The first book of its kind, Marlowe's Ovid explores and analyzes in depth the relationship between the Elegies-Marlowe's translation of Ovid's Amores-and Marlowe's own dramatic and poetic works. Stapleton carefully considers Marlowe's Elegies in the context of his seven known dramatic works and his epyllion, Hero and Leander, and offers a different way to read Marlowe. Stapleton employs Marlowe's rendition of the Amores as a way to read his seven dramatic productions and his narrative poetry while engaging with previous scholarship devoted to the accuracy of the translation and to bibliographical issues. The author focuses on four main principles: the intertextual relationship of the Elegies to the rest of the author's canon; its reflection of the influence of Erasmian humanist pedagogy, imitatio and aemulatio; its status as the standard English Amores until the Glorious Revolution, part of the larger phenomenon of pan-European Renaissance Ovidianism; its participation in the genre of the sonnet sequence. He explores how translating the Amores into the Elegies profited Marlowe as a writer, a kind of literary archaeology that explains why he may have commenced such an undertaking. Marlowe's Ovid adds to the body of scholarly work in a number of subfields, including classical influences in English literature, translation, sexuality in literature, early modern poetry and drama, and Marlowe and his milieu.
Contributions to this volume explore the idea of Marlowe as a working artist, in keeping with John Addington Symonds' characterization of him as a "sculptor-poet." Throughout the body of his work-including not only the poems and plays, but also his forays into translation and imitation-a distinguished company of established and emerging literary scholars traces how Marlowe conceives an idea, shapes and refines it, then remakes and remodels it, only to refashion it further in his writing process. These essays necessarily overlap with one another in the categories of lives, stage, and page, which signals their interdependent nature regarding questions of authorship, theater and performance history, as well as interpretive issues within the works themselves. The contributors interpret and analyze the disputed facts of Marlowe's life, the textual difficulties that emerge from the staging of his plays, the critical investigations arising from analyses of individual works, and their relationship to those of his contemporaries. The collection engages in new ways the controversies and complexities of its subject's life and art. It reflects the flourishing state of Marlowe studies as it shapes the twenty-first century conception of the poet and playwright as master craftsman.
The first book of its kind, Marlowe's Ovid explores and analyzes in depth the relationship between the Elegies-Marlowe's translation of Ovid's Amores-and Marlowe's own dramatic and poetic works. Stapleton carefully considers Marlowe's Elegies in the context of his seven known dramatic works and his epyllion, Hero and Leander, and offers a different way to read Marlowe. Stapleton employs Marlowe's rendition of the Amores as a way to read his seven dramatic productions and his narrative poetry while engaging with previous scholarship devoted to the accuracy of the translation and to bibliographical issues. The author focuses on four main principles: the intertextual relationship of the Elegies to the rest of the author's canon; its reflection of the influence of Erasmian humanist pedagogy, imitatio and aemulatio; its status as the standard English Amores until the Glorious Revolution, part of the larger phenomenon of pan-European Renaissance Ovidianism; its participation in the genre of the sonnet sequence. He explores how translating the Amores into the Elegies profited Marlowe as a writer, a kind of literary archaeology that explains why he may have commenced such an undertaking. Marlowe's Ovid adds to the body of scholarly work in a number of subfields, including classical influences in English literature, translation, sexuality in literature, early modern poetry and drama, and Marlowe and his milieu.
Contributions to this volume explore the idea of Marlowe as a working artist, in keeping with John Addington Symonds' characterization of him as a "sculptor-poet." Throughout the body of his work-including not only the poems and plays, but also his forays into translation and imitation-a distinguished company of established and emerging literary scholars traces how Marlowe conceives an idea, shapes and refines it, then remakes and remodels it, only to refashion it further in his writing process. These essays necessarily overlap with one another in the categories of lives, stage, and page, which signals their interdependent nature regarding questions of authorship, theater and performance history, as well as interpretive issues within the works themselves. The contributors interpret and analyze the disputed facts of Marlowe's life, the textual difficulties that emerge from the staging of his plays, the critical investigations arising from analyses of individual works, and their relationship to those of his contemporaries. The collection engages in new ways the controversies and complexities of its subject's life and art. It reflects the flourishing state of Marlowe studies as it shapes the twenty-first century conception of the poet and playwright as master craftsman.
Thanks to its character as a rising of the commons, and the survival of extensive documentary evidence, the Pilgrimage of Grace offers a fascinating insight into how the people of the north of England, on the eve of the Reformation, thought about religion, social relations and politics. In this book, Michael Bush opens up an alternative and dynamic means of exploring the popular mentality of the time through an examination of the wide variety of sources generated by the rebels, rather than relying on the social, political and religious views set out in contemporary treaties and sermons towing the government's line.
This book, death is Always With Us, is the fifth to be published in a series of John Holmes Johnson mysteries. It looks back at the background of John Holmes in order to clarify who he is and the key role played by an interesting roster of characters.during his childhood. These are the people, places and experiences that created the rare blend of characteristics that identify the man himself. He was born in London, raised in the South Downs between Lewes and Dover. The bright, inquisitive boy grew to be an intelligent, curious investigator of all sorts of mysteries. His boyhood is fraught with peril as he watches his family go through many man-instigated hells in the course of nine years. The nature of this book is such that it could quite easily have served as a Pre-quel to death is Belligerent, however, John Holmes himself pieced this material together, using notes left to him by his late Uncle John. Death is Always With Us is a unique mixture of personalities come together on a wide variety of life and death struggles, whose very scars built stronger than strong ties. You will meet them all in this book.
In Bioethics in America, Tina Stevens challenges the view that the origins of the bioethics movement can be found in the 1960s, a decade mounting challenges to all variety of authority. Instead, Stevens sees bioethics as one more product of a "centuries-long cultural legacy of American ambivalence toward progress," and she finds its modern roots in the responsible science movement that emerged following detonation of the atomic bomb. Rather than challenging authority, she says, the bioethics movement was an aid to authority, in that it allowed medical doctors and researchers to proceed on course while bioethicists managed public fears about medicine's new technologies. That is, the public was reassured by bioethical oversight of biomedicine; in reality, however, bioethicists belonged to the same mainstream that produced the doctors and researchers whom the bioethicists were guiding.
Operating principally from original sources, it revises the standard work of the Dodds and appraises the research produced in the subject over the last thirty years.
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