J. B. Lethbridge – författare

Shakespeare and Spenser: Attractive Opposites is a much-needed volume that brings together ten original papers by the experts, on the relations between Spenser and Shakespeare. There has been much noteworthy work on the linguistic borrowings of Shakespeare from Spenser, but the subject has never before been treated systematically, and the linguistic borrowings lead to broader-scale borrowings and influences which are treated here. An additional feature of the book is that for the first time a large bibliography of previous work is offered which will be of the greatest help to those who follow up the opportunities offered by this collection. Shakespeare and Spenser: Attractive Opposites presents new approaches, heralding a resurgence of interest in the relations between two of the greatest Renaissance English poets to a wider scholarly group and in a more systematic manner than before. This will be of interest to Students and academics interested in Renaissance literature.

Shakespeare and Spenser: Attractive opposites is a much-needed volume that brings together ten original papers by experts on the relations between Spenser and Shakespeare. There has been much noteworthy work on the linguistic borrowings of Shakespeare from Spenser, but the subject has never before been treated systematically, and the linguistic borrowings lead to broader-scale borrowings and influences which are treated here. An additional feature of the book is that for the first time a large bibliography of previous work is offered which will be of the greatest help to those who follow up the opportunities offered by this collection. Shakespeare and Spenser: Attractive opposites presents new approaches, heralding a resurgence of interest in the relations between two of the greatest Renaissance English poets to a wider scholarly group and in a more systematic manner than before. This will be of interest to Students and academics interested in Renaissance literature.

This book is the first ever concordance to the rhymes of Spenser’s epic. It gives the reader unparalleled access to the formal nuts and bolts of this massive poem: the rhymes which he used to structure its intricate stanzas. As well as the main concordance to the rhymes, the volume features a wealth of ancillary materials, which will be of value to both professional Spenserians and students, including distribution lists and an alphabetical listing of all the words in The Faerie Queene. The volume breaks new ground by including two studies by Richard Danson Brown and J. B. Lethbridge, so that the reader is given provocative analyses alongside the raw data about Spenser as a rhymer. Brown considers the reception of rhyme, theoretical models and how Spenser’s rhymes may be reading for meaning. Lethbridge in contrast discusses the formulaic and rhetorical character of the rhymes.

This book is the first ever concordance to the rhymes of Spenser’s epic. It gives the reader unparalleled access to the formal nuts and bolts of this massive poem: the rhymes which he used to structure its intricate stanzas. As well as the main concordance to the rhymes, the volume features a wealth of ancillary materials, which will be of value to both professional Spenserians and students, including distribution lists and an alphabetical listing of all the words in The Faerie Queene. The volume breaks new ground by including two studies by Richard Danson Brown and J. B. Lethbridge, so that the reader is given provocative analyses alongside the raw data about Spenser as a rhymer. Brown considers the reception of rhyme, theoretical models and how Spenser’s rhymes may be reading for meaning. Lethbridge in contrast discusses the formulaic and rhetorical character of the rhymes.

Modern readers mostly know Sir Philip Sidney’s Arcadia in its complete ‘old’ version, but it is the New Arcadia (published in 1590), a revised version of his pastoral romance The Countess of Pembroke’s Arcadia, that was the most influential and most widely imitated literary text of the sixteenth century. Preserving the basic plot, New Arcadia adds further narrative strands and introduces ambitious revisions, demonstrating Sidney’s brilliance as a prose writer.This edition of the New Arcadia is the first in nearly four decades, preserving the text of Victor Skretkowicz’ celebrated 1987 edition, whilst making the text accessible through modern spelling and supplementing it with a substantially expanded scholarly commentary, an updated glossary, and additional long notes on the book’s history and Sidney’s use of rhetorical devices, as well as his contributions to the English language.

Modern readers mostly know Sir Philip Sidney’s Arcadia in its complete ‘old’ version, but it is the New Arcadia (published in 1590), a revised version of his pastoral romance The Countess of Pembroke’s Arcadia, that was the most influential and most widely imitated literary text of the sixteenth century. Preserving the basic plot, New Arcadia adds further narrative strands and introduces ambitious revisions, demonstrating Sidney’s brilliance as a prose writer.This edition of the New Arcadia is the first in nearly four decades, preserving the text of Victor Skretkowicz’ celebrated 1987 edition, whilst making the text accessible through modern spelling and supplementing it with a substantially expanded scholarly commentary, an updated glossary, and additional long notes on the book’s history and Sidney’s use of rhetorical devices, as well as his contributions to the English language.

Spenser in the Moment collects specially commissioned essays critical of established readings, each of which in surveying the state of the art attempts radically to unsettle our conception of the poetry of Edmund Spenser (1552–1599). The editors were drawn together by a shared restlessness with the canonical Spenser, and a sense that attention especially to Spenser’s musical qualities, and the distinctiveness of his poetic style compared with that of his contemporaries, could display exciting new paths forward. Scholars from three continents contribute bracing reviews of Spenser’s relationship with his classical sources, with religious history, and the history of the book. Two essays consider Spenser and music, both music in Spenser’s works, and Spenser’s works in the music of his time. Two working poets inaugurate the final group of essays on Spenser’s poetry, with original, irreverent poetry reflecting and riffing on Spenser. The essays argue for various versions of revolution: one mixing aesthetics and sex, another diagnosing widespread fallacies (“expressivist” and “dramatistic”) made in reading Spenser, and the last arguing for a Spenser not of enormous interlocking networks, but of the moment: that the primary Spenserian structure is that of a moment of stillness-in-motion. With so much change behind us already in this young century, another series of changes emerges from recent work, and a sense of expectation, as of held breath, seems to pervade the discipline—that is the moment that this volume attempts to capture and nourish.

Spenser in the Moment collects specially commissioned essays critical of established readings, each of which in surveying the state of the art attempts radically to unsettle our conception of the poetry of Edmund Spenser (1552–1599). The editors were drawn together by a shared restlessness with the canonical Spenser, and a sense that attention especially to Spenser’s musical qualities, and the distinctiveness of his poetic style compared with that of his contemporaries, could display exciting new paths forward. Scholars from three continents contribute bracing reviews of Spenser’s relationship with his classical sources, with religious history, and the history of the book. Two essays consider Spenser and music, both music in Spenser’s works, and Spenser’s works in the music of his time. Two working poets inaugurate the final group of essays on Spenser’s poetry, with original, irreverent poetry reflecting and riffing on Spenser. The essays argue for various versions of revolution: one mixing aesthetics and sex, another diagnosing widespread fallacies (“expressivist” and “dramatistic”) made in reading Spenser, and the last arguing for a Spenser not of enormous interlocking networks, but of the moment: that the primary Spenserian structure is that of a moment of stillness-in-motion. With so much change behind us already in this young century, another series of changes emerges from recent work, and a sense of expectation, as of held breath, seems to pervade the discipline—that is the moment that this volume attempts to capture and nourish.