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Encompassing nearly a century of drama, this is the first book to
provide students and scholars with a truly comprehensive guide to
the early modern soliloquy. Considering the antecedents of the form
in Roman, late fifteenth and mid-sixteenth century drama, it
analyses its diversity, its theatrical functions and its
socio-political significances. Containing detailed case-studies of
the plays of Marlowe, Shakespeare, Jonson, Ford, Middleton and
Davenant, this collection will equip students in their own
close-readings of texts, providing them with an indepth knowledge
of the verbal and dramaturgical aspects of the form. Informed by
rich theatrical and historical understanding, the essays reveal the
larger connections between Shakespeare's use of the soliloquy and
its deployment by his fellow dramatists.
This handbook addresses the methodological problems and theoretical
challenges that arise in attempting to understand and represent
humour in specific historical contexts across cultural history. It
explores problems involved in applying modern theories of humour to
historically-distant contexts of humour and points to the
importance of recognising the divergent assumptions made by
different academic disciplines when approaching the topic. It
explores problems of terminology, identification, classification,
subjectivity of viewpoint, and the coherence of the object of
study. It addresses specific theories, together with the needs of
specific historical case-studies, as well as some of the challenges
of presenting historical humour to contemporary audiences through
translation and curation. In this way, the handbook aims to
encourage a fresh exploration of methodological problems involved
in studying the various significances both of the history of humour
and of humour in history.
This book is the first to assess Johnson’s diverse insights into
friendship—that is to say, his profound as well as widely ranging
appreciation of it—over the course of his long literary career.
It examines his engagements with ancient philosophies of friendship
and with subsequent reformulations of or departures from that
diverse inheritance. The volume explores and illuminates
Johnson’s understanding of friendship in the private and public
spheres—in particular, friendship’s therapeutic amelioration of
personal experience and transformative impact upon civil life.
Doing so, it considers both his portrayals of interaction with his
friends, and his more overtly fictional representations of
friendship, across the many genres in which he wrote. It presents
at once an original re-assessment of Johnson’s writings and new
interpretations of friendship as an element of civility in
mid-eighteenth century British culture.
This is the first book to discuss the canon of Pope's verse in
relation to Early British Enlightenment thinking about mythology
and mythography. The book shows how Pope did not merely use
classical and non-classical myths but also translated and
refashioned them too. It situates Pope's mythologies within
changing seventeenth and eighteenth-century understandings of what
myth is and what it could be. It therefore offers a distinct a new
perspective on the career of eighteenth-century Britain's
preeminent poet.
This is the first collection of essays since George Sherburn's
landmark monograph The Early Career of Alexander Pope (1934) to
reconsider how the most important and influential poet of
eighteenth-century Britain fashioned his early career. The volume
covers Pope's writings from across the reign of Queen Anne and just
beyond. It focuses, in particular, on his interaction with the
courtly culture constellated round the Queen. It examines, for
instance, his representations of Queen Anne herself, his portrayals
of politics and patronage under her reign, his negotiations with
current literary theory, with the classical tradition, with
chronologically distant yet also contemporaneous English poets,
with current thought on the passions, and with membership of a
religious minority. In doing so, it comprehensively reconsiders
anew the ways in which Pope, increasingly supportive of Anne's rule
and mindful of the Virgilian rota, sought at first to realise his
authorial aspirations.
This handbook addresses the methodological problems and theoretical
challenges that arise in attempting to understand and represent
humour in specific historical contexts across cultural history. It
explores problems involved in applying modern theories of humour to
historically-distant contexts of humour and points to the
importance of recognising the divergent assumptions made by
different academic disciplines when approaching the topic. It
explores problems of terminology, identification, classification,
subjectivity of viewpoint, and the coherence of the object of
study. It addresses specific theories, together with the needs of
specific historical case-studies, as well as some of the challenges
of presenting historical humour to contemporary audiences through
translation and curation. In this way, the handbook aims to
encourage a fresh exploration of methodological problems involved
in studying the various significances both of the history of humour
and of humour in history.
Rhetoric and the Familiar examines the writing and oratory of
Francis Bacon and John Donne from the perspective of the faculty
psychology they both inherited. Both writers inherited the
resources of the classical rhetorical tradition through their
university education. The book traces, from within that tradition,
the sources of Bacon and Donne's ideas about the processes of
mental image making, reasoning, and passionate feeling. It analyzes
how knowledge about those mental processes underlies the rhetorical
planning of texts by Bacon, such as New Atlantis, Essayes or
Counsels, Novum Organum, and the parliamentary speeches, and of
texts by Donne such as the Verse Letters, Essayes in Divinity, Holy
Sonnets, and the sermons. The book argues that their rhetorical
practices reflect a common appropriation of ideas about mental
process from faculty psychology, and that they deploy it in
divergent ways depending on their rhetorical contexts. It
demonstrates the vital importance, in early modern thinking about
rhetoric, of considering what familiar remembered material will
occur to a given audience, how that differs according to context,
and the problems the familiar entails.
Rhetoric and the Familiar examines the writing and oratory of
Francis Bacon and John Donne from the perspective of the faculty
psychology they both inherited. Both writers inherited the
resources of the classical rhetorical tradition through their
university education. The book traces, from within that tradition,
the sources of Bacon and Donne's ideas about the mental processes
of mental image making, reasoning, and passionate feeling. It
analyzes how knowledge about those mental processes underlies the
rhetorical planning of texts by Bacon, such as New Atlantis,
Essayes or Counsels, Novum Organum, and the parliamentary speeches,
and of texts by Donne such as the Verse Letters, Essayes in
Divinity, Holy Sonnets, and the sermons. The book argues that their
rhetorical practices reflect a common appropriation of ideas about
mental process from faculty psychology, and that they deploy it in
divergent ways depending on their rhetorical contexts. It
demonstrates the vital importance, in early modern thinking about
rhetoric, of considering what familiar remembered material will
occur to a given audience, how that differs according to context,
as well as the problems the familiar entails.
Encompassing nearly a century of drama, this is the first book to
provide students and scholars with a truly comprehensive guide to
the early modern soliloquy. Considering the antecedents of the form
in Roman, late fifteenth and mid-sixteenth century drama, it
analyses its diversity, its theatrical functions and its
socio-political significances. Containing detailed case-studies of
the plays of Marlowe, Shakespeare, Jonson, Ford, Middleton and
Davenant, this collection will equip students in their own
close-readings of texts, providing them with an indepth knowledge
of the verbal and dramaturgical aspects of the form. Informed by
rich theatrical and historical understanding, the essays reveal the
larger connections between Shakespeare's use of the soliloquy and
its deployment by his fellow dramatists.
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