

You are looking at 1 - 4 of 4 items for :

  • "seventeenth-century literary culture" x
  • Refine by access: All content x
Clear All

Since 1980s, there has been a steady stream of excellent work on the politics of literature and the literature of politics in seventeenth century England. Work on Andrew Marvell has seen a resurgence in the new millennium, driven by landmark scholarly editions of both his poetry and his prose. This book invites readers to entertain the prospect of placing Marvell at the centre of the literary landscape, exploring how such placement would shift people's perceptions of seventeenth-century literary culture. It presents a collection of essays that are divided into three sections. The first section asks readers to consider novel ways in which early modern and contemporary readers have conceived of texts and their position in the public world of print consumption and critical practice. It focuses on the relationship between literary texts and their historical moments, aesthetics, contextualisation of the religious, political, or social and Marvell's lasting awareness of and fascination with the public. The second section outlines seventeenth-century accounts and perceptions of child abuse, and the problems of identifying and recounting the experience of abuse and the broader significance of the appeal to Marvell of European poetry. The last section takes up issues of literary relations between prominent authors of the century. It illustrates how Marvell's depiction also stands in relation to Dutch representations of de Ruyter's victory, which emphasised the martial heroism as well as the negative consequences of the English monarchy's economic policies.

Abstract only
Christopher D’Addario

canon, but rather as a spur to considering how such placement would shift our perceptions of seventeenth-century literary culture. What happens to our sense of this culture when we take Marvell’s writings as representative of the discursive spirit of the age? Although it would be foolish to suggest that Marvell could displace Milton as the century’s most prominent or recognised writer, a literary historical period that takes Marvell as representative rather than his friend and contemporary surely looks far different from the one we know. Rather than a period marked by

in Texts and readers in the Age of Marvell
Shifting forms
Gerd Bayer

literary works have to be read and understood in order to come into their own. It is an early form of acknowledgment for the kind of reception aesthetics developed in the late 1960s and in this sense demonstrates the need to take the addressivity of such paratextual discussions of form seriously. That texts speak directly to readers – in a sense tearing down the separation between representation and reality – becomes a dominant mode in late seventeenth-century literary culture. Letter-writing may well have played its part in this development,51 as the addressee claims a

in Novel horizons
Margaret J. M. Ezell

consider several models of authorship and women’s participation in late seventeenth-century literary culture. Central to models of seventeenth-century coterie or social authorship is the implicit assumption that the writer, male or female, was permitting their work to be read by a group of friendly readers, whether family members, neighbours or acquaintances selected for their shared interests. Grub Street writers might have their quarrels, Dryden and Shadwell might pursue each other through satires and lampoons, but in contrast to the competitive world of commercial

in Early modern women and the poem