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Nostalgia and Sexual Difference (RLE Feminist Theory)
Dissatisfaction with the present can cause people to gaze nostalgically back to an idealized past; that nostalgia pervades contemporary rhetoric. In lamenting the ‘degeneracy’ of present-day America, social and literary critics as well as contemporary novelists often choose as their scapegoat the women’s movement and its increasing influence. Doane and Hodges show us how these social observers seek to ‘reinstate’ America and American values in ways that, overtly or covertly, do battle with the feminist movement for control of rhetoric, the power of language.
Renaissance Fictions of Anatomy
This book is the first significant study of a genre that was popular in Renaissance England, the anatomy. In a wide range of texts--theological, scientific, and literary--Renaissance writers used their pens as scalpels to strip away false appearances in order to expose the truth. Devon L. Hodges explains this "impulse to dissect" as a symptom of a cultural transformation. The anatomy, she argues, is a transitional form marking the shift from a metaphorical to an analytical view of the world. Following a discussion of the anatomy form and the impact of medical methods on the practice of writing, Hodges offers innovative interpretations of several English anatomies: Lyly's Euphues: Anatomy of Wit, Nashe's Anatomy of Absurdity, Shakespeare's As You Like It and King Lear, Bacon's project to conduct an "Anatomy of the World," and Burton's Anatomy of Melancholy. Throughout these readings, Hodges makes use of contemporary literary theory to illuminate the difficult process of cultural transformation.
From Klein to Kristeva
Explores the cultural history of what underlies popular conceptions of "proper" mothering
Telling Incest
An exploration of how specific historical contexts, narrative conventions, and cultural politics shape the ways that stories of incest are told and heard
The Reinvention of Love
In The Reinvention of Love Anthony Low argues that cultural, economic and political change transformed the way poets from Sidney to Milton thought and wrote about love. Examining the interface between social, political and economic practices and individual psyches, as reflected in literary texts, Professor Low illuminates the connections between material circumstances, perceptions, and ideals. Through detailed readings of the work of Sidney, Donne, Herbert, Crashaw, Carew, and Milton, he shows how from the late sixteenth century poets struggled to replace the older Petrarchan tradition with a form of love in harmony with a changing world, and to reconcile human love and sacred devotion. Donne fled the social world; Carew made new accommodations with it; Milton revised it. For Milton, sacred love, cut off from communal norms, verges on hatred, while married love takes on the burden of assuaging loneliness in a threatening world.
As You Like it
As You Like It is one of Shakespeare's finest romantic comedies, variously lyrical, melancholy, satiric, comic and absurd. Its highly implausible plot generates a profusion of love-lorn men, a resourceful heroine in disguise, sexual ambiguity, melancholy philosophising and finally a multiplicity of marriages.
Tis Pity She's A Whore
John Ford's tragedy 'Tis Pity She's A Whore was first performed between 1629 and 1633 and since then its themes of incest, love versus duty and forbidden passion have made it a widely studied and performed, if controversial, play. This guide offers students an introduction to its critical and performance history, including TV and film adaptations. It includes a keynote chapter outlining major areas of current research on the play and four new critical essays. Finally, a guide to critical, web-based and production-related resources and an annotated bibliography provide a basis for further individual research.
The Unmasking of Drama
From Hamlet to Coriolanus and Timon of Athens, Shakespeare's tragedies constitute the most strenuous attempts within English Renaissance tragedy to unmask its representational practices and to penetrate its own ordering principles. Baldo evaluates the theater's economical means of representation, its heavy reliance on the authority of generalizing, and its assumption of a translatability between visual and verbal signs.
