front cover of Dangerous Drugs
Dangerous Drugs
The Self-Presentation of the Merchant-Poet Joannes Six van Chandelier (1620-1695)
Ronny Spaans
Amsterdam University Press, 2020
n the 17th century, the Dutch Republic was the centre of the world trade in exotic drugs and spices. They were sought after both as medicines, and as luxury objects for the bourgeois class, giving rise to a medical and moral anxiety in the Republic. This ambivalent view on exotic drugs is the theme of the poetry of Joannes Six van Chandelier (1620-1695). Six, who himself ran the drug shop ‘The Gilded Unicorn’ in Amsterdam, addresses a number of exotic medicines in his poems, such as musk, incense, the miracle drug theriac, Egyptian mumia, and even the blood of Charles I of England. In Dangerous Drugs, these texts are studied for the first time. The study shows how Six, through a process of self-presentation as a sober and restrained merchant, but also as a penitent sinner, thirsting for God’s grace, links early modern drug abuse to different desires, such as lust, avarice, pride and curiosity. The book shows also how an early modern debate on exotic drugs contributed to an important shift in early modern natural science, from a drug lore based on mythical and fabulous concepts, to a botany based on observation and systematic examination.
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front cover of The Matrix of Lyric Transformation
The Matrix of Lyric Transformation
Poetic Modes and Self-Presentation in Early Chinese Pentasyllabic Poetry
Cai Zong-qi
University of Michigan Press, 1997
Pentasyllabic poetry has been a focus of critical study since the appearance of the earliest works of Chinese literary criticism in the Six Dynasties period. Throughout the subsequent dynasties, traditional Chinese critics continued to examine pentasyllabic poetry as a leading poetic type and to compile various comprehensive anthologies of it.
The Matrix of Lyric Transformation enriches this tradition, using modern analytical methods to explore issues of self-expression and to trace the early formal, thematic, and generic developments of this poetic form. Beginning with a discussion of the Yüeh-fu and ku-shih genres of the Han period, Cai Zong-qi introdues the analytical framework of modes from Western literary criticism to show how the pentasyllabic poetry changed over time. He argues that changing practices of poetic composition effected a shift from a dramatic mode typical of folk compositions to a narrative mode and finally to lyric and symbolic modes developed in literati circles.
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Textual Rivals
Self-Presentation in Herodotus’ Histories
David Branscome
University of Michigan Press, 2013

Textual Rivals studies some of the most debated issues in Herodotean scholarship. One such is Herodotus’ self-presentation: the conspicuousness of his authorial persona is one of the most remarkable features of his Histories. So frequently does he interject first-person comments into the narrative that Herodotus at times almost becomes a character within his own text.

Important issues are tied to Herodotus’ self-presentation. First is the narrator’s relationship to truth: to what extent does he expect readers to trust his narrative? While judgments regarding Herodotus’ overall veracity have often been damning, scholars have begun to concentrate on how Herodotus presents his truthfulness. Second is the precise genre Herodotus means to create with his work. Excluding the anachronistic term historian, exactly what would Herodotus have called himself, as author? Third is the presence of “self-referential” characters, whose actions often mirror Herodotus’ as narrator/researcher, in the Histories.

David Branscome’s investigative text points to the rival inquirers in Herodotus’ Histories as a key to unraveling these interpretive problems. The rival inquirers are self-referential characters Herodotus uses to further his authorial self-presentation. Through the contrast Herodotus draws between his own exacting standards as an inquirer and the often questionable standards of those rivals, Herodotus underlines just how truthful readers should find his own work.

Textual Rivals speaks to those interested in Greek history and historiography, narratology, and ethnography. Those in the growing ranks of Herodotus fans will find much to invite and intrigue.

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front cover of William Faulkner
William Faulkner
Self-Presentation and Performance
By James G. Watson
University of Texas Press, 2000

In his life and writings, William Faulkner continually created and "performed" selves. Even in letters, he often played a part—gentleman dandy, soldier, farmer—while in his fictions these and other personae are counterpoised against one another to create a world of controlled chaos, made in Faulkner's own protean image and reflective of his own multiple sense of self.

In this groundbreaking book, James Watson draws on the entire Faulkner canon, including letters and photographs, to decipher the complicated ways in which Faulkner put himself forth as the artist he felt himself to be through written performances and displays based on the life he actually lived and the ones he imagined living. The topics Watson treats include the overtly performative aspects of The Sound and the Fury, self-presentation and performance in private records of Faulkner's life, the ways in which his complicated marriage and his relationships to male mentors underlie his fictions' recurring motifs of marriages and fatherhood, Faulkner's readings of Melville, Hawthorne, and Thoreau and the problematics of authorial sovereignty, his artist-as-God creation of a fictional cosmos, and the epistolary relationships with women that lie in the correspondence behind Requiem for a Nun.

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