This book, the first single volume to collate essays about sixteenth and seventeenth century poetry, explores the remarkable changes that have occurred in the interpretation of English Renaissance poetry in the last twenty years. In the introduction Cristina Malcolmson argues that recent critical approaches have transformed traditional accounts of literary history by analysing the role of poetry in nationalism, the changing associations of poetry and class-status, and the rediscovered writings of women. The collection represents many of the critical methodologies which have contributed to these changes: new historicism, cultural materialism, feminism, and an historically informed psychoanalytic criticism. In particular, three diverse readings of Spenser's 'Bower of Bliss' canto illustrate the different approaches of formalist close-reading, new historicist analysis of cultural imperialism and feminist interpretations of the relation of gender and power. The further reading section categorizes recent work according to issues and critical approaches.
Arguing that the early Royal Society moved science toward racialization by giving skin color a new prominence as an object of experiment and observation, Cristina Malcolmson provides the first book-length examination of studies of skin color in the Society. She also brings new light to the relationship between early modern literature, science, and the establishment of scientific racism in the nineteenth century. Malcolmson demonstrates how unstable the idea of race remained in England at the end of the seventeenth century, and yet how extensively the intertwined institutions of government, colonialism, the slave trade, and science were collaborating to usher it into public view. Malcolmson places the genre of the voyage to the moon in the context of early modern discourses about human difference, and argues that Cavendish’s Blazing World and Swift’s Gulliver’s Travels satirize the Society’s emphasis on skin color.
Arguing that the early Royal Society moved science toward racialization by giving skin color a new prominence as an object of experiment and observation, Cristina Malcolmson provides the first book-length examination of studies of skin color in the Society. She also brings new light to the relationship between early modern literature, science, and the establishment of scientific racism in the nineteenth century. Malcolmson demonstrates how unstable the idea of race remained in England at the end of the seventeenth century, and yet how extensively the intertwined institutions of government, colonialism, the slave trade, and science were collaborating to usher it into public view. Malcolmson places the genre of the voyage to the moon in the context of early modern discourses about human difference, and argues that Cavendish’s Blazing World and Swift’s Gulliver’s Travels satirize the Society’s emphasis on skin color.
This book places George Herbert's writing and biography within the history of social and economic change in seventeenth-century England. Drawing on the works of Max Weber, Raymond Williams, and the Protestant preachers of the period, the author argues that the doctrine of vocation is the shaping principle of The Temple and the prose manual The Country Parson, which coordinate inward devotion with outward social role like the soul with the body. This form of early modern subjectivity is shown to be significantly at odds with the system of status and yet developed in order to preserve traditional models of community. The book demonstrates that Herbert's family shared his Protestant vision of "the common good," which included innovations in agriculture and mining, colonization of the Americas, and a worldwide trade nexus. William Herbert, patron of Shakespeare and head of the Protestant faction at court and in Parliament, was also George Herbert's patron, and George's involvement with this faction is offered as the explanation for his lack of patronage from an increasingly Anglo-Catholic court. His position as a country parson required the renunciation of ambition and a new ideal of the "character" of holiness but in no way decreased his dedication to the Protestant linking of religion and enterprise. The author explores the poetic coterie out of which Herbert's lyrics were generated, the remarkable revisions that erased an earlier version of The Temple authorizing social mobility, and the role of class in the poetic collection as well as in modern critical accounts. Herbert's use of the pastoral is considered in relation to his family's practice of gardening, which redefined economic innovation as moral reformation. The author argues that Herbert's works and those of his family make visible the influence of and the resistance to the new capitalist economic system emerging in the early modern period.
This book, the first single volume to collate essays about sixteenth and seventeenth century poetry, explores the remarkable changes that have occurred in the interpretation of English Renaissance poetry in the last twenty years. In the introduction Cristina Malcolmson argues that recent critical approaches have transformed traditional accounts of literary history by analysing the role of poetry in nationalism, the changing associations of poetry and class-status, and the rediscovered writings of women. The collection represents many of the critical methodologies which have contributed to these changes: new historicism, cultural materialism, feminism, and an historically informed psychoanalytic criticism. In particular, three diverse readings of Spenser's 'Bower of Bliss' canto illustrate the different approaches of formalist close-reading, new historicist analysis of cultural imperialism and feminist interpretations of the relation of gender and power. The further reading section categorizes recent work according to issues and critical approaches.
This book places George Herbert's writing and biography within the history of social and economic change in seventeenth-century England. Drawing on the works of Max Weber, Raymond Williams, and the Protestant preachers of the period, the author argues that the doctrine of vocation is the shaping principle of The Temple and the prose manual The Country Parson, which coordinate inward devotion with outward social role like the soul with the body. This form of early modern subjectivity is shown to be significantly at odds with the system of status and yet developed in order to preserve traditional models of community. The book demonstrates that Herbert's family shared his Protestant vision of "the common good," which included innovations in agriculture and mining, colonization of the Americas, and a worldwide trade nexus. William Herbert, patron of Shakespeare and head of the Protestant faction at court and in Parliament, was also George Herbert's patron, and George's involvement with this faction is offered as the explanation for his lack of patronage from an increasingly Anglo-Catholic court. His position as a country parson required the renunciation of ambition and a new ideal of the "character" of holiness but in no way decreased his dedication to the Protestant linking of religion and enterprise. The author explores the poetic coterie out of which Herbert's lyrics were generated, the remarkable revisions that erased an earlier version of The Temple authorizing social mobility, and the role of class in the poetic collection as well as in modern critical accounts. Herbert's use of the pastoral is considered in relation to his family's practice of gardening, which redefined economic innovation as moral reformation. The author argues that Herbert's works and those of his family make visible the influence of and the resistance to the new capitalist economic system emerging in the early modern period.
This volume replaces the traditional image of George Herbert as meditative recluse with a portrait of the poet as engaged throughout his life with the religion, politics and society of his time. Instead of an isolated genius living in retreat from the world, Herbert appears as a man writing public verse, active within an important social circle, and committed to nationalistic Protestantism. The book attends to the poetic brilliance of his verse as well as the institutions and contexts that influenced him: the upper class coterie, Cambridge University, and the Church of England.
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