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Yulia Ryzhik

is shared by all four hymns, the way in which the initial error is revealed and the amendment is proposed differentiates the earthly hymns from the heavenly hymns. In HL and HB , the initial attempt to praise love and beauty in universal and cosmogonical terms is abandoned when the speaker turns to his own experience and examines it in terms of what might be called a Platonist phenomenology. The stanzas of HL in particular provide mesmerizing visions of how desire generates the imaginative and cognitive processes that in turn give a new object to desire

in Spenser and Donne
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Figures of comparison and repetition in Spenser’s Cantos of Mutabilitie and Donne’s Anniversaries
Yulia Ryzhik

Milgate (Oxford: Clarendon Press, 1978), xxxiv. 94 Anniversaries , 239. 95 Lewalski, Donne’s ‘Anniversaries’ and the Poetry of Praise , 50. 96 Anniversaries , 240. See Edward W. Tayler, Donne’s Idea of a Woman: Structure and Meaning in ‘The Anniversaries’ (New York: Columbia University Press, 1991). 97 On allegory in the Anniversaries , see Lewalski, Donne’s ‘Anniversaries’ and the Poetry of Praise , 142–7; also Anniversaries , 293–317. 98 G.W.F. Hegel, The Phenomenology of Spirit , trans. A.V. Miller (Oxford: Oxford University Press, 1979

in Spenser and Donne
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Mark Robson

, and the proposal that such attention might best come through a phenomenological approach. For it seems clear that phenomenology quickly embeds itself within a visuality that supplants and supplements orality. In other words, the eye and the ear change places, but without ever being able to eliminate the residue of the one in the other, like a foreign body, continuing to work

in The sense of early modern writing
Women and the work of conversion in early modern England
Claire Canavan and Helen Smith

similarly capacious, embracing a ‘turning in position, direction, destination’. 6 Gunter’s ‘staggering’, then, can be read as the necessary stumbling that allows for a change of direction; in the terms of the queer phenomenology proposed by Sara Ahmed, ‘in order to become orientated . . . we must first experience disorientation’. 7 Gunter’s conversion or

in Conversions
Renaissance emotion across body and soul
Erin Sullivan

to project modern conceptions of experience onto our understanding of the past has been extremely productive in pushing scholars to read Renaissance texts in new lights, making new space for the deeply material engagements present in contemporary descriptions and representations of passionate experience. What this emphasis on a thoroughly holistic ‘historical phenomenology’ has

in The Renaissance of emotion
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Simon Ditchfield and Helen Smith

gendered behaviour. As Sara Ahmed argues in Queer Phenomenology , that gender ‘is an effect of how bodies take up objects, which involves how they occupy space by being occupied in one way or another’. 35 In recent scholarship, conventual space has become a crucial locus for the study of the mutual influence of materiality, gender, and religious identity. Offering a compelling study of seventeenth

in Conversions
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Richard Meek and Erin Sullivan

editors emphasise in their Introduction, several of the book’s contributors explore how ‘pre-Cartesian psychophysiology may have affected early modern self-experience’, and the ways in which ‘the very language of physiology … helps determine phenomenology’. 6 While Reading the Early Modern Passions includes work that explores methods and approaches beyond Galenic humoralism – for example, the

in The Renaissance of emotion
Mark Robson

and witty playing with words.’ 25 Excerpting passages in this way does little service to the complexity of Hegel’s thought on art and poetry, of course, and it would be necessary to look more carefully at the whole of the Aesthetics and the discussions elsewhere in his work (for example in the Phenomenology of Spirit and the Encyclopedia ). 26 But, partial though these statements are in

in The sense of early modern writing
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Robert Lanier Reid

W.T. MacCary, Friends and Lovers: The Phenomenology of Desire in Shakespearean Comedy (Columbia University Press, 1985). 41 D.L. Miller, The Poem’s Two Bodies (Princeton University Press, 1988). 42 J. Nohrnberg, The Analogy of The Faerie

in Renaissance psychologies
Poetic tradition in The Parliament of Fowls and the Mutabilitie Cantos
Craig Berry

Politics of Reading (Ithaca, NY: Cornell University Press, 1983 ), 162. 6 Quilligan, Milton’s Spenser , 161. Judith Ferster , ‘ Reading Nature: The Phenomenology of Reading in the Parliament of Fowls ’, Mediaevalia , 3 ( 1977 ), 189–213, makes a similar point about the Parliament of Fowls when she writes ‘the poem chooses to demonstrate the possible creativity of loving discourse with the world through the part of the chain of discourse it occupies: the discourse between

in Rereading Chaucer and Spenser