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How did ideas about the poet's art surface in early modern texts?
By looking into the intersections between poetry, poetics and other
discourses - logic, rhetoric, natural philosophy, medicine,
mythography or religion - the essays in this volume unearth notions
that remained largely unwritten in the official literary criticism
of the period. Focusing on questions of poetry's origins and style,
and exploring individual responses to issues of authenticity,
career design, difficulty, or inspiration, this collection revisits
and renews the critical lexicons that connect poetic theory and
practice in early modern English texts and their European contexts.
Reading canonical poets and critics - Sidney, Spenser, Marlowe,
Shakespeare, Puttenham, Dryden - along less studied figures such as
Henry Constable, Barnabe Barnes, Thomas Lodge, Aemilia Lanyer,
Fulke Greville or George Chapman, this book extends the coordinates
for a dialogue between literary practice and the Renaissance
theories from which they stemmed and which they helped to outgrow.
How did gender relate to the most relevant questions of genre in
the literature of the English Restoration? This is the underlying
topic of this collection of essays. The contributors undertake the
analysis of the forms, contents, and contexts of the main literary
modes of the period in the works of Margaret Cavendish, Anne
Killigrew, Aphra Behn, Mary Pix, Delarivier Manley, Catherine
Trotter, and Jane Barker. All the essays in this book share the
assumption that late seventeenth-century women writers questioned
and expanded existing conventions in poetry, drama and prose
fiction, and at the same time opened paths in the configuration of
major kinds of literature. Attentive to the most recent approaches
of literary theory and criticism, such as new historicism, cultural
materialism, feminism and reader-response criticism, this book
intervenes in the present re-assessment of the role played by women
in late seventeenth-century literature, and claims their necessary
presence in alternative versions of the canon. Generic criteria
have been used for the organization of the volume, which opens with
studies on lyric poetry, continues with essays on drama, and
concludes with contributions on different narrative modes.
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