Patrick Cheney and Ann Lake Prescott New York: Modern Language Association, 1999. Susan Aizenberg and Erin Belieu. Ann Keniston and Jeffrey Gray. Islamabad: Pakistan Academy of Letters, 2008. David Baker and Ann Townsend St. Thomas Healy and Margaret Healy Edinburgh: Edinburgh University Press, 2010 , pp. This wide-ranging analysis is lavishly illustrated with photographs and drawings, their diversity reflecting the breadth of issues and periods covered.
New York: Chelsea House, 2010, 109-27. Stevens Afterword: Lastly Death; D. Pensively, Spenser broods over the enigma of death, his verse occupying the interval between sheer physicality and haunting ghostliness. Although persistently developed, that thesis remains elusive; and for some readers, the Burkian underpinning of the book may seem tendentious and unhelpful. In these essays, Rajan himself often looks back on previous decades of his own scholarship, revealing also how his thought has evolved and developed, and how he has responded to the many critical fashions of 'time's transhifting. Subjectivity here is determined by a telos that, once revealed, converts both character and narrative. The contributors are all specialists in their own fields, including archaeology, history, and sociology.
Hadfield Psychic Deadness in Allegory: Spenser's House of Mammon and Attacks on Linking-- T. Steven Zwicker and Kevin Sharpe Cambridge: Cambridge University Press, 2003 , pp. New York: Columbia University Press, 2001, 138-39. Iowa City: University of Iowa Press, 2001, 97-98; and in Line Drives: 100 Contemporary Baseball Poems, ed. New York: Longman, 2006, 89-102. Ann Arbor: The University of Michigan Museum of Art, 1997, 65-68. Paul: Graywolf Press, 2007 , 117-28, and in Poetry Daily January 29, 2008.
In his reading of The Faerie Queene, sex is neither redemptive nor solipsistic. What distinguishes Grossman is that he approaches the question through the mediating force of the literary. Frankfurt: Vittorio Klostermann Verlag, 2002, 130-41. The sublimity of the verse enigma functions as a verbal contract between author and reader, virtually erasing the boundary between them. Ann Keniston and Jeffrey Gray. Schoenfeldt -- Spenser and the Death of the Queen; A. The volume draws its impetus from the conviction that death is a central, yet curiously understudied, preoccupation for Spenser and Milton, contending that death - in all its early modern reformations and deformations - is an indispensable backdrop for any attempt to articulate the relationship between Spenser and Milton.
Gigi Bradford and Louisa Newlin. © Oxford University Press, 2018. Conversation is first and foremost a mode by which Spenser conceives of community. Jennifer Klein Morrison and Matthew Greenfield. Boston and New York: Houghton Mifflin, 2002. Russ McDonald, Nicholas Nace, and Travis Williams.
Imagining Death in Spenser and Milton assembles a collection of essays on the compelling topic of death in two monumental representatives of the early modern canon, Edmund Spenser and John Milton. By engaging closely with Shakespeare's major poems - Venus and Adonis, Lucrece, The Phoenix and the Turtle, the Sonnets and A Lover's Complaint - the Introduction demonstrates how much these extraordinary poems still have to say to us. Vogeler Choice Magazine; vol 51:05:14 'Dire Straits is to be welcomed as an important counter-balance to influential histories of the rise of English patriotism and its figuration through geographic discourse. Instructive here is the opposition that Grossman draws between The Faerie Queene and Hamlet. Eleanor Wilner and Maurice Manning, forthcoming. The second half of Holy Ambition provides careful textual analysis of three sermons — a chapter devoted to each one, with detailed application of the theoretical principles previously elucidated. All of these 'interventions' belong to a circumference of reading that is never fully complete — the circle with reference to Donne's famous metaphor is being drawn while the centre point or foot of the roaming compass remains fixed.
This was a struggle for writers not only because they used the classical tradition to legitimate their authority, but also because this image dominated cognitive maps of the oceanic world. Schoenfeldt Spenser and the Death of the Queen; A. In the brilliant final paragraph of his essay, Rajan sets out these coordinates for Milton, but also points further to the nature of poetry itself. Here is the Miltonic identity, surrounded by a community of scholarship that can 'take in nearly all that our current preoccupations call for. Of the three paper-givers at the conference—some of our leading Spenser scholars, David Lee Miller, Judith H.
Poetry bilingual edition in Urdu and English , ed. With Anderson, we might go further, to historicize, and wonder: why is Spenser doing this to death around 1595? A book which has much to offer to geographers, historians and students of literature alike. Hadfield Psychic Deadness in Allegory: Spenser's House of Mammon and Attacks on Linking; T. Oberlin: Oberlin College Press, 2006, 168-84. The brilliant fifth line, the asyndeton-center of the stanza—the verse hinge between life and death itself—will not let us part.
Boston and New York: Houghton Mifflin, 2007. More pointedly, though, have we moved beyond the psychoanalytic moment? The glory of The Faerie Queene lies in its escalating story, the wide imaginative space of its evolving fiction, not its Miltonic or Shakespearean or Donnean fixation on language. Pittsburgh: Duquesne University Press, 1999, 169-90. Negative Capability: Contemporary American Poetry. Knoppers Milton's Nationalism and the Rights of Memory 171 14 Paul Stevens Death's Afterword 185 15 David Lee Miller Bibliography 200 12 Index 212.
He writes from a refined sensibility that assumes a sophisticated readership. The essays have a similar goal. Each essay breaks new critical ground on death as a central theme in the work of both writers - in the final analysis, Spenser's and Milton's struggles to represent death will provide readers with rich new perspectives on the religious, cultural, ideological and psychic anxieties of early modernity itself. Spenser represents character and action in this way, Grossman argues, because as a follower of Aristotle he understands virtue to be a matter of habit. The volume draws its impetus from the conviction that death is a central, yet curiously understudied, preoccupation for Spenser and Milton, contending that death--in all its early modern reformations and deformations--is an indispensable backdrop for any attempt to articulate the relationship between Spenser and Milton.