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New interpretations of the ways in which early modern French
literature was influenced by, and responded to, the works of
Virgil. Virgil's works, principally the Bucolics, the Georgics, and
above all the Aeneid, were frequently read, translated and
rewritten by authors of the French Renaissance. The contributors to
this volume show how readers and writers entered into a dialogue
with the texts, using them to grapple with such difficult questions
as authorial, political and communitarian identities. Rather than
simply imitating them, the writers are shown as vibrantly engaging
with them, in a "conversation" central to the definition of
literature at the time. In addition to discussing how Virgil
influenced questions of identity for such authors as Jean Lemaire
de Belges, Joachim du Bellay, Clement Marot, Pierre de Ronsard and
Jacques Yver, the volume also offers perspectives on Virgil's
French translators, on how French writers made quite different
appropriations of Homer and Virgil, and on Virgil's receptionin the
arts. It provides a fresh understanding and assessment of how, in
sixteenth-century France, Virgil and his texts moved beyond earlier
allegorical interpretations to enter into the ideas espoused by a
new and national literature. Phillip John Usher is Assistant
Professor of French and Comparative Literature, Barnard College,
Columbia University; Isabelle Fernbach is Assistant Professor of
French at Montana State University, Bozeman. Contributors: Timothy
Hampton, Bernd Renner, Margaret Harp, Michael Randall, Stephanie
Lecompte, Isabelle Fernbach, Valerie Worth-Stylianou, Philip Ford,
Phillip John Usher, Corinne Noirot-Maguire, Todd W. Reeser,
Katherine Maynard
Exterranean concerns the extraction of stuff from the Earth, a
process in which matter goes from being sub- to exterranean. By
opening up a rich archive of nonmodern texts and images from across
Europe, this work offers a bracing riposte to several critical
trends in ecological thought. By shifting emphasis from emission to
extraction, Usher reorients our perspective away from
Earthrise-like globes and shows what is gained by opening the
planet to depths within. The book thus maps the material and
immaterial connections between the Earth from which we extract, the
human and nonhuman agents of extraction, and the extracted matter
with which we live daily. Eschewing the self-congratulatory claims
of posthumanism, Usher instead elaborates a productive tension
between the materially-situated homo of nonmodern humanism and the
abstract and aggregated anthropos of the Anthropocene. In dialogue
with Michel Serres, Bruno Latour, and other interdisciplinary work
in the environmental humanities, Usher shows what premodern
material can offer to contemporary theory. Examining textual and
visual culture alike, Usher explores works by Ronsard, Montaigne,
and Rabelais, early scientific works by Paracelsus and others, as
well as objects, engravings, buildings, and the Salt Mines of
Wieliczka. Both historicist and speculative in approach,
Exterranean lays the groundwork for a comparative ecocriticism that
reaches across and untranslates theoretical affordances between
periods and languages.
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A Step Inside
Denis Emorine; Translated by Phillip John Usher
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R424
Discovery Miles 4 240
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Ships in 10 - 15 working days
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Exterranean concerns the extraction of stuff from the Earth, a
process in which matter goes from being sub- to exterranean. By
opening up a rich archive of nonmodern texts and images from across
Europe, this work offers a bracing riposte to several critical
trends in ecological thought. By shifting emphasis from emission to
extraction, Usher reorients our perspective away from
Earthrise-like globes and shows what is gained by opening the
planet to depths within. The book thus maps the material and
immaterial connections between the Earth from which we extract, the
human and nonhuman agents of extraction, and the extracted matter
with which we live daily. Eschewing the self-congratulatory claims
of posthumanism, Usher instead elaborates a productive tension
between the materially-situated homo of nonmodern humanism and the
abstract and aggregated anthropos of the Anthropocene. In dialogue
with Michel Serres, Bruno Latour, and other interdisciplinary work
in the environmental humanities, Usher shows what premodern
material can offer to contemporary theory. Examining textual and
visual culture alike, Usher explores works by Ronsard, Montaigne,
and Rabelais, early scientific works by Paracelsus and others, as
well as objects, engravings, buildings, and the Salt Mines of
Wieliczka. Both historicist and speculative in approach,
Exterranean lays the groundwork for a comparative ecocriticism that
reaches across and untranslates theoretical affordances between
periods and languages.
The Tragedy of Pious Antigone (1580) is the first English-language
translation of Robert Garnier's Antigone, ou la Piete. Written by
France's earliest career tragedian, who also worked in the Paris
Parliament and as a counselor at a judicial tribunal in the town of
Le Mans, the play draws on various classical sources (especially
Seneca, Statius, and Sophocles) to retell the well-known story of a
family torn apart by war: as brothers Eteocles and Polynices fight
to the death, their sister Antigone and mother Jocasta make
repeated calls for peace. Originally published at the height of the
French Wars of Religion (1562-1598) that pitted Catholics and
Protestants against each other, the five acts of Garnier's play
would have had immediate resonance. Neither extolling nor defending
one side or the other, this humanist tragedy, which also
anticipates the style of Corneille and Racine, could have been
appreciated not only by members of one religious community or the
other, but by both as a seemingly non-partisan and earnest
lamentation about, and reflection upon, troubled times. This famous
story, re-imagined by countless authors including Bertolt Brecht,
Jean Anouilh, Griselda Gambaro, Athol Fugard, and many others, is
here re-told to emphasize empowered female voices in times of
political division.
Storytelling in Sixteenth-Century France is an innovative,
interdisciplinary examination of parallels between the early modern
era and the world in which we live today. Readers are invited to
look to the past to see how then, as now, people turned to
storytelling to integrate and adapt to rapid social change, to
reinforce or restructure community, to sell new ideas, and to
refashion the past. This collection explores different modalities
of storytelling in sixteenth-century France and emphasizes shared
techniques and themes rather than attempting to define narrow kinds
of narrative categories. Through studies of storytelling in
tapestries, stone, and music as well as distinct genres of
historical, professional, and literary writing (addressing both
erudite and more common readers), the contributors to this
collection evoke a society in transition, wherein traditional
techniques and materials were manipulated to express new
realities. Published by the University of Delaware Press.
Distributed worldwide by Rutgers University Press.Â
Storytelling in Sixteenth-Century France is an innovative,
interdisciplinary examination of parallels between the early modern
era and the world in which we live today. Readers are invited to
look to the past to see how then, as now, people turned to
storytelling to integrate and adapt to rapid social change, to
reinforce or restructure community, to sell new ideas, and to
refashion the past. This collection explores different modalities
of storytelling in sixteenth-century France and emphasizes shared
techniques and themes rather than attempting to define narrow kinds
of narrative categories. Through studies of storytelling in
tapestries, stone, and music as well as distinct genres of
historical, professional, and literary writing (addressing both
erudite and more common readers), the contributors to this
collection evoke a society in transition, wherein traditional
techniques and materials were manipulated to express new realities.
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