English dramatists, we are told, rejected the Aristotelian unities of time and place. This paper will argue, rather, that non-allegorical English drama shares with neoclassical criticism an interest in techniques for implying times, places and actions beyond those enacted onstage. Drawing on Quintilian, Erasmus, Ludovico Castelvetro, William Scott and others, and on a range of plays, it will show how a neoclassical critical discourse on evidentia and on the circumstantial topics of time, place, motive, etc.
With the help of Cretan scholar-editors, themselves intimately involved with the project of bringing Greek to a Greekless western audience, Aldus printed the Poetics for the first time in the context of the Byzantine trivium. Even in this context, however, manuscript evidence suggests the Poetics was a heterodox text, brought to light by Aldus not just to witness the Byzantine syllabus, but as part of a comprehensive programme of linguistic reform. This strain of influence gestures towards the diverse reception Poetics enjoyed in the first half of the sixteenth century. The twentieth-century history of Renaissance criticism gestated to a surprising extent among communities of scholars with shared institutional investment in producing an anti-rhetorical Poetics.
Attention to these situated interpretive communities might suggest a more diverse reception history of the Poetics than has readily been credited. This presentation will focus on the consolidation of early modern Spanish American poetics. This process took place over the turn of the sixteenth and seventeenth centuries when a series of seminal works appeared.
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But, whereas Boccaccio was defending poetry against ideological and moral attacks by Plato, Tertullian and St Augustine, Balbuena and the author of Discurso concentrate instead on the role of poetry in the New World. Alongside more conventional discussion on the virtues of poetry and its pedagogical value, Compendio and Discurso underscore the quality and quantity of the poetry produced in Mexico and Lima.
In doing so, they also put forward a literary canon of American authors who complement and also challenge the traditional peninsular canon. In Compendio and Discurso, the defence of poetry turns into a defence of a new literary identity: that of the poets of the New World. Non-literary disciplines furnish helpful ways of thinking about literary production in early modern England. If poetry is considered contextually, along with other Elizabethan arts and crafts, then the study of garden design, sartorial style, jewelry, dance, and other fields can disclose how the culture thought about writers and their work.
Architectural historians have demonstrated how humanist writers thought of architecture and rhetoric as cognate fields, and English architecture, an undeveloped area in the middle of the sixteenth century, constitutes an uncommonly fruitful discipline for defining the artistic inclinations of the Tudors generally.
Most telling is the widespread devotion to rectilinearity, the deployment of the square or the rectangle in various arenas of creative production. As the century proceeds, with building developing a more or less distinctive style and other arts and crafts expanding, the line becomes more and more visible as the basis for structural composition—it is repeated regularly, worked into squares, rectangles, and symmetrical arrangements, preferred to other shapes.
Both the architectural and the poetic uses of linearity represent an effort at ordering the world and dividing experience into pleasing, memorable forms. Sarah Howe University of Cambridge : Speaking pictures: placing a commonplace. Its appearances concentrated within certain genres, notably treatises of poetics and the emblem literature emerging in England at around the same time. What about its less obvious settings—when it turns up, say, during a religious controversy on the use of images in worship? Where might we expect to find it, but note its lack? It has long been established that Elizabethan and Jacobean writers had difficulty comprehending — and especially translating — the terms of Italian art criticism.
While early sixteenth-century Italy could boast a blossoming of formal poetic treatises written in the vernacular, the poetic culture of early Tudor England, by contrast, seems strangely, embarrassingly bereft of vernacular literary criticism. Some forty years would elapse before the first formal critical treatises, literary defences, and poetic manifestos began to appear in English.
However, this paper suggests that a rudimentary, evolving critical vocabulary can be found in early Tudor English poetry itself, most obviously in the writings of Thomas Wyatt and Henry Howard, Earl of Surrey. Some evidence for the intertextual implications of this emergent critical vocabulary is offered by the appearance of equivalent terms in the early sixteenth-century Italian literary criticism with which Wyatt and Surrey are likely to have been familiar. The literary translations by Wyatt and Surrey reveal a debt to such Italian critical commentaries which afforded them a model for an intertextual mode of reading literature.
How does thinking address itself to itself which also means: how does thinking address itself to everyone […]? It is a question of power and legitimacy: who may say the truth, and to whom?
No one sees the barn
This is what Michel Foucault emphasized in his analysis of parrhesia the courage of saying something true even to powerful people , but parrhesia is also the arrogant claim of speaking the truth. Criticism oscillates between the potential aggressiveness of any critical remark and a constructive judgment, between arrogant attack and courageous understanding. Any person who gives one of his or her texts to the public is submitted to these possibilities.
This is why authors pay so much attention to the material, social and intellectual ways of addressing the reading public. It is not only a matter of rhetoric captatio benevolentiae , but also of a hermeneutics of medium and a history of truth. I shall try to tackle these issues in elaborating a poetics of material engagements with readers. The examples will come from Aretino, Titian, and Holbein, in order to show what happens to criticism and spectatorship in the use of two mottos or proverbial sentences: Veritas filia temporis , and Veritas odium parit.
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Oriard, Michael. Larry McCaffery. NY: Greenwood P, Dreaming of Heroes: American Sports Fiction, Chicago: Nelson-Hall, Incorporates Oriard, below]. David Seed. Edited by Mark Osteen. New York: Penguin, Passaro, Vince.
Thomas Beller. New York: Mr. Beller's Neighborhood Books, Pepetone, Gregory G. Gothic Perspectives on the American Experience. New York: Peter Lang, Brief mentions of DeLillo also on 10, Phillips, Dana. Branch, Michael P. Pifer, Ellen. University Press of Virginia, Portelli, Alessandro. Randal, Martin. Rebein, Robert. Lexington: UP of Kentucky, Redding, Arthur F.
Chapter 6, "Dying for a Common Language. Columbia: University of South Carolina Press, Reeve, N. Rod Mengham.http://pierreducalvet.ca/80375.php
Cambridge, England: Polity, Reid, Ian. Narrative Exchanges. Sharp narratological reading of pages of White Noise.
Rodman, Gilbert B. New York and London: Routledge, , Reads White Noise on "Elvis Studies" and aura.
Criticism of Christianity - Wikipedia
Saltzman, Arthur M. Columbia: South Carolina UP, Columbia: U of South Carolina P, Charlottesville and London: University Press of Virginia, Schwanitz, Dietrich. Clayton Koelb and Virgil Lokke. Seguin, Robert.
Shapiro, Michael J. Minneapolis: University of Minnesota, Simmons, Philip E. Athens: U of Georgia P, Traces the influence of filmed images and simulacra on DeLillo's artistic vision [ White Noise ]. Slethaug, Gordon. Frederick Asals and Paul Tiessen. University of Toronto Press, Stockinger, Michael.