Barbara Kiefer Lewalski - Böcker

Rachel Speght (1597?-?) is the first Englishwoman to identify herself, unapologetically and by name, as a polemicist and critic of contemporary gender ideology. Her tract, A Mouzell for Melastomus (1617), is at once a spirited answer to Joseph Swetnam's very popular treatise attacking women (1617) and also a serious effort to stake women's claim to prevailing Protestant discourse of biblical exegesis, forcing it to yield a more expansive and more suitable concept of women's nature and role. Her volume of poetry, Mortalities Memorandum, with a Dreame Prefixed (1612), includes a long memento mori meditation and an allegorical dream vision that recounts her own rapturous encounter with learning. Both vigorously defend women's education and the encouragement of women's talent.

Rachel Speght (1597?-?) is the first Englishwoman to identify herself, unapologetically and by name as a polemicist and critic of contemporary gender ideology. Her tract, A Mouzell for Melastomus (1617), is at once a spirited answer to Joseph Swetnam's very popular treatise attacking women (1617) and also a serious effort to stake women's claim to prevailing Protestant discourse of biblical exegesis, forcing it to yield a more expansive and more suitable concept of women's nature and role. Her volume of poetry, Mortalities Memorandum, with a Dreame Prefixed (1612), includes a long memento mori mediation and an allegorical dream vision that recounts her own rapturous encounter with learning. Both vigorously defend women's education and the encouragement of women's talent.

Volume III of the new eleven-volume edition of Milton's Complete Works from the Oxford University Press provides a definitive scholarly edition of all of Milton's shorter poems in English, Italian, Latin, and Greek, as well as his Mask, taken from both published and manuscript sources. It presents his 1645 Poems complete, with all prefatory materials, to display the ways in which author, publisher, and printshop shaped this volume. It then presents all the new poems added in the 1673 edition (with the new Table of Contents), and the poems omitted from both editions. A careful collation of textual variants among these sources as well as the 1637 anonymous publication of Milton's Mask is provided. Also, the Bridgewater manuscript version of Milton's Mask (close to the acting version), and his working copy from the Trinity Manuscript, with its many alterations and additions, are transcribed in their entirety, so that the various versions may be compared and studied. A special feature of this edition is the new translation of Milton's many Latin and Greek poems that is both accurate and attentive to their literary quailities. Also, it supplies a poetic translation of Milton's six italian sonnets and Canzone. In addition, it presents in Appendices, of all the versions of Milton's shorter poems in all the contemporary manuscript and printed sources, so they may be compared and examined in relation to their specific contexts. The transcription of all the versions of Milton's poems in the Trinity Manuscript allows in several cases, notably 'Lycidas' and 'At a Solemn Music', for examination of the evolution of these poems as Milton weighed choices of diction and sound qualities and so enables further understanding of his poetic practices.Introductory essays address the occasions and circumstances for all these poems, the poetic development of the Vernacular poems as Milton worked in several genres, and for his Latin and Greek Poemata it provides an overview of Milton's achievement as a Neo-Latin poet, as well as a detailed account of the criticism pertaining to each poem. A Textual Introduction discusses all of the sources, printed and manuscript, in which Milton's poems appear, points up special features of many copies of both collected editions as well as the volume in which Milton's 'Lycidas' was first published (Justa Edouardo King naufrago), and indicates the marginalia and other notes supplied by several contemporary readers. As an aid to both students and scholars, the Commentary sections provide word definitions from the OED, highlighting occasions when Milton's usage was the earliest one recorded, and also identify biblical, classical, historical, and geographical allusions and references, and some relevant critical studies of particular elements.

Today genre studies are flourishing, and nowhere more vigorously perhaps than in the field of Renaissance literature, given the importance to Renaissance writers of questions of genre. These studies have been nourished, as Barbara Lewalski points out, by the varied insights of contemporary literary theory. More sophisticated conceptions of genre have led to a fuller appreciation of the complex and flexible Renaissance uses of literary forms.The eighteen essays in this volume are striking in their diversity of stance and approach. Three are addressed to genre theory explicitly, and all reveal a concern with theoretical issues. The contributors are James S. Baumlin, Francis C. Blessington, Morton W. Bloomfield, Barbara J. Bono, Mary Thomas Crane, Heather Dubrow, Alastair Fowler, Marjorie Garber, Claudio Guillén, Ann E. Imbrie, John N. King, John Klause, Harry Levin, Earl Miner, Janel M. Mueller, Annabel Patterson, Robert N. Watson, and Steven N. Zwicker.

Today genre studies are flourishing, and nowhere more vigorously perhaps than in the field of Renaissance literature, given the importance to Renaissance writers of questions of genre. These studies have been nourished, as Barbara Lewalski points out, by the varied insights of contemporary literary theory. More sophisticated conceptions of genre have led to a fuller appreciation of the complex and flexible Renaissance uses of literary forms.The eighteen essays in this volume are striking in their diversity of stance and approach. Three are addressed to genre theory explicitly, and all reveal a concern with theoretical issues. The contributors are James S. Baumlin, Francis C. Blessington, Morton W. Bloomfield, Barbara J. Bono, Mary Thomas Crane, Heather Dubrow, Alastair Fowler, Marjorie Garber, Claudio Guillén, Ann E. Imbrie, John N. King, John Klause, Harry Levin, Earl Miner, Janel M. Mueller, Annabel Patterson, Robert N. Watson, and Steven N. Zwicker.

When was feminism born—in the 1960s, or in the 1660s? For England, one might answer: the early decades of the seventeenth century. James I was King of England, and women were expected to be chaste, obedient, subordinate, and silent. Some, however, were not, and these are the women who interest Barbara Lewalski—those who, as queens and petitioners, patrons and historians, and poets took up the pen to challenge and subvert the repressive patriarchal ideology of Jacobean England.Setting out to show how these women wrote themselves into their culture, Lewalski rewrites Renaissance history to include some of its most compelling—and neglected—voices. In these women, Lewalski identifies an early challenge to the dominant culture—and an ongoing challenge to our understanding of the Renaissance world.

This comprehensive study interprets Paradise Lost as a rhetoric of literary forms, by attending to the broad spectrum of literary genres, modes, and exemplary works Milton incorporates within that poem. Originally published in 1985. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Barbara Lewalski argues that the Protestant emphasis on the Bible as requiring philological and literary analysis fostered a fully developed theory of biblical aesthetics defining both poetic art and spiritual truth. Originally published in 1979. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

In his occasional poetry, and especially in his two elegaic Anniversary poems, Donne created a special symbolic mode in seventeenth-century poetry of praise and compliment. Barbara Kiefer Lewalski's reading of the Anniversary poems recognizes them as complex mixed-genre works which weld together formal, thematic, and structural elements from the occasional poem of praise, the funeral elegy, the funeral sermon, the hymn, the anatomy, and the Protestant meditation. Focusing especially on theme and structure, her reading demonstrates the coherent symbolic method and meaning of these poems and also their careful logical articulation, both as individual poems and as companion pieces. Essentially, the author discovers their thorough and precise exploration, through the poetic means of figure and symbol, of the nature of man and the conditions of human life. In order to discuss the significant contexts for and influences on the Anniversary poems, the author has studied sixteenth- and seventeenth-century epideictic theory and practice, Protestant meditation, Biblical hermencutics, and funeral sermons.She is also concerned with the effect of the poems, and of Donne's other writings of a similar kind, on contemporary and subsequent developments in the poetry of praise, especially that of Marvell and Dryden. This is a lucid and learned book that provides a major context for the Anniversary poems and gives new significance to the designation of Donne as a Metaphysical poet. Originally published in 1973. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

This comprehensive study interprets Paradise Lost as a rhetoric of literary forms, by attending to the broad spectrum of literary genres, modes, and exemplary works Milton incorporates within that poem. Originally published in 1985. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Barbara Lewalski argues that the Protestant emphasis on the Bible as requiring philological and literary analysis fostered a fully developed theory of biblical aesthetics defining both poetic art and spiritual truth. Originally published in 1979. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.