English 16th and 17th century literature and drama

En este artículo se ofrece un análisis de la época histórica en la que vivió Lady Ann Fanshawe -la Inglaterra del siglo XVII-, utilizando un enfoque neohistoricista y tomando como fuente primaria su autobiografía, escrita entre 1676 y 1678, así como las cartas que su marido, Sir Richard Fanshawe, escribió durante su estancia en España, sobre ciertos eventos acontecidos en las décadas de los años 40, 50 y 60, a fin de documentar su pasión por España. Las memorias de lady Ann Fanshawe nos proporcionarán acceso a ciertos detalles de la vida privada de una mujer apasionante, anglicana y monárquica, que representa un sector de la población que, hasta hace unos años, no había sido considerado por la Historia tradicional, y que participó en determinados acontecimientos de gran interés histórico.

This dissertation seeks to analyse the dual nature of Satan in John Milton’s Paradise Lost. The Introduction will first establish the standpoint of the dissertation, which views Satan as the tragic hero-villain of the epic, and it will then move to an analysis of an inherent duality evident in parts of the epic that involve features other than Satan’s character.

The first chapter will analyse theories of doubling from different disciplines: philosophy, ethics, and psychology, and will apply the theories to the poem using illustrations from different parts of Milton’s epic. The first part of this chapter will focus on the Apollonian-Dionysian duality as proposed by Nietzsche in The Birth of Tragedy, the second part will debate whether or not Satan and God’s parts in the heavenly war could be justified using the Just War Theory, and the final part will analyse doubling in Freudian terms, referring to The Uncanny and The Ego and the Id.

The second chapter is the core of the dissertation. It will analyse Satan’s duality in three parts. The first part will analyse Satan’s duality in terms of heroism; classical versus epic heroism, and whether he is more of a hero than a fool. It will then move to
an application of Aristotle’s Poetics, to justify the term “tragic” given to him in the introduction. The second part will analyse other features of duality in Satan, namely, appearance and reality and the interior split within him. The final part is a close reading of ‘Book IV’, using this reading as an in-depth analysis of the character.

This will lead to the conclusion, which uses all that has been said to determine why there may be a split in readers between love and hate for this character, thus answering the final part of the title posed by this dissertation

The drama of Renaissance England was truly remarkable and The Duchess of Malfi by John Webster has long been recognized as one of the crowning glories of the English Renaissance. The play begins as a love story, with a Duchess who marries beneath her class, ends as a tragedy as her two brothers take revenge of disobeying their authority and destroying themselves in the process. In this drama, John Webster mainly glorified the renaissance spirit in women during the 16th and 17th century. Webster created in the character Duchess of Malfi what Shakespeare never did, a tragic female protagonist who represents a challenge to social hierarchy and “natural” order.

All the Restoration works are centered actually on the London society. Will Congreve as a dramatist only depicted the then London society in his lately-renowned comedy The Way Of The World. From the King to the footmen, all the classes of the society is well represented in his classical drama. Just to say, our contemporary society in Bangladesh is not free from the maladies of that society in the Restoration age.

A Duprat (dir.) Introduction, in "LA GUERRE DE COURSE EN RECITS - Terrains, corpus, séries."
Dossier réalisé par l'équipe du Projet ANR CORSO, mise en ligne novembre 2010.
URL : http://www.oroc-crlc.paris-sorbonne.fr/index.php/visiteur/Projet-CORSO/Ressources/La-
guerre-de-course-en-recits.
Avec la coopération du Centre de Recherches en Littérature Comparée, du Conseil scientifique de Paris-Sorbonne (Paris-IV), de l'Université de Jaén (Espagne), et de l'Agence Nationale pour la Recherche.

This article argues that elements of Michel Foucault's genealogy of governmentality, specifically his account of premodern Christian pastoral government and resistances to it, illuminate crucial aspects of Ben Jonson's 1610 comedy The Alchemist. Pastoral government, an array of tactics that seek to direct the intrinsic qualities of persons and things toward salvific ends, is a more relevant paradigm for understanding the alchemical plot of the play than sovereignty, which is focused on the assertion of autonomous rights and external laws. The sovereign challenged in this reading is primarily the figure of the sovereign individual, the agent of capitalism and liberalism that critics often discern emerging from Jonson's play. Analyzing the play in relation to a genealogy of governmentality throws the secularity and sovereignty of the individual characters into question insofar as they are compelled to act within an alchemical scheme governed by pastoral principles.

Due to the fortunate survival of successive draft stages of a poem originally namled 'Song' and finally entitled "At a Solemn Musick," Miltonian revision in composition may be analyzed in terms of poetic language, prosody, and theme, as well as under the encompassing consideration of theories and Miltonian practice of numerology as bodying forth significative form.

The critic, moralist, philosopher and French writer Saint-Évremond (1613-1703) lived exiled in England since 1651, to escape the ruthless regime of absolute authority of Louis XIV. This allowed him to have a closer relationship with the English lyrics that, among other reasons, led him to write a dramatic text whose title, Sir Politick Would-Be, implied the name of a character. However, sixty years before, Ben Jonson had the same name assigned to a character of his dramatic text Volpone. Based on the generated complicity of the French work title, we verified that in a scene from Venice, both comedies cross dramatic strategies that emphasize or punish virtues and vices, denouncing the arrogance, folly and ambitions of wealth that never take place. Plentiful of humorous rhetorical artifices that are more carefully worked in the French text than in the English one, in both the illusion of appearances is revealed to the clarification of the essences. Supported by this thematic framework in general, the aim of this Master Dissertation is to prove, critical and analytically, the textual details which show that Sir Politick Would-Be, of Saint-Évremond, results from the hipotext Volpon, of Ben Jonson.

Thomas Nashe’s repeated imagery of crossroads in Pierce Penilesse, His Supplication to the Devill perfectly evokes his intertextual and inter-lingual invention of a distinctly English form of protest literature. This essay teases out the implications generated by Nashe’s polyvocal speaker(s) and macaronic intertexts in order to demonstrate his protest of a crisis of English rhetoric and identity. Throughout Pierce, Nashe translates Juvenal’s satirical stratagems, Geoffrey Chaucer’s and Thomas Hoccleve’s vernacular supplications to the English Crown, and both Ovid’s and Ovid-via-Marlowe’s versions of the Amores into Elizabethan topical contexts. In addition to multiplying speakers and sources, Pierce combines the genres of satire, complaint, Boethian consolation, prose fiction, and autobiography in a tour de force of translatio studii et imperii, or the “translation of learning and empire.” As such, part of Nashe’s project is to level the linguistic playing field between English and Latin. Ultimately, Nashe “Englishes” his web of conversational networks by conflating his classical, late medieval, and contemporary sources in order to both protest the Crown’s failure to remedy foreign and domestic corruption in sixteenth-century London and to offer his solution: a vernacular humanist poetics that is entirely English.

Eng. Below
LA GUERRE DE COURSE EN RECITS TERRAINS, CORPUS, SERIES. Etudes rassemblées par Anne Duprat.
Dossier réalisé par l'équipe du Projet ANR CORSO, mise en ligne novembre 2010.
URL : http://www.oroc-crlc.paris-sorbonne.fr/index.php/visiteur/Projet-CORSO/Ressources/La-
guerre-de-course-en-recits.
Avec la coopération du Centre de Recherches en Littérature Comparée, du Conseil scientifique de Paris-Sorbonne (Paris-IV), de l'Université de Jaén (Espagne), et de l'Agence Nationale pour la Recherche.

Anne Duprat (ed.), The Mediterranean Corso wars in Narratives. Fields, collections and series. Online publication of the CORSO project, November 2010. URL http://www.oroc-crlc.paris- sorbonne.fr/index.php/visiteur/Projet-CORSO/Ressources/La-guerre-de-course-en-recits.
Abstract:
"On the morrow of the defeat of the Ottomans at the hands of the temporarily-unified forces of the Catholic powers of Europe under the Holy League (1571), the open warfare between the Ottoman Empire and the Christian nations of Europe gave way to the golden age of the Corso, or state-sponsored privateering, as well as different forms of public or private maritime violence made possible by the instability of the diplomatic and military relations between the regencies and kingdoms of North Africa, which became the Barbary states, and the fleets of the different nations of Europe.
This dossier, composed of 17 studies by specialists of 16th and 17th narratives, edited and introduced by Anne Duprat, examines this history from the point of view of the narratives produced by the captives, those eyewitnesses thrust by force into the adventure of the Corsair wars.

A. Duprat, ‘Introduction’ in The Mediterranean Corso wars in Narratives. Fields, collections and series. Online publication of the CORSO project, November 2010. URL http://www.oroc-crlc.paris- sorbonne.fr/index.php/visiteur/Projet-CORSO/Ressources/La-guerre-de-course-en-recits.
Abstract:
"On the morrow of the defeat of the Ottomans at the hands of the temporarily-unified forces of the Catholic powers of Europe under the Holy League (1571), the open warfare between the Ottoman Empire and the Christian nations of Europe gave way to the golden age of the Corso, or state-sponsored privateering, as well as different forms of public or private maritime violence made possible by the instability of the diplomatic and military relations between the regencies and kingdoms of North Africa, which became the Barbary states, and the fleets of the different nations of Europe.
This dossier, composed of 17 studies by specialists of 16th and 17th narratives, edited and introduced by Anne Duprat, examines this history from the point of view of the narratives produced by the captives, those eyewitnesses thrust by force into the adventure of the Corsair wars.

Full title: The Female Baroque in Early Modern English Literary Culture: From Mary Sidney to Aphra Behn
Author: Gary Waller
Series: Gendering the Late Medieval & Early Modern World
Publisher: Amsterdam University Press

The Female Baroque is a contribution to the revival since the 1980s of early modern women's writings and cultural production in English. Its originality is twofold: it links women's writing in English with the wider context of Baroque culture, and it introduces the issue of gender into discussion of the Baroque. The title comes from Julia Kristeva's study of Teresa of Avila, that 'the secrets of Baroque civilization are female'. The book is built on a schema of recurring Baroque characteristics-narrativity, hyperbole, melancholia, kitsch, and plateauing, pointing less to surface manifestations and more to underlying ideological tensions.

Contents:
Prefatory Note
Introduction 
Chapter 1: The Labyrinthine Baroque
Chapter 2: The Female Baroque
Chapter 3: Catholic Baroque
Chapter 4: Protestant Baroque
Chapter 5: The Female Baroque in Court and Country
Chapter 6:      Mary Wroth’s Urania and Pamphilia to Amphilanthus
Chapter 7: From Baroque to Enlightenment: Margaret Cavendish and Aphra Behn
Postscript

published in  Z. Vajda (ed): Tehetségek a tudomány horizontján, Válogatás a Szegedi Tudományegyetem Bölcsészettudományi Kara hallgatóinak tudományos munkáiból, SZTE BTK, 2014, pp.78-92.

Az alábbi tanulmány a 17. századi angol és francia társadalom házasság- és nőképét, illetve azok eltérő ideológiai hátterét vizsgálja William Wycherley (1640-1715) Falusi feleség (1675) és Molière (született Jean-Baptiste Poquelin, 1622-1673) a Férjek iskolája (1661) és Nők iskolája (1662) című vígjátékainak összehasonlító szövegelemzésén keresztül. Választásom azért e művekre esett, mert a tematikus hasonlóság és a francia darab adaptálásának szándéka ellenére a szöveg szintjén szembeszökő eltérések fiyelhetőek meg. E különbségeknek a történelmi kontextus segítségével történő értelmezése hozzásegíthet a kor nyugat-európai társadalmi viszonyai egy szeletének alaposabb megértéséhez. Munkám így azon szocio-kritikai értelmezések (Claude Duchet, 1979) módszertanára épül, amely az elemzés tárgyául szolgáló irodalmi művekben a komplex társadalmi struktúrák szövegszinten való megnyilvánulását kutatja.

Delarivier Manley and Mary Pix were among the groundbreaking “female wits” who debuted their original plays for the public stage in 1695–1696. Two of these plays contain explicitly Islamicate themes: Manley’s The Royal Mischief expands on The Travels of Sir John Chardin into Persia (1686) and Pix’s Ibrahim draws on Rycaut’s History of the Turkish Empire (1687). Continuing this interest, Manley’s Almyna (1706–1707) responds to the newly translated Arabian Nights Entertainments (1704-1717) and Pix’s The Conquest of Spain (1705) engages the history of Islamic Spain recounted in The Life of the Most Illustrious Monarch Almanzor (1693). These plays have been modernized and annotated in this edition, most for the first time. The edition also includes appendices with excerpts from historical sources and a select bibliography.
“This important edition of plays by Delarivier Manley and Mary Pix brings a welcome gendered perspective on the representations of Islam on the late seventeenth-century English stage. Bernadette Andrea is the scholar who has worked most extensively on this subject. The general introduction showcases her expertise, and serves as an excellent overview and context for the plays presented here. The introductions to Manley and Pix and to the individual plays provide a helpful history of scholarship and criticism; the supplementary texts included in the appendices are well chosen and help to contextualize the works.”
- Mihoko Suzuki
Professor of English and Director of the Centre for the Humanities, University of Miami