When we speak of the English Renaissance, what is it that we are
naming, what are we recognizing reborn? As the essays in this
latest collection from the English Institute demonstrate, our basic
notions of the period have themselves been reconceived. In
"Cannibals, Witches, and Divorce," seven critics defamiliarize the
images of the Renaissance "to permit the repressed to return, to
acknowledge the presence of the unassimilable ghost the mark of
difference of an age that is at once self and 'other'."
John Hollander discovers a "hidden undersong" in the Spenserian
lyric, while Patricia Parker examines the question of feminine
dominance and male resistance in the Bower of Bliss. Stephen Orgel
and Steven Mullaney document the Renaissance encounter with the
alien "other" in essays on "The Tempest" and "The Merchant of
Venice." "Macbeth," in Janet Adelman's reading, encodes the fantasy
of an absolute and destructive maternal figure. Marjorie Garber
addresses the Shakespearean authorship controversy in the context
of the subversive uncanniness of the texts themselves; Mary Nyquist
discusses Milton's Eve, his divorce tracts, and the exegetical
tradition as recently examined by feminist biblical scholars.
Together, these essays explore Renaissance discourses of
estrangement as strategies for the construction of the self and the
world.
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