Renaissance Papers collects the best essays submitted each year to the Southeastern Renaissance Conference. In the 2007 volume, two essays focus on Shakespeare's Roman plays: one on Lavinia's death and Roman suicide in Titus Andronicus, the other on the rhetorical construction of masculinity in Julius Caesar. Five essays address the literary implications of seventeenth-century religious belief and practice, considering the influence of the timing and delivery of sermons on John Donne, the impact of godly reforms on Thomas Browne's Religio Medici, the effect of Scottish on English Presbyterianism during the 1640s, the critique of reformist utopianism in Margaret Cavendish's The Blazing World, and the implications of Paradise Lost's lack of a frontispiece. Two essays on sixteenth-century poetry look at the literary voices of commoners and of kings: one focuses on the portraits of women and commoners in A Mirror for Magistrates, while the other examines the political implications of King James VI/I's metrical translations of David's Psalms.BR Contributors: Reid Barbour, Nora L. Corrigan, William A. Coulter, Julie Fann, Robert Kilgore, Sonya Freeman Loftis, Christopher Hair, Jim Pearce, and John N. Wall M. Thomas Hester is Professor of English at North Carolina State University, and Christopher Cobb is Assistant Professor of English at Saint Mary's College.

Annual collection of essays, this year treating works by Donne, Shakespeare, Marvell, and Spenser, among other topics. Renaissance Papers is a collection of the best scholarly essays submitted each year to the Southeastern Renaissance Conference. The conference accepts papers on all subjects relating to the Renaissance -- music, art, history, literature, etc. -- from scholars all over North America and the world. Of the nine essays in the 2002 volume, three have to do with John Donne; among the topics here are Donne and Pietro Aretino, Donne and "All the World," andauthorial intention in the Holy Sonnets. Two essays deal with Shakespeare, specifically the discourse of dilution in 2 Henry IV and the Ovidian underworld in Othello. Other essays treat Marvell and the temporality of paranoia; poetry, patronage, and identity in Spenser's The Faerie Queene; and the visual culture of the Elizabethan prodigy house. Contributors: Nicholas Crawford, Dennis Flynn, Heather Hirschfeld, Pamela Royston Macfie, Anne E. McIlhaney, Graham Roebuck, Gary Stringer, James M. Sutton, Alzada Tipton. M. Thomas Hester is professor of English at North Carolina State University

Renaissance Papers is a collection of the best scholarly essays submitted each year to the Southeastern Renaissance Conference. The nine articles in this volume reflect a wide range of approaches to Renaissance literary performance and theory. The first four essays seek reasons for the success of various Renaissance plays: Christopher Cobb examines how Thomas Heywood casts heroic action in a positive light in his romantic dramas, whereas Lucas Erne urges that Thomas Kyd's Spanish Tragedy owes its success to its Christian portrait of Heironimo's unsuccessful attempt to recognize a benevolent deity. Robert Reeder looks at Renaissance educational manuals in order to clarify views on precocity in Richard III, Bartholomew Fair, and Twelfth Night; and Thomas L. Martin and Duke Pesta investigate and refute postmodern claims about a "transvestite stage." Scott Lucas shows how several sonnets of Fulke Greville's Caelica disorient the reader, underscoring the poet's doubts about human reason and perception; and Pamela Macfie illustrates how Marlowe's ghostly allusions to Ovid's Heroides in Hero and Leander darken the portrayal of the tragic lovers' frustration. The final three essays concern the 17th-century literary giants Donne and Milton: Jay Stubblefield shows Donne's 1619 sermon to the Virginia Company to be a uniquely Thomistic commentary on the conflicting motives behind England's exploits in the New World; and John Wall and John T. Shawcross explore the effects of John Milton's poems on Renaissance and modern readers. M. Thomas Hester is professor of English at North Carolina State University.

Trinity remains ignorant of her creative potential as an artist. Her son Zeus loses himself in the attainment of corporate wealth and power. Feeling alone and confused, her grandson Enoch wanders displaced thirty years after the turn of this century, and only Trinity's secret wisdom can uncover Enoch's path towards enlightenment and subsequently restore a family torn apart by violence and fear.

"The Sea of Milk" is a novel about a woman's fateful fall and her fulfilling rise. This is a story about the woman's son who attempts to conquer and control his environment in order to rid personal shame and suffering. This is a story about the woman's grandson who redeems his father and thus glorifies her. It is, most of all, a myth about living and dying and returning home.

Sweet sounds of innocence resonate in and through my being. I dream. I imagine infinite immensity. I create like light, like stars burning within deep space, penetrating the darkness, the nothingness. I transcend myself and believe for you. I give up myself and surrender in you. I reveal the universe blazing from within us, burning as a sun in a sea of cosmic phosphorescence.

This is the galactic fire ablaze, illuminating your potential, the path I must now pursue. I leave my cage and enter your confines, and I remove your shackles, bear your burden, release your shame. It is here that I am God. I dream divine as the song of hope and faith and trust twinkle in the dark night. I no longer fear being free for I know myself. I know you. I find my home in you. I gather it all and bring it together in a boundless hug.

I love.

--from "I Am You"

The Spanish literature canon has been traditionally organized following a criteria circumscribed by ideology, thus leaving out many valuable strains of literary creation: social novels, proletarian plays, critical humanist poetry, the aesthetics projects of the new romanticism. The group of politically active intellectuals that flourished in Spain during the Parliamentarism, Restoration and the Primo de Rivera dictatorship periods has not been properly included in literary studies, despite it fostered a radical movement that attempted to unify proletarian and political avant-garde revolutionary social and aesthetic discourses, set in motion several of the more culturally influential newspapers, magazines and book publishers, and outlined advanced aesthetics unifying avant-garde and realism. This veritable lost generation is studied in this book from different perspectives, in an attempt to sketch the complex situation of literature, theater and art within the political, economic and social environment of the Spanish twenties and thirties. The works included in this book carefully analyze the Spain of Primo de Rivera dictatorship, the leftist organizations and their book and newspaper production as a means of criticism, as well as a detailed study of their impact on fashion's advanced speech, art, the avant-garde, the philosophy of the crisis, the class limits of political commitment and revolutionary theater. An overview of a generation that ends with the reprint of Berta a play by Fermin Galan.