M. L . Stapleton's Harmful Eloquence: Ovid's "Amores" from Antiquity to Shakespeare traces the influence of the early elegiac poetry of Ovid (43 b.c.e.-17 c.e.) on European literature from 500-1600 c.e. The Amores served as a classical model for love poetry in the Middle Ages and the Renaissance and were essential to the formation of fin' Amors, or "courtly love." Medieval Latin poets, the troubadours, Dante, Petrarch, and Shakespeare were all familiar with Ovid in his various forms, and all depended greatly upon his Amores in composing their cansos, canzoniere, and sonnets.
Harmful Eloquence begins with a detailed analysis of the Amores themselves and their artistic unity. It moves on to explain the fragmentary transmission of the Amores in the "Latin Anthology" and the cohesion of the fragments into the conventions of Medieval Latin and troubadour "courtly love" poetry. Two subsequent chapters explain the use of the Amores, their narrator, and the conventions of "courtly love" in the poetry of both Dante and Petrarch. The final chapter concentrates on Shakespeare's reprocessing and parody of this material in his sonnets.
Harmful Eloquence analyzes the intertextual transmission of the Amores in major medieval and Renaissance love poetry for the first time. No previous study has devoted itself exclusively to this Ovidian text in this particular way. The premise that Ovid consciously used the device of persona from the very beginning of his writing career is fully explored, as is the "Ovidian hypothesis" of Wilibald Schroetter. Connections between Dante's La vita nuova and the Amores are newly discovered; significant for Shakespeare studies, the use of Christopher Marlowe's translation of the Amores by Shakespeare in his "dark lady" sonnets is also carefully analyzed for the first time.
Medievalists, classicists, and scholars of Renaissance studies will find Harmful Eloquence particularly engaging and useful, as will all those interested in the process and methods of literary transmission.
M. L. Stapleton is Associate Professor of English, Stephen F. Austin University.
The author considers James’s work from The Bostonians to The Awkward Age – from 1883 to 1889 – a period in which James was resident in London and searching for material to replace the “international theme.” Jacobson considers this context in relation to the emergence of a mass market and sees James’s major fiction of this period as an attempt to exploit the conventions of popular fiction in an analysis of his society’s assumptions. James’s work at this time must also be viewed as an artist’s effort to secure popular attention and acceptance.
Such an approach allows Jacobson to treat James’s “French period” and his “experimental period” as a unit and to counter the myth that James was an ivory tower artist.
The prevailing assumption regarding the Victorians’ relationship to ancient Greece is that Greek knowledge constituted an exclusive discourse within elite male domains. Heretical Hellenism: Women Writers, Ancient Greece, and the Victorian Popular Imagination challenges that theory and argues that while the information women received from popular sources was fragmentary and often fostered intellectual insecurities, it was precisely the ineffability of the Greek world refracted through popular sources and reconceived through new fields of study that appealed to women writers’ imaginations.
Examining underconsidered sources such as theater history and popular journals, Shanyn Fiske uncovers the many ways that women acquired knowledge of Greek literature, history, and philosophy without formal classical training. Through discussions of women writers such as Charlotte Brontë, George Eliot, and Jane Harrison, Heretical Hellenism demonstrates that women established the foundations of a heretical challenge to traditional humanist assumptions about the uniformity of classical knowledge and about women’s place in literary history.
Heretical Hellenism provides a historical rationale for a more expansive definition of classical knowledge and offers an interdisciplinary method for understanding the place of classics both in the nineteenth century and in our own time.
From the beginning of his career, Alfred Hitchcock wanted to be considered an artist. Although his thrillers were immensely popular, and Hitchcock himself courted reviewers, he was, for many years, regarded as no more than a master craftsman. By the 1960s, though, critics began calling him an artist of unique vision and gifts. What happened to make Hitchcock's reputation as a true innovator and singular talent?
Through a close examination of Hitchcock's personal papers, scripts, production notes, publicity files, correspondence, and hundreds of British and American reviews, Robert Kapsis here traces Hitchcock's changing critical fortunes. Vertigo, for instance, was considered a flawed film when first released; today it is viewed by many as the signal achievement of a great director. According to Kapsis, this dramatic change occurred because the making of the Hitchcock legend was not solely dependent on the quality of his films. Rather, his elevation to artist was caused by a successful blending of self-promotion, sponsorship by prominent members of the film community, and, most important, changes in critical theory which for the first time allowed for the idea of director as auteur.
Kapsis also examines the careers of several other filmmakers who, like Hitchcock, have managed to cross the line that separates craftsman from artist, and shows how Hitchcock's legacy and reputation shed light on the way contemporary reputations are made. In a chapter about Brian De Palma, the most reknowned thriller director since Hitchcock, Kapsis explores how Hitchcock's legacy has affected contemporary work in—and criticism of—the thriller genre.
Filled with fascinating anecdotes and intriguing excerpts, and augmented by interviews with Hitchcock's associates, this thoroughly documented and engagingly written book will appeal to scholars and film enthusiasts alike.
"Required reading for Hitchcock scholars...scrupulously researched, invaluable material for those who continue to ask: what made the master tick?"—Anthony Perkins
India is the largest producer and consumer of feature films in the world, far outstripping Hollywood in the number of movies released and tickets sold every year. Cinema quite simply dominates Indian popular culture, and has for many decades exerted an influence that extends from clothing trends to music tastes to everyday conversations, which are peppered with dialogue quotes.
With House Full, Lakshmi Srinivas takes readers deep into the moviegoing experience in India, showing us what it’s actually like to line up for a hot ticket and see a movie in a jam-packed theater with more than a thousand seats. Building her account on countless trips to the cinema and hundreds of hours of conversation with film audiences, fans, and industry insiders, Srinivas brings the moviegoing experience to life, revealing a kind of audience that, far from passively consuming the images on the screen, is actively engaged with them. People talk, shout, whistle, cheer; others sing along, mimic, or dance; at times audiences even bring some of the ritual practices of Hindu worship into the cinema, propitiating the stars onscreen with incense and camphor. The picture Srinivas paints of Indian filmgoing is immersive, fascinating, and deeply empathetic, giving us an unprecedented understanding of the audience’s lived experience—an aspect of Indian film studies that has been largely overlooked.
How to Play a Poem
Don Bialostosky University of Pittsburgh Press, 2017 Library of Congress PN1042.B53 2017 | Dewey Decimal 808.1
Approaching poems as utterances designed and packaged for pleasurable reanimation, How to Play a Poem leads readers through a course that uses our common experience of language to bring poems to life. It mobilizes the speech genres we acquire in our everyday exchanges to identify “signs of life” in poetic texts that can guide our co-creation of tone. How to Play a Poem draws on ideas from the Bakhtin School, usually associated with fiction rather than poetry, to construct a user-friendly practice of close reading as an alternative to the New Critical formalism that still shapes much of teaching and alienates many readers. It sets aside stock questions about connotation and symbolism to guide the playing out of dynamic relations among the human parties to poetic utterances, as we would play a dramatic script or musical score. How to Play a Poem addresses critics ready to abandon New Criticism, teachers eager to rethink poetry, readers eager to enjoy it, and students willing to give it a chance, inviting them to discover a lively and enlivening way to animate familiar and unfamiliar poems.