Paul Hammond – författare

Who are ''the people'' in Milton''s writing? They figure prominently in his texts from early youth to late maturity, in his poetry and in his prose works; they are invoked as the sovereign power in the state and have the right to overthrow tyrants; they are also, as God''s chosen people, the guardians of the true Protestant path against those who would corrupt or destroy the Reformation. They are entrusted with the preservation of liberty in both the secular and the spiritual spheres. And yet Milton is uncomfortably aware that the people are rarely sufficiently moral, pure, intelligent, or energetic to discharge those responsibilities which his political theory and his theology would place upon them. When given the freedom to choose, they too often prefer servitude to freedom. Milton and the People traces the twists and turns of Milton''s terminology and rhetoric across the whole range of his writings, in verse and prose, as he grapples with the problem that the people have a calling to which they seem not to be adequate. Indeed, they are often referred to not as ''the people'' but as ''the vulgar'', as well as ''the rude multitude'', ''the rabble'', and even as ''scum''. Increasingly his rhetoric imagines that liberty or salvation may lie not with the people but in the hands of a small group or even an individual. An additional thread which runs through this discussion is Milton''s own self-image: as he takes responsibility for defining the vocation of the people, and for analysing the causes of their defection from that high calling, his own role comes under scrutiny both from himself and from his enemies.

This book reads tragedy as a genre in which the protagonist is estranged from the world around him, and, displaced in time, space, and language, comes to inhabit a milieu which is no longer shared by other characters. This alienation from others also entails a decomposition of the integrity of the individual, which is often seen in tragedy''s uncertainty about the protagonists'' autonomy: do they act, or do the gods act through them? Where are the boundaries of theself, and the boundaries of the human? After an introductory essay exploring the theatrical and linguistic means by which the protagonist is made to inhabit a strange and singular world, the book devotes essays to plays from classical, renaissance, and neo-classical literature by Aeschylus,Sophocles, Seneca, Shakespeare, and Racine. Close attention is paid to the linguistic strangeness of the texts which is often smoothed over by editors and translators, as it is through the weirdness of tragic language that the deep estrangement of the characters is shown. Accordingly, the Greek, Latin, and French texts are quoted in the originals, with translations added, and attention is paid to textual cruces which illustrate the linguistic and conceptual difficulties of theseplays.

This book reads tragedy as a genre in which the protagonist is estranged from the world around him, and, displaced in time, space, and language, comes to inhabit a milieu which is no longer shared by other characters. This alienation from others also entails a decomposition of the integrity of the individual, which is often seen in tragedy''s uncertainty about the protagonists'' autonomy: do they act, or do the gods act through them? Where are the boundaries of theself, and the boundaries of the human? After an introductory essay exploring the theatrical and linguistic means by which the protagonist is made to inhabit a strange and singular world, the book devotes essays to plays from classical, renaissance, and neo-classical literature by Aeschylus,Sophocles, Seneca, Shakespeare, and Racine. Close attention is paid to the linguistic strangeness of the texts which is often smoothed over by editors and translators, as it is through the weirdness of tragic language that the deep estrangement of the characters is shown. Accordingly, the Greek, Latin, and French texts are quoted in the originals, with translations added, and attention is paid to textual cruces which illustrate the linguistic and conceptual difficulties of theseplays.

Every major poet or philosopher develops their own distinctive semantic field around those terms which matter most to them, or which contribute most profoundly to the imagined world of a particular work. This book explores the specific meanings which Milton develops around key words in Paradise Lost.Some of these are theological or philosophical terms (e.g. ''evil'', ''grace'', ''reason''); others are words which shape the imagined world of the poem (e.g. ''dark'', ''fall'', ''within''); yet others are small words or even prefixes which subtly move the argument in new directions (e.g. ''if'', ''not'', ''re-''). Milton seems to expect his readers to be alert to the special semantic field which he creates around such words, often by infusing them with biblical and literary connotations, and activating theiretymological roots; alert also to the patterns created by the repetitions of such words, and particularly to their diverse use (and often their blatant misuse) by different characters. To understand the migrations and malleability of key words is part of the education of Milton''s reader.

Every major poet or philosopher develops their own distinctive semantic field around those terms which matter most to them, or which contribute most profoundly to the imagined world of a particular work. This book explores the specific meanings which Milton develops around key words in Paradise Lost.Some of these are theological or philosophical terms (e.g. ''evil'', ''grace'', ''reason''); others are words which shape the imagined world of the poem (e.g. ''dark'', ''fall'', ''within''); yet others are small words or even prefixes which subtly move the argument in new directions (e.g. ''if'', ''not'', ''re-''). Milton seems to expect his readers to be alert to the special semantic field which he creates around such words, often by infusing them with biblical and literary connotations, and activating theiretymological roots; alert also to the patterns created by the repetitions of such words, and particularly to their diverse use (and often their blatant misuse) by different characters. To understand the migrations and malleability of key words is part of the education of Milton''s reader.

This volume offers a series of fresh explorations of the life, writing, and reputation of John Milton. The ten papers take us inside Milton's verse and prose, into the context of the events and the intellectual debates within which they were written, and into the later worlds within which his reputation evolved and fluctuated. Key topics discussed include: his political beliefs and career; the characteristics of his poetry - especially Paradise Lost; the literary influences upon his verse; his perception of women; and the ways he has been seen since his death. John Milton: Life, Writing, Reputation will be essential reading not only for scholars and students of literature, but for all those interested in Milton's work and reputation over the last four centuries.

The English Civil War was not simply a conflict between two opposing, unstable, complicated alliances of various factions, but a war of words. Supporters of the King and allies of Parliament and the New Model Army clashed over ideals, ideas, and concepts as they each sought to impose their understanding of history and visions of the future, realizing that victory could only be secured by establishing a political and cultural language that would guide and direct those who used it. Accordingly, the Civil War witnessed vociferous arguments over many key English words central to life and thought in the seventeenth century, and often up to the present day. Words at War seeks to bring together scholars of literature, history, religion, and philosophy to analyse the ways in which key terms were deployed and debated in the Civil War and Commonwealth. In doing so it refocuses attention on ideas and concepts that shaped the modern world well beyond the bloody conflict on the battlefield.

This book examines the uses which Dryden makes of Latin in his poetry and his critical writing, firstly through quotation and allusion, and secondly through formal translation. The first half explores the paradox that Dryden's sense of himself as a modern English writer is often articulated by means of a turn to classical Latin, while the contemporary English nation is conceptualized through references to ancient Rome. The second half offers readings of Dryden's translations from Horace, Juvenal, Lucretius, Ovid, and Virgil, culminating in a long essay on Dryden's Aeneis. Dryden used translation from the Latin poets as a way of exploring new territory: in the public sphere, to engage with empire and its loss, and in the private world, to contemplate selfhood and its dissolution. In following the varied traces of Rome in the texture of Dryden's writing, and by emphasizing his continual engagement with mutability and metamorphosis, this book argues the case for Dryden as a thoughtful, humanistic poet.

This volume is designed to celebrate and re-assess the work of John Dryden (1631-1700) in the tercentenary year of his death. It assembles specially-commissioned essays by an international team of scholars who address Dryden's political writing, drama, and translations, his literary collaborations, contemporary reputation, and posthumous reception. Much of Dryden's work was written in response to contemporary events and issues, and several of the essays in this volume discuss the personal and public circumstances in which his works were composed and received, exploring his responses to popular politics, and his relations with Congreve, Milton, Purcell, and Shadwell. But Dryden's intellectual and imaginative world was also shaped by the work of his literary predecessors, and so the collection charts his creative engagement with classical poetry, especially Homer and Virgil. Other essays attend to his poetic self-representation, his philosophical vision, and the problem of editing Dryden's poetry for a modern readership. The collection as a whole presents him as a writer not only for an age, but for all time.

Paul Hammond explores how sexual relationships between men were represented in English literature during the seventeenth century. Figuring Sex between Men from Shakespeare to Rochester is built around two principal themes: firstly the literary strategies through which writers created imagined spaces for the expression of homosexual desire; and secondly the ways in which such texts were subsequently edited and adapted to remove these references to sex between men. The author begins with a wide-ranging analysis of the forms in which both homosexual desire and homophobic hatred were expressed in the period, focusing on the problems of defining male relationships, the erotic dimension to male friendships, and the uses of classical settings. Subsequent chapters offer four case studies. The first focuses on how Shakespeare adapted his sources to introduce the possibility of sexual relations between male characters, with special attention to Twelfth Night, The Merchant of Venice, and the Sonnets, and shows how these elements were removed in later adaptations of his plays and poems. Subsequent chapters chart the often satirical representation of homosexual rulers from James I to William III; the ambiguous sexuality figured in the poetry of Andrew Marvell; and the libertine homoeroticism of the poetry of the Earl of Rochester. Paul Hammond draws on a wide range of poems, plays, letters, and pamphlets, and discusses a substantial amount of previously unknown material from both printed and manuscript sources.

Paul Hammond explores how sexual relationships between men were represented in English literature during the seventeenth century. Figuring Sex between Men from Shakespeare to Rochester is built around two principal themes: firstly the literary strategies through which writers created imagined spaces for the expression of homosexual desire; and secondly the ways in which such texts were subsequently edited and adapted to remove these references to sex between men. The author begins with a wide-ranging analysis of the forms in which both homosexual desire and homophobic hatred were expressed in the period, focusing on the problems of defining male relationships, the erotic dimension to male friendships, and the uses of classical settings. Subsequent chapters offer four case studies. The first focuses on how Shakespeare adapted his sources to introduce the possibility of sexual relations between male characters, with special attention to Twelfth Night, The Merchant of Venice, and the Sonnets, and shows how these elements were removed in later adaptations of his plays and poems. Subsequent chapters chart the often satirical representation of homosexual rulers from James I to William III; the ambiguous sexuality figured in the poetry of Andrew Marvell; and the libertine homoeroticism of the poetry of the Earl of Rochester. Paul Hammond draws on a wide range of poems, plays, letters, and pamphlets, and discusses a substantial amount of previously unknown material from both printed and manuscript sources.

This book is at once an edition of Shakespeare's Sonnets and a guide to how to read these exquisite and complex poems. It is designed both for readers new to the poems and for those who are familiar with the Sonnets but are ready to engage with them afresh. It is the only current edition which provides an original-spelling text of the poems: that is, it prints the poems as they appeared in the first edition, Shake-speares Sonnets (1609), preserving the spelling, punctuation, italics, and capitalization of the original, with only minor interventions where that edition manifestly needs correction. The advantages (and occasional hazards) of reading an original-spelling text are explained, and detailed help is provided in order to assist readers who may be unfamiliar with the conventions of early-modern spelling and punctuation.

Every major poet or philosopher develops their own distinctive semantic field around those terms which matter most to them, or which contribute most profoundly to the imagined world of a particular work. This book explores the specific meanings which Milton develops around key words in Paradise Lost. Some of these are theological or philosophical terms (e.g. 'evil', 'grace', 'reason'); others are words which shape the imagined world of the poem (e.g. 'dark', 'fall', 'within'); yet others are small words or even prefixes which subtly move the argument in new directions (e.g. 'if', 'not', 're-'). Milton seems to expect his readers to be alert to the special semantic field which he creates around such words, often by infusing them with biblical and literary connotations, and activating their etymological roots; alert also to the patterns created by the repetitions of such words, and particularly to their diverse use (and often their blatant misuse) by different characters. To understand the migrations and malleability of key words is part of the education of Milton's reader.

Every major poet or philosopher develops their own distinctive semantic field around those terms which matter most to them, or which contribute most profoundly to the imagined world of a particular work. This book explores the specific meanings which Milton develops around key words in Paradise Lost.Some of these are theological or philosophical terms (e.g. 'evil', 'grace', 'reason'); others are words which shape the imagined world of the poem (e.g. 'dark', 'fall', 'within'); yet others are small words or even prefixes which subtly move the argument in new directions (e.g. 'if', 'not', 're-'). Milton seems to expect his readers to be alert to the special semantic field which he creates around such words, often by infusing them with biblical and literary connotations, and activating their etymological roots; alert also to the patterns created by the repetitions of such words, and particularly to their diverse use (and often their blatant misuse) by different characters. To understand the migrations and malleability of key words is part of the education of Milton's reader.

When our great monarch into exile went,Wit and religion suffered banishment...At length the Muses stand restored againTo that great charge which Nature did ordain.In these lines Dryden represents the restoration of the monarchy in 1660 as the restoration, too, of literary culture. If wit had been banished along with the exiled Charles, his return marked a flowering of a rich variety of genres after the turbulent years of the civil war and republic. This anthology brings together a stimulating and entertaining collection of works from this confident and creative period - a literature which is by turns refined, poignant, and brash. Alongside major works such as Dryden's Absalom and Achitophel and Mac Flecknoe, printed in their entirety, is a substantial group of lyrics by Rochester, while Milton's Paradise Lost provides a running commentary on the Restoration scene. Scurrilous satires and pamphlets, diaries, theatrical prologues, translations and striking work by women poets and autobiographers illustrate the period in politics, religion, philosophy and in attitudes to town and country, love and friendship.Anonymous works sit side by side with the great names - Marvell, Wycherley, Margaret Cavendish, Aphra Behn, John Evelyn and Samuel Pepys - while several poems are printed from manuscript sources for the first time, allowing us to hear new voices from a period famous for producing a thoroughly uninhibited literature. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

This book reads tragedy as a genre in which the protagonist is estranged from the world around him, and, displaced in time, space, and language, comes to inhabit a milieu which is no longer shared by other characters. This alienation from others also entails a decomposition of the integrity of the individual, which is often seen in tragedy's uncertainty about the protagonists' autonomy: do they act, or do the gods act through them? Where are the boundaries of the self, and the boundaries of the human? After an introductory essay exploring the theatrical and linguistic means by which the protagonist is made to inhabit a strange and singular world, the book devotes essays to plays from classical, renaissance, and neo-classical literature by Aeschylus, Sophocles, Seneca, Shakespeare, and Racine. Close attention is paid to the linguistic strangeness of the texts which is often smoothed over by editors and translators, as it is through the weirdness of tragic language that the deep estrangement of the characters is shown. Accordingly, the Greek, Latin, and French texts are quoted in the originals, with translations added, and attention is paid to textual cruces which illustrate the linguistic and conceptual difficulties of these plays.

Who are 'the people' in Milton's writing? They figure prominently in his texts from early youth to late maturity, in his poetry and in his prose works; they are invoked as the sovereign power in the state and have the right to overthrow tyrants; they are also, as God's chosen people, the guardians of the true Protestant path against those who would corrupt or destroy the Reformation. They are entrusted with the preservation of liberty in both the secular and the spiritual spheres. And yet Milton is uncomfortably aware that the people are rarely sufficiently moral, pure, intelligent, or energetic to discharge those responsibilities which his political theory and his theology would place upon them. When given the freedom to choose, they too often prefer servitude to freedom. Milton and the People traces the twists and turns of Milton's terminology and rhetoric across the whole range of his writings, in verse and prose, as he grapples with the problem that the people have a calling to which they seem not to be adequate. Indeed, they are often referred to not as 'the people' but as 'the vulgar', as well as 'the rude multitude', 'the rabble', and even as 'scum'. Increasingly his rhetoric imagines that liberty or salvation may lie not with the people but in the hands of a small group or even an individual. An additional thread which runs through this discussion is Milton's own self-image: as he takes responsibility for defining the vocation of the people, and for analysing the causes of their defection from that high calling, his own role comes under scrutiny both from himself and from his enemies.

Franz Boas, the founding figure of anthropology in America, came to the United States from Germany in 1886. This volume in the History of Anthropology series explores the extent and significance of Boas' roots in the German intellectual tradition and late-19th century German anthropology.

John Oldham (1653-1883) was one of the most important English poets of the later seventeenth century. He was largely responsible for the development of the classical imitation and was much admired by Dryden, Pope and Johnson. However, he has suffered much critical neglect, and this 1983 book was the first critical study devoted to his poetry. In the first two chapters Dr Hammond covers Oldham's early years and his first attempts at writing poetry. Since the manuscript drafts of his poems survive, we have the rare opportunity to watch a poet's mind at work, and we can follow him as he restrains his addiction to harsh rhythms and crude language. Subsequent chapters consider Oldham's recreative translations of Horace, Juvenal and Boileau. Apart from showing how these came to invigorate English poetry, the author explores the ways in which Latin and French culture was handled in the Restoration period.

Alexander Pope was the foremost poet of early eighteenth-century England, but he was also a prolific prose writer. This anthology is intended to make Pope's major prose work more widely available. It includes the critical prefaces to his own work, to Homer, and to Shakespeare; the mock-critical treatises, A Key to the Lock and The Art of Sinking in Poetry which deride the poetry and criticism of Pope's opponents, and raise important questions about the principles of writing and interpretation; maliciously comic pamphlets attacking John Dervis, Stephen Duck, Edmund Curll, and Lord Hervey; and a selection from Pope's wide-ranging correspondence, which illustrates his genius for friendship, and his opinions on literature, politics, and religion. The volume complements the critical and moral concerns of Pope's poetry, documenting the controversies in which he was continuously engaged. Pope emerges as a gifted critic and a complex mixture of integrity and deviousness, a man concerned both for the culture of his day and for his public image.

John Dryden was the greatest writer of Restoration England. This third volume in the five-volume edition of Dryden's poems results from a complete reappraisal of the canon, text and context of his work. The modernised text has been prepared from a fresh examination of the early printed editions and takes account of the large number of manuscript copies which survived. This volume cover the poems which Dryden published between 1686-1693. Throughout the volume Dryden's language is glossed in unprecedented detail, revealing the poetic precision of his vocabulary.

Volume II covers the poems of Dryden from 1682 to 1685. Together with volume one, the work forms the first part of the most informative and accessible edition of Dryden's poetry, providing an invaluable resource for students of Restoration culture.

Volume Four covers poems published between 1693 and 1696, principally Dryden's translations from Juvenal and Persius, and those from Ovid and Homer included in the miscellany Examen Poeticum (1693). This new edition represents the most informative and accessible edition of Dryden's poetry, incorporating extensive new research and providing an invaluable resource for all those interested in English poetry and Restoration culture.

These first two volumes in a four-volume edition of Dryden's poems are the result of a complete reappraisal of the canon, text and context of his work. The text has been prepared from a fresh examination of the early printed editions, and takes account of the large number of manuscript copies which survive. Two recently discovered poems are included here for the first time. Headnotes to each poem provide details of the poem's date, publication history, sources and contemporary reception. Detailed explanations are given of the controversies addressed in his political poems, and particular attention is paid to Dryden's translations from classical writers including Virgil, Horace, Ovid and Lucretius.Volume I covers the poems of Dryden from 1649 to 1681.

Presenting in edited texts, with a editorial commentary, the complete non-dramatic poetry of Dryden's later years, this fifth and final volume in the series contains the text of his final collection, fables, including its prose dedication and preface, together with a number of other poems of the late 1690s, and some posthumously published items.

The Shadow and Its Shadow is a classic collection of writings by the Surrealists on their mad love of moviegoing. The forty-odd theoretical, polemical, and poetical re-visions of the seventh art in this anthology document Surrealism's scandalous and nonreductive take on film. Writing between 1918 and 1977, the essayists include such names as Andre Breton, Louis Aragon, Robert Desnos, Salvador Dali, Luis Bunuel, and man Ray, as well as many of the less famous though equally fascinating figures of the movement. Paul Hammond's introduction limns the history of Surrealist cinemania, highlighting how these revolutionary poets, artists, and philosophers sifted the silt of commercial--often Hollywood--cinema for the odd fleck of gold, the windfall movie that, somehow slipping past the censor, questioned the dominant order. Such prospecting pivoted around the notion of lyrical behavior--as depicted on the screen and as lived in the movie house. The representation of such behavior led the Surrealists to valorize the manifest content of such denigrated genres as silent and sound comedy, romantic melodrama, film noir, horror movies.As to lived experience, moviegoing Surrealists looked to the spectacle's latent meaning, reading films as the unwitting providers of redemptive sequences that could be mentally clipped out of their narrative context and inserted into daily life--there, to provoke new adventures. "Hammond's book is a reminder of the wealth and range of surrealist writings on the cinema...[T]he work represented here is still challenging and genuinely eccentric, locating itself in an 'ethic' of love, reverie and revolt." --Sight & Sound "Hammond, who is the author of the invaluable anthology The Shadow and its Shadow: Surrealist Writing on the Cinema (1978), writes about cinema independently of the changing academic and cultural fashions of film theory and abhors the dogmas of contemporary border-patrol thought. His magnetically appealing free-wheeling form of erudite film-critical writing is recognisable for its iconoclastic humour, non-authoritarian verve and playful witty discursivity." --John Conomos, Senses of Cinema Paul Hammond is a writer, editor, and translator living in Barcelona. He is the author of Constellations of Miro, Breton which was published by City Lights.

This volume completes the five-volume Longman Annotated Poets Edition of the poems of John Dryden, the major poet of Restoration England. It provides a modernized text along with full explanatory annotation. The poems include Dryden's spirited translation from Ovid, Homer, Chaucer, and Boccaccio.This volume presents, in newly-edited texts and with a substantial editorial commentary, the complete non-dramatic poetry of John Dryden’s later years. It contains the full text of Dryden’s final collection, Fables Ancient and Modern, including its prose Dedication and Preface, together with a number of other poems of the late 1690s, and some posthumously published items.