This book comprises twenty-two chapters, including previously unpublished material, written over the entire span of Marianne Shapiro's working life. Its opening section on the European heritage begins with a long essay on the Aeneid that breaks new interpretative ground by examining the epic from the perspective of Virgil's implicit prescriptions for leaders and leadership. Chapters on Dante add to the store of knowledge on his minor works as well as the Comedy, and are followed by close readings of Petrarch and Provençal poetry. The American and comparative literature section features an analysis of John Ashbery's New Spirit and a page-by-page commentary on Nabokov's Lolita and Pnin. The book is rounded out by three chapters in a semiotics section, the highlight of which is an analysis of the Christian Trinity based on a deep understanding of Peirce's sign theory.
This study examines all the characterizations of the female personality in the Divine Comedy, including representations of things traditionally categorized as feminine. Marianne Shapiro treats different traditional feminine roles such as wife, lover, and mother, and places Beatrice in the latter group. The problem of woman is studied within the general context of medieval literature. Shapiro's conclusions center largely upon Dante's adherence to a generally misogynistic tradition. While in his earlier works his concept of woman was as a comprehensive whole encompassing good and evil, in the Comedy polarities are established and affirmed.
Written in 1303-05, when Dante was in political exile from his native Florence, De vulgari eloquentia addresses the problem of how to raise the Italian language to the status of Latin in the esteem of the literate public. It is the fullest and most important document concerning vernacular writing in the Middle Ages—indeed, the earliest work of literary criticism dealing with a vernacular language. Marianne Shapiro offers the most detailed discussion in English of De vulgari eloquentia, whose form and spirit reflect Dante's political unrest and alienation. Hers is the first work in any language to analyze and explain the meaning of the grammatical and rhetorical terminology that Dante used in his treatise. And because her translation—included here—is based on a thorough exegesis of that terminology, it will be recognized as definitive. Shapiro’s translation will be of special interest to medievalists and to serious readers of The Divine Comedy. In a later section, she considers the less precursors of Dante as a writer of the “Romance idiom” and their influence on him. Then she concentrates on the least studied aspects of the treatise in order to reveal its profound affiliations with late medieval grammatical investigations—it is possible to see in Dante “a grammarian beneath the poet.” Her conclusion summarizes the apparent textual contradictions and the significance. Thus, this book provides a thorough historical, philosophical, and rhetorical context for De vulgari eloquentia and a new English translation that is enriched by that scholarship.
Eleven essays on literature (poetry and prose fiction), versification, and language, including analyses of Shakespeare's Sonnets and Dostoevsky's novels.
We live in image worlds that do not merely reflect the empirically given but rather produce it in accordance with our symbol-making capacity," write the authors of Figuration in Verbal Art. The process of figuration has created language, myth, and culture; situated at the deepest level of human interaction with the world, it is of prime importance for theories of cognition and meaning. Applying a unified theoretical framework to a diverse range of subject matter, especially in Russian and Italian literature, Michael and Marianne Shapiro illustrate the centrality of figuration to imaginative art. In so doing, they carry out a sustained critique of contemporary literary criticism, particularly Deconstruction. The book draws from several disciplines; rhetoric, philosophy of language, linguistics, stylistics, semiotics, epistemology, and literary history are those most directly involved in its argument. The conceptual section of the work and the readings show relations between the inherently tropological nature of language as a system and the tropological nature of style as a means for organizing perception. One of the distinctive contributions of Figuration in Verbal Art is the thorough integration of the theory of signs of Charles Sanders Peirce with the structuralism of Roman Jakobson. Another contribution is the emphasis on historical and cultural questions as an inalienable part of any analysis of texts.
Over the years, Sylvia Plath has come to inhabit a contested area of cultural production with other ambiguous authors between the highbrow, the middlebrow, and the popular. Claiming Sylvia Plath is a critical and comprehensive reception study of what has been written about Plath from 1960 to 2010. Academic and popular interest in her seems incessant, verging on a public obsession. The story of Sylvia Plath is not only the story of a writer and her texts, but also of the readers who have tried to make sense of her life and work. A religious tone and a rhetoric of accountability dominate among the devoted. Questing for the real or true Sylvia, they share a sense of posessiveness towards outsiders or those who deviate from what they see as a correct approach to the poet. In order to offer a new and more nuanced perspective on Plath’s public image, the reception has been organized into interpretive communities composed of critics, feminists, biographers, psychologists, and friends. Pertinent questions are raised about how the poet functions as an excemplary figure, and how – and by whom – she is used to further theories, politics, careers, and a number of other causes. Ethical issues and rhetorical strategies consequently loom high in Claiming Sylvia Plath. The book may be employed both as a guide to the massive body of Plath literature and as a history of a changing critical doxa. Why Sylvia Plath has been serviceable to so many and open to colonization is another way of asking why she keeps on fascinating all kinds of readers worldwide. Claiming Sylvia Plath suggests a host of possible answers. It includes an extensive Plath bibliography.
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