Admired and Understood analyzes Behn's only pure verse collection, Poems upon Several Occasions (1684), and situates her in her literary milieu as a poet. Behn's book demonstrates her desire for acceptance in her literary culture, to be admired and understood, as she puts its, the antitheses of what many surmise from reading her other works - that she saw herself primarily as a guerilla critic of her culture's views on race, class, and gender. The introduction to Admired and Understood argues that her colleagues thought of her as poet first, rather than as a dramatist, reviews current criticism about Behn, and provides a brief overview of late seventeenth-century poetical theory. The first chapter explains the intricately interwoven structure of Behn's collection. The next two chapters concern intertextual linkages between Behn and Abraham Cowley, as well as the influence of Thomas Creech's translations of Horace, Theocritus, and Lucretius on her poetics. The ensuing chapters concern Behn's response to Rochester's libertine aesthetic, a close reading of On a Juniper-Tree (a poem central to her collection), Katherine Philips as Behn's most important predecessor as a woman writin
The ensuing chapters extend the idea by explaining the centrality of John Studley's Medea to Shakespeare's conception of Joan la Pucelle (1 Henry V), Margaret of Anjou (2 Henry VI, 3 Henry VI, Richard III), and Tamora (Titus Andronicus); the further transformations of femina furens in The Taming of the Shrew and The Merchant of Venice; the strange parallels between Helena (All's Well that Ends Well) and John Studley's Phaedra; and between Cleopatra and Jasper Heywood's Juno. The last chapter suggests that Imogen and Cymbeline's Queen represent an exorcism of femina furens."--Jacket.
The author's predecessors focus almost exclusively on the Metamorphoses as intertext, but do not often distinguish between early modern Latin editions of the poem and translations such as Arthur Golding's. Although Spenser read Ovid in his native language, during the quarter-century of his writing career, his countrymen such as Shakespeare, Donne, and Lodge imitate and recast the ancient author. During this English aetas Ovidiana, a translation industry arises simultaneously so that the entire corpus is rendered into English, from Golding's Metamorphoses (1567) to Wye Saltonstall's Ex Ponto (1638). Since the sixteenth century did not often read or hear a Roman poet in prose renditions, the author uses Renaissance poetical verse translations (with the Latin text) to explore Spenser's variegated use of Ovid: how he sounded as early modern English poetry.
A collection of cutting-edge reviews of many of the key recent medical and legal advances in forensic science. These critical surveys concentrate on common pathological entities likely to be encountered in daily forensic routine, as well as on specific pathological conditions rarely seen in the autopsy room. Complementing rather than replacing the classic textbooks in forensic pathology, the authors explore new avenues for analyzing the pathology of burned bodies, traumatic brain injury, death by drug abuse, sudden cardiac death, sudden infant death and neonaticide, and fatalities resulting from kicking and trampling. Other areas of interest include accidental autoerotic deaths, hypothermia fatalities, injuries from resuscitation procedures, the interpretation of alcohol levels in different specimens, and the potential forensic differential diagnoses and interpretation of iliopsoas muscle hemorrhage in the light of autopsy.
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