Richard Rambuss – författare

Edmund Spenser (c. 1552-99) conducted two careers at once: a celebrated national poet, he also pursued a lifelong career as secretary to various political and ecclesiastical figures. Richard Rambuss's book explores the ways in which this latter career, usually allotted only a cursory mention in accounts of Spenser's professional and social ambitions, informed his poetic career. The study takes issue with prevailing historicist accounts which see Spenser's careerism as shaped entirely by service to the court and as focused on a single-minded pursuit of laureateship along a Virgilian career route from pastoral to epic. It presents an alternative picture, and argues that for Spenser the manipulation of secrets provided a strategy for self-promotion and a means of measuring his distance from royal and aristocratic power. Spenser's Secret Career throws light on Spenser and on ideas of gender, power and subjecthood in the Renaissance.

Edmund Spenser (c. 1552-99) conducted two careers at once: a celebrated national poet, he also pursued a lifelong career as secretary to various political and ecclesiastical figures. Richard Rambuss's book explores the ways in which this latter career, usually allotted only a cursory mention in accounts of Spenser's professional and social ambitions, informed his poetic career. The study takes issue with prevailing historicist accounts which see Spenser's careerism as shaped entirely by service to the court and as focused on a single-minded pursuit of laureateship along a Virgilian career route from pastoral to epic. It presents an alternative picture, and argues that for Spenser the manipulation of secrets provided a strategy for self-promotion and a means of measuring his distance from royal and aristocratic power. Spenser's Secret Career throws light on Spenser and on ideas of gender, power and subjecthood in the Renaissance.

“Crashaw is quite alone in his peculiar kind of greatness.” -T. S. EliotThis is the first new critical edition in more than forty years of an astounding and unjustly neglected poet of sacred eroticism and homoeroticism-the traditional yet nevertheless startling expression of ecstatic religious feeling in sexual terms. Flamboyant, experimental, and cosmopolitan in his literary and religious preferences, Richard Crashaw (ca. 1613–1649) wrote exultant, high-flying verse that remains the most sustained effort in English to render ecstasy poetically. Routinely misunderstood and at times even maligned for his supposed bad taste, Crashaw mixes the languages of erotic and religious rapture in powerful poems about holy women such as Mary Magdalene, Teresa of Ávila, and the Virgin Mary, but also in lyrics about Christ’s naked, crucified body, making Crashaw one of the queerest of religious poets.Presenting Crashaw to a new generation of readers, Richard Rambuss has newly edited all of his English poems, with modern spelling and full annotations. This volume replicates Crashaw’s books, the 1646 version of Steps to the Temple and Carmen Deo Nostro (1652), and includes his important verse letter to the Countess of Denbigh, as well as manuscript poems. Rambuss offers an extensive critical, biographical, and historical introduction that reassesses Crashaw and his significance and gives a chronology of the poet’s life.

Religion and sex, body and soul, sacred and profane: In Closet Devotions, Richard Rambuss traces the relays between these cultural formations by examining the issue of “sacred eroticism,” the literary or artistic expression of devotional feelings in erotic terms that has repeatedly occurred over the centuries. Rather than dismissing such expression as mere convention, Rambuss takes it seriously as a form of erotic discourse, one that gives voice to desires that, outside the sphere of sacred rapture, would otherwise be deemed taboo. Through startling rereadings of works ranging from the devotional verse of the metaphysical poets (Donne, Herbert, Crashaw, and Traherne) to photographer Andres Serrano’s controversial “Piss Christ,” from Renaissance religious iconography to contemporary gay porn, Rambuss uncovers the highly charged erotic imagery that suffuses religious devotional art and literature. And he explores one of Christian culture’s most guarded (and literal) closets-the prayer closet itself, a privileged space where the vectors of same-sex desire can travel privately between the worshiper and his or her God.Elegantly written and theoretically astute, Closet Devotions illuminates the ways in which sacred Christian devotion is homoeroticized, a phenomenon that until now has gone unexplored in current scholarship on religion, the body, and its passions. This book will attract readers across a wide array of disciplines, including gay and lesbian studies, literary theory and criticism, Renaissance studies, and religion.

Religion and sex, body and soul, sacred and profane: In Closet Devotions, Richard Rambuss traces the relays between these cultural formations by examining the issue of “sacred eroticism,” the literary or artistic expression of devotional feelings in erotic terms that has repeatedly occurred over the centuries. Rather than dismissing such expression as mere convention, Rambuss takes it seriously as a form of erotic discourse, one that gives voice to desires that, outside the sphere of sacred rapture, would otherwise be deemed taboo. Through startling rereadings of works ranging from the devotional verse of the metaphysical poets (Donne, Herbert, Crashaw, and Traherne) to photographer Andres Serrano’s controversial “Piss Christ,” from Renaissance religious iconography to contemporary gay porn, Rambuss uncovers the highly charged erotic imagery that suffuses religious devotional art and literature. And he explores one of Christian culture’s most guarded (and literal) closets-the prayer closet itself, a privileged space where the vectors of same-sex desire can travel privately between the worshiper and his or her God.Elegantly written and theoretically astute, Closet Devotions illuminates the ways in which sacred Christian devotion is homoeroticized, a phenomenon that until now has gone unexplored in current scholarship on religion, the body, and its passions. This book will attract readers across a wide array of disciplines, including gay and lesbian studies, literary theory and criticism, Renaissance studies, and religion.

A provocative re-reading of Stanley Kubrick's work and its focus on masculine desireThe work of Stanley Kubrick amounts to a sustained reflection on the male condition: past, present, and future. The persistent theme of his filmmaking is less violence or sex than it is the pressurized exertion of masculinity in unusual or extreme circumstances, where it may be taxed or exaggerated to various effects, tragic and comic—or metamorphosed, distorted, and even undone.The stories that Kubrick's movies tell range from global nuclear politics to the unpredictable sexual dynamics of a marriage; from a day in the life of a New York City prizefighter preparing for a nighttime bout to the evolution of humankind. These male melodramas center on sociality and asociality. They feature male doubles, pairs, and rivals. They explore the romance of men and their machines, and men as machines. They figure intensely conflicted forms of male sexual desire. And they are also very much about male manners, style, taste, and art.Examining the formal, thematic, and theoretical affiliations between Kubrick's three bodies of work—his photographs, his documentaries, and his feature films—Kubrick's Men offers new vantages on to the question of gender and sexuality, including the first extended treatment of homosexuality in Kubrick's male-oriented work.