Nathan Dixon – författare

Annual volume of the best essays submitted to the Southeastern Renaissance Conference, this year with an emphasis on English drama, particularly Jonson and Marlowe.Renaissance Papers collects the best scholarly essays submitted each year to the Southeastern Renaissance Conference. The 2014 volume opens and closes with essays on historically based explorations of identity: the first onthe circle of Jane Scroop in Skelton's Philip Sparrow, and the last on dogs and horses as symbols of national identity in early modern England. The heart of this year's journal is English drama, especially Jonson and Marlowe: there are essays on Puritan logic in Jonson's Bartholomew Fair; grotesque sex in Jonson's Volpone; the role of anti-Catholicism in the creation of Marlowe's Dr. Faustus; and the relationship between puppetry and the Faust legend. Marlowe and Jonson also surface in two reconsiderations of their non-dramatic works; first an essay on Ovidian resonances in Marlowe's Hero and Leander, and second a reflection on Spenserian echoesin Jonson's Epode. The next essay shifts to the poetics of religious literature, arguing for clothing as an important metaphor for renewal in Herbert's The Temple, and the penultimate essay addresses imaginative resources in the Martin Marprelate pamphlets.Contributors: William Coulter, Philip Goldfarb, Chris Hill, Joanna Kucinski, Pamela Macfie, Sara Mayo, Barry Shelton, Emily Stockard, Lisa Ulevich, Emma Annette Wilson.The journal is edited by Jim Pearce of North Carolina Central University and Ward Risvold of the University of Georgia.

As income inequality soars, as industries become further mechanized, as the populace cries out for some semblance of a social safety net and corporations complain of too much regulation, we are long overdue for a strong dose of protest literature. This winner of the 15th annual BOA Short Fiction Prize features linked stories that indict the ultraconservative movement that emerged at the end of the Cold War and extends into present day.One strand of narratives follows a cohort of tea party conservatives—a politician, a radioman, and a televangelist—as their hyperbolic language shapes the world around them and leads to episodes of time travel and body horror. The second strand follows individuals victimized by conservative policy: their voices, their futures, their very bodies stripped from their possession. The final strand investigates the ways in which young conservatives have adapted the nostalgic rhetoric of their forebears to carry on the twin projects of minority oppression and environmental degradation—both of which they couch in the language of “freedom.”Radical Red is set in the South and parodies the stereotypes that are still so prevalent here. Although the characters are more than mere ciphers, they move through their semi-speculative world to illustrate ideas in the same way Richard Wright and Ursala Le Guin’s characters do.

Thiswinner of the 15th annual BOA Short Fiction Prize features linkedstories that indict the ultraconservative movement that emerged at the end ofthe Cold War and extends into present day.

One strand of narratives follows a cohort of tea partyconservatives—a politician, a radioman, and atelevangelist—as their hyperbolic languageshapes the world around them and leads to episodes of time travel and bodyhorror. The second strand follows individuals victimized by conservativepolicy: their voices, their futures, their very bodies stripped from theirpossession. The final strand investigates the ways in which young conservativeshave adapted the nostalgic rhetoric of their forebears to carry on the twinprojects of minority oppression and environmental degradation—both of which they couch in the language of “freedom.”

The book is set in the South and parodies the stereotypesthat are still so prevalent here. Although the characters are more than mereciphers, they move through their semi-speculative world to illustrate ideas inthe same way as Richard Wright and Ursala Le Guin’s characters.

As income inequality soars, as industries become further mechanized, asthe populace cries out for some semblance of a social safety net andcorporations complain of too much regulation, we are long overdue for a strongdose of protest literature.