Loison-Charles, J. (2023). Vladimir Nabokov as an Author-Translator: Writing and Translating between Russian, English and French. Bloomsbury Academic. http://doi.org/10.5040/9781350243316 (pp. 266)
Bringing to bear his expertise in the early modern emblem tradition, William E. Engel traces a series of self-reflective organizational schemes associated with baroque artifice in the work of Herman ...Melville and Edgar Allan Poe. While other scholars have remarked on the influence of seventeenth-century literature on Melville and Poe, this is the first book to explore how their close readings of early modern texts influenced their decisions about compositional practice, especially as it relates to public performance and the exigencies of publication. Engel's discussion of the narrative structure and emblematic aspects of Melville's Piazza Tales and Poe's &dquoteThe Raven&dquote serve as case studies that demonstrate the authors' debt to the past. Focusing principally on the overlapping rhetorical and iconic assumptions of the Art of Memory and its relation to chiasmus, Engel avoids engaging in a simple account of what these authors read and incorporated into their own writings. Instead, through an examination of their predisposition toward an earlier model of pattern recognition, he offers fresh insight into the writers' understandings of mourning and loss, their use of allegory, and what they gained from their use of pseudonyms.
In this book Craig, Kinney and their collaborators confront the main unsolved mysteries in Shakespeare's canon through computer analysis of Shakespeare's and other writers' styles. In some cases ...their analysis confirms the current scholarly consensus, bringing long-standing questions to something like a final resolution. In other areas the book provides more surprising conclusions: that Shakespeare wrote the 1602 additions to The Spanish Tragedy, for example, and that Marlowe along with Shakespeare was a collaborator on Henry VI, Parts 1 and 2. The methods used are more wholeheartedly statistical, and computationally more intensive, than any that have yet been applied to Shakespeare studies. The book also reveals how word patterns help create a characteristic personal style. In tackling traditional problems with the aid of the processing power of the computer, harnessed through computer science, and drawing upon large amounts of data, the book is an exemplar of the new domain of digital humanities.
Rhetoric and the Familiar examines the writing and oratory of Francis Bacon and John Donne from the perspective of the faculty psychology they both inherited. Both writers inherited the resources of ...the classical rhetorical tradition through their university education. The book traces, from within that tradition, the sources of Bacon and Donne’s ideas about the processes of mental image making, reasoning, and passionate feeling. It analyzes how knowledge about those mental processes underlies the rhetorical planning of texts by Bacon, such as New Atlantis, Essayes or Counsels, Novum Organum, and the parliamentary speeches, and of texts by Donne such as the Verse Letters, Essayes in Divinity, Holy Sonnets, and the sermons. The book argues that their rhetorical practices reflect a common appropriation of ideas about mental process from faculty psychology, and that they deploy it in divergent ways depending on their rhetorical contexts. It demonstrates the vital importance, in early modern thinking about rhetoric, of considering what familiar remembered material will occur to a given audience, how that differs according to context, and the problems the familiar entails.
Pliny's Panegyricus (AD 100) survives as a unique example of senatorial rhetoric from the early Roman Empire. It offers an eyewitness account of the last years of Domitian's principate, the reign of ...Nerva and Trajan's early years, and it communicates a detailed senatorial view on the behaviour expected of an emperor. It is an important document in the development of the ideals of imperial leadership, but it also contributes greatly to our understanding of imperial political culture more generally. This volume, the first ever devoted to the Panegyricus, contains expert studies of its key historical and rhetorical contexts, as well as important critical approaches to the published version of the speech and its influence in antiquity. It offers scholars of Roman history, literature and rhetoric an up-to-date overview of key approaches to the speech, and students and interested readers an authoritative introduction to this vital and under-appreciated speech.
What do we mean when we speak of the 'late style' of a given writer, artist or composer? And what exactly do we mean by 'late Shakespeare'? Gordon McMullan argues that, far from being a natural ...phenomenon common to a handful of geniuses in old age or in proximity to death, late style is in fact a critical construct. Taking Shakespeare as his exemplar, he maps the development of the 'discourse of lateness' from the eighteenth century to the present, noting not only the mismatch between that discourse and the actual conditions for authorship in early modern theatre but also its generativity for subsequent projections of creative selfhood. He thus offers the first critique of the idea of late style, which will be of interest not only to literature specialists but also to art historians, musicologists and anyone curious about the relationship of creativity to old age and to death.
Why should Salman Rushdie describe his truth telling as an act of swallowing impure "haram" flesh from which the blood has not been drained? Why should Rudyard Kipling cast Kim, the imperial ...child-agent, as a body/text written upon and damaged by empire? Why should E. M. Forster evoke through the Indian landscape the otherwise unspeakable racial or homosexual body in his writing? InMaking Words Matter: The Agency of Colonial and Postcolonial Literature,Ambreen Haiargues that these writers focus self-reflectively on the unstable capacity of words to have material effects and to be censored, and that this central concern with literary agency is embedded in, indeed definitive of, colonial and postcolonial literature.Making Words Mattercontends that the figure of the human body is central to the self-imagining of the text in the world because the body uniquely concretizes three dimensions of agency: it is at once the site of autonomy, instrumentality, and subjection. Hai's work exemplifies a new trend in postcolonial studies: to combine aesthetics and politics and to offer a historically and theoretically informed mode of interpretation that is sophisticated, lucid, and accessible.This is the first study to identify and examine the rich convergence of issues and to chart their dynamic. Hai opens up the field of postcolonial literary studies to fresh questions, engaging knowledgeably with earlier scholarship and drawing on interdisciplinary theory to read both well known and lesser-known texts in a new light. It should be of interest internationally to students and scholars in a variety of fields including British, Victorian, modernist, colonial, or postcolonial literary studies, queer or cultural studies, South Asian studies, history, and anthropology.
These research notes are part of a study that aims to systematically and structurally elucidate the literary style of Ernest Hemingway from the perspective of linguistic stylistics. This time, the ...author focused on the body language in “A Simple Enquiry” （1927）, a short story which has homosexuality implied in it. It was found that Hemingway uses in particular body-part nouns and visual verbs to implicitly depict the characters’ sexuality and psychological state.
When Shakespeare gave up tragedy around 1607 and turned to the new form we call romance or tragicomedy, he created a distinctive poetic idiom that often bewildered audiences and readers. The plays of ...this period, Pericles, Cymbeline, The Winter's Tale, The Tempest, as well as Shakespeare's part in the collaborations with John Fletcher (Henry VIII and The Two Noble Kinsmen), exhibit a challenging verse style - verbally condensed, metrically and syntactically sophisticated, both conversational and highly wrought. In Shakespeare's Late Style, McDonald anatomizes the components of this late style, illustrating in a series of topically organized chapters the contribution of such features as ellipsis, grammatical suspension, and various forms of repetition. Resisting the sentimentality that frequently attends discussion of an artist's 'late' period, Shakespeare's Late Style shows how the poetry of the last plays reveals their creator's ambivalent attitude towards art, language, men and women, the theatre, and his own professional career.
