Poetic Deictics and Extra-Textual Reference (Mallarmé, Scève, Ronsard, Du Bellay)

2017 ◽  
Vol 56 (3) ◽  
pp. 351-365
Author(s):  
James Helgeson
Keyword(s):  
Twentieth Century ◽  
Early Modern ◽  
Early Modern Period ◽  
First Person ◽  
Modern Poetry ◽  
Modern Period ◽  
Early Modern Poetry ◽  
Poetic Expression

This study considers the effects of deictics, which are among the expressions called, in recent linguistics, and particularly cognitive pragmatics, ‘procedural’ expressions, in poetic expression in the first person. It examines a variety of examples drawn primarily from the early modern period (Scève, Ronsard, Du Bellay, Muret's and Belleau's commentaries on Ronsard), but with several modern points of comparison (Keats, Mallarmé). The article studies, in particular, the question of extra-textual reference in poetry and poetic commentary, arguing against an anachronistic understanding (based in nineteenth- and twentieth-century ideas about authorship) of the forms of early modern poetic reference and of the varieties of first-person action early modern poetry can instantiate.

THE TEMPEST AND THE BRITISH IMPERIUM IN 1611

1998 ◽  
Vol 41 (2) ◽  
pp. 375-400 ◽  
Author(s):  
TRISTAN MARSHALL
Keyword(s):  
Twentieth Century ◽  
Great Britain ◽  
Early Modern ◽  
Literary Criticism ◽  
Historical Context ◽  
Early Modern Period ◽  
Historical Reconstruction ◽  
The Tempest ◽  
Modern Period ◽  
Proper Context

Recent moves by New Historicists to evaluate theatrical material from the early modern period have been at the expense of what historians would recognize as acceptable use of historical context. One of the most glaring examples of the dangers of taking a play out of such a proper context has been The Tempest. The play has had a great deal of literary criticism devoted to it, attempting to fit it into comfortable twentieth-century clothing in regard to its commentary on empire, at the expense of what the play's depiction of imperialism meant for the year 1611 when it was written. The purpose of this paper will therefore be to suggest that the play does not actually call into question the Jacobean process of colonization across the Atlantic at all, and suggests that of more importance for its audience would have been the depiction of the hegemony of the island nation of Great Britain as recreated in 1603. Such a historical reconstruction is helped through contrasting Shakespeare's play with the Jonson, Chapman, and Marston collaboration, Eastward Ho, as well as with the anonymous Masque of Flowers and Chapman's Memorable Masque. These works will be used to illustrate just what colonialism might mean for the Jacobean audience when the Virginia project was invoked and suggest that an American tale The Tempest is not.

A brief history of endocrinology

2011 ◽  
pp. 3-7
Author(s):  
Robert Arnott
Keyword(s):  
Twentieth Century ◽  
Early Modern ◽  
Early Modern Period ◽  
Endocrine Disease ◽  
Modern Period ◽  
History Of

This chapter traces the history of endocrinology, principally through the nineteenth and the beginning of the twentieth centuries, but also looks further back to antiquity and the early modern period when the function of the glandular system was beginning to be recognized and partly understood. It also takes us through to later in the twentieth century, when therapeutics were developed that could tackle endocrine disease, and at the significant discoveries and those scientists and clinicians who made them, placing them in context of what appears later in this volume.

Telling Tales with Machines

2020 ◽  
pp. 82-106
Author(s):  
Fiona Macintosh ◽  
Justine McConnell
Keyword(s):  
Twentieth Century ◽  
Early Modern ◽  
Technological Innovation ◽  
Early Modern Period ◽  
Fifth Century ◽  
Time And Space ◽  
Modern Period

The connections between epic performances and technological innovation are longstanding, dating from the invention of the mechane in the fifth century BCE. In the early modern period they encompass Inigo Jones’ extraordinary scenic innovations, which he introduced in direct imitation of the Italians for the Court Masques in England from 1604 to 1640. With his complex machinery, Jones was able to effect movement across time and space and, especially, for the gods in his retellings. These scenic innovations, which were to endure for at least the next two-and-a-half centuries, were in many ways dictated by, and heavily dependent upon, epic’s divine machinery, its spectacular encounters and its multiple locations. Yet in 1781 the philosopher and critic James Harris praises Sophocles’ Oedipus Tyrannus and George Lillo’s Fatal Curiosity (1737) because they both avoid ‘using Machines, Deities, Prodigies, Spectres or anything else incomprehensible, or incredible’. The ‘merveilleux’ of tragedy, and especially the machines used to usher it into the action, were now deemed deeply problematic in the theatre of bourgeois realism. Throughout the nineteenth and for much of the twentieth century, the machinery associated with the gods was confined to ballet and opera. In recent years, however, in what is regularly dubbed the contemporary ‘posthuman’ world, where the boundaries between human and machine are increasingly blurred and artificial intelligences are not merely tools but potentially independent agencies, thinking about gods from machines has taken on new resonances.

scholarly journals Peasant Revolts as Anti-Authoritarian Archetypes for Radical Buddhism in Modern Japan

2016 ◽  
Vol 5 (1) ◽  
pp. 3-21
Author(s):  
James Mark Shields
Keyword(s):  
Twentieth Century ◽  
Early Modern ◽  
East Asian ◽  
Early Modern Period ◽  
Significant Component ◽  
Meiji Period ◽  
Modern Period ◽  
Early Twentieth Century ◽  
Modern Japan ◽  
Popular Contention

The late Meiji period (1868–1912) witnessed the birth of various forms of “progressive” and “radical” Buddhism both within and beyond traditional Japanese Buddhist institutions. This paper examines several historical precedents for “Buddhist revolution” in East Asian—and particularly Japanese—peasant rebellions of the early modern period. I argue that these rebellions, or at least the received narratives of such, provided significant “root paradigms” for the thought and practice of early Buddhist socialists and radical Buddhists of early twentieth century Japan. Even if these narratives ended in “failure”—as, indeed, they often did—they can be understood as examples of what James White calls “expressionistic action,” in which figures act out of interests or on the basis of principle without concern for “success.” Although White argues that: “Such expressionistic action was not a significant component of popular contention in Tokugawa Japan”—that does not mean that the received tales were not interpreted in such a fashion by later Meiji, Taishō and Shōwa-era sympathizers.

“Hanged for a Witch”

2020 ◽  
pp. 10-35
Author(s):  
Paul B. Moyer
Keyword(s):  
New England ◽  
Early Modern ◽  
Early Modern Period ◽  
First Person ◽  
Modern Period

This chapter presents a narrative of witch-hunting in New England between the late 1630s and 1670 and begins the process of placing it in the broader context of the English Atlantic. It examines the process by which cases of occult crime took shape. It also illuminates the transatlantic dimensions of witch prosecutions in the Puritan colonies and addresses questions essential to understanding the phenomenon of witch-hunting in the early modern period. The chapter mentions Alice Young of Windsor, Connecticut who appears to have been the first person executed for witchcraft in New England. It investigates how Young's execution marked the beginning of an intense period of witch-hunting in New England.

Public Appearance and Criminal Judicial Practices in Early Modern Germany

1996 ◽  
Vol 20 (2) ◽  
pp. 259-279 ◽  
Author(s):  
Maria R. Boes
Keyword(s):  
Twentieth Century ◽  
Seventeenth Century ◽  
Early Modern ◽  
Early Modern Period ◽  
Frankfurt Am Main ◽  
Modern Germany ◽  
Modern Period ◽  
Dna Sampling ◽  
Police Forces

One of the most fascinating aspects of criminal adjudication is the method of identifying the criminal. Who committed the crime? While crime-detecting agents of the twentieth century use an array of sophisticated methods, such as fingerprinting, psychology, and, most recently, DNA sampling, no such methods were available to their sixteenth- and seventeenth-century counterparts. In fact, during the early modern period there were hardly any police forces to speak of. How, then, did contemporaries detect and report their culprits? Here I address these intriguing questions using an urban case study of Frankfurt am Main from 1562 to 1696.

3. Rationalism and empiricism

2014 ◽  
Author(s):  
Jennifer Nagel
Keyword(s):  
Early Modern ◽  
Rene Descartes ◽  
Early Modern Period ◽  
First Person ◽  
Human Beings ◽  
Modern Period ◽  
René Descartes ◽  
Third Person ◽  
Ways Of Thinking

‘Rationalism and empiricism’ considers the different ways of thinking about nature that emerged in the Early Modern period, illustrated by René Descartes' rationalism and John Locke's empiricism. How did they come to produce such different theories of knowledge? In the Meditations, Descartes takes a first-person approach: his guiding question is ‘What can I know for certain?’. Locke adopts a third-person approach, drawing on his observations of others alongside himself. The question Locke aims to answer is ‘What do human beings know?’. In modern terminology, the choice between taking a first-person or a third-person approach is the choice between ‘internalism’ and ‘externalism’.

Mary in the Work of Redemption

2019 ◽  
pp. 302-319
Author(s):  
Robert Fastiggi
Keyword(s):  
Twentieth Century ◽  
Early Modern ◽  
Vatican Ii ◽  
Early Modern Period ◽  
Roman Catholic ◽  
Eastern Orthodox ◽  
Current State ◽  
Modern Period ◽  
Early Twentieth Century

This chapter provides an overview of Mary’s role in the work of redemption and her mediation of grace. The focus is on Roman Catholic Mariology, but Eastern Orthodox and Protestant perspectives are also covered. The chapter begins with Scripture and continues with a survey of Patristic understandings of Mary as the New Eve and Mediatrix of grace. It continues with medieval developments and moves into the early modern period when the title ‘Coredemptrix’ begins to be used more frequently. The next section considers various commissions, controversies, and papal supports for Mary as the unique collaborator in the work of redemption and the Mediatrix of all grace. The chapter then moves into discussions over Marian co-redemption and mediation from the early twentieth century through Vatican II. Attention is given to recent petitions to declare Mary as Coredemptrix and Mediatrix of all grace and the current state of the question.

Sound and Writing: Complementary Facets of the Anglo-Scottish Ballad

2010 ◽  
Vol 7 (2) ◽  
pp. 139-165
Author(s):  
DAVID ATKINSON
Keyword(s):  
Twentieth Century ◽  
Early Modern ◽  
Early Modern Period ◽  
Vocal Performance ◽  
Hierarchical Relationship ◽  
Modern Period ◽  
Metaphysics Of Presence ◽  
Different Levels

AbstractThe Anglo-Scottish ‘traditional’ ballad has coexisted in the different media of sound and writing from the early modern period to the present day. Nevertheless, it became the orthodoxy in the twentieth century that the ballad should be conceptually tied to its vocal performance. This essay seeks to argue that in fact a hierarchy of documentation that privileges sound is misleading. Rather, the ballad has always been, and remains, accessible through complementary media, fulfilling different purposes and following different conventions.It considers different levels of music-writing (‘prescriptive’ and ‘descriptive’) and the non-indexical relationship between sound and writing in the ontology of music. It goes on to relate the privileging of sound over writing to the ‘metaphysics of presence’, and offers theoretical reasons as to why both sound and writing can in fact be divorced from the metaphysics of presence. A further analogy is offered with the work of the text and music editor in establishing a ‘set of instructions’ for the reconstruction of the ‘work’. Some pragmatic examples and theoretical principles are considered in relation to how ballad words might be transcribed, leading to the conclusion that different and complementary sets of instructions facilitate access to the intangible ballad, without the need to posit any hierarchical relationship between sound and writing.

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