Oliver Taplin
- Published in print:
- 2006
- Published Online:
- January 2012
- ISBN:
- 9780197263235
- eISBN:
- 9780191734328
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197263235.003.0001
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
This chapter looks at the here and now and the unselfconscious use of Greek and Latin writers by contemporary British and Irish poets. In 1973 an enterprising garland-maker collected together some ...
More
This chapter looks at the here and now and the unselfconscious use of Greek and Latin writers by contemporary British and Irish poets. In 1973 an enterprising garland-maker collected together some 850 translations from The Greek Anthology. Most of the versions by the fifty or so contributors were specially commissioned, and they included some excellent epigrams, some by poets already quite well known, including Fleur Adcock, Tony Harrison, Peter Levi, Edwin Morgan and Peter Porter. This discussion states that this volume marks a transition, from an age when a project like this had been primarily the preserve of scholars, and when classical poetry was predominantly the preserve of the few, to the present age when it has been opened up to a wide range of creative artists.Less
This chapter looks at the here and now and the unselfconscious use of Greek and Latin writers by contemporary British and Irish poets. In 1973 an enterprising garland-maker collected together some 850 translations from The Greek Anthology. Most of the versions by the fifty or so contributors were specially commissioned, and they included some excellent epigrams, some by poets already quite well known, including Fleur Adcock, Tony Harrison, Peter Levi, Edwin Morgan and Peter Porter. This discussion states that this volume marks a transition, from an age when a project like this had been primarily the preserve of scholars, and when classical poetry was predominantly the preserve of the few, to the present age when it has been opened up to a wide range of creative artists.
William Wootten
- Published in print:
- 2020
- Published Online:
- May 2021
- ISBN:
- 9781789627947
- eISBN:
- 9781800851054
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9781789627947.003.0006
- Subject:
- Literature, Poetry
This chapter focuses on poetry anthologies published in the 1950s and 1960s. Robert Conquest's 1956 Macmillan anthology New Lines was responsible for consolidating the arguments and personnel of the ...
More
This chapter focuses on poetry anthologies published in the 1950s and 1960s. Robert Conquest's 1956 Macmillan anthology New Lines was responsible for consolidating the arguments and personnel of the Movement in the public mind. This was achieved through his clear taste and agenda, New Lines' limited personnel of just nine poets, and the generous selections from the poets' work it contained. Another anthology published in the same year was G. S. Fraser's Poetry Now, where no less than 74 poets are represented. The contents list reveals that Fraser was acquainted with the work of many poets from all sides of the poetry world, while the introduction reveals him to be well informed on recent poetic trends. Penguin, the biggest British publisher at that time, also drew up a scheme for new poetry anthologies: a new edition of Kenneth Allott's Contemporary Verse; Poetry since the War, a book suggested by [C. B.] Cox and [A. E.] Dyson of the Critical Quarterly; and An Anthology of Twentieth Century Lyrics with an emphasis on the Georgian style and its inheritors to be edited by one John Smith.Less
This chapter focuses on poetry anthologies published in the 1950s and 1960s. Robert Conquest's 1956 Macmillan anthology New Lines was responsible for consolidating the arguments and personnel of the Movement in the public mind. This was achieved through his clear taste and agenda, New Lines' limited personnel of just nine poets, and the generous selections from the poets' work it contained. Another anthology published in the same year was G. S. Fraser's Poetry Now, where no less than 74 poets are represented. The contents list reveals that Fraser was acquainted with the work of many poets from all sides of the poetry world, while the introduction reveals him to be well informed on recent poetic trends. Penguin, the biggest British publisher at that time, also drew up a scheme for new poetry anthologies: a new edition of Kenneth Allott's Contemporary Verse; Poetry since the War, a book suggested by [C. B.] Cox and [A. E.] Dyson of the Critical Quarterly; and An Anthology of Twentieth Century Lyrics with an emphasis on the Georgian style and its inheritors to be edited by one John Smith.
Ron Rodman
- Published in print:
- 2009
- Published Online:
- February 2010
- ISBN:
- 9780195340242
- eISBN:
- 9780199863778
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195340242.003.0003
- Subject:
- Music, Popular, History, American
This chapter examines the function of music as a veritable navigator through television “flow,” a term coined by Raymond Williams to describe the chain of texts (programs, commercials, station ...
More
This chapter examines the function of music as a veritable navigator through television “flow,” a term coined by Raymond Williams to describe the chain of texts (programs, commercials, station breaks, etc.) that are broadcast on television through chronological time. Music is used to delineate three discursive, or narrative, spaces: the extradiegetic, the intradiegetic, and the diegetic, terms that are borrowed from Gérard Genette's theory of narrative agency. This chapter concludes with a comparative analysis of two early television dramatic anthology series, a 1949 episode of The Philco Television Playhouse and a 1963 episode of The Twilight Zone, wherein music serves as narrator on several levels.Less
This chapter examines the function of music as a veritable navigator through television “flow,” a term coined by Raymond Williams to describe the chain of texts (programs, commercials, station breaks, etc.) that are broadcast on television through chronological time. Music is used to delineate three discursive, or narrative, spaces: the extradiegetic, the intradiegetic, and the diegetic, terms that are borrowed from Gérard Genette's theory of narrative agency. This chapter concludes with a comparative analysis of two early television dramatic anthology series, a 1949 episode of The Philco Television Playhouse and a 1963 episode of The Twilight Zone, wherein music serves as narrator on several levels.
G. O. Hutchinson
- Published in print:
- 2008
- Published Online:
- September 2008
- ISBN:
- 9780199279418
- eISBN:
- 9780191707322
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199279418.003.0001
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
The history of structuring and reading books is surveyed in the Greek 3rd century and the Latin 1st century BC. Many illustrations of papyri are given. Papyri are seen to show ways of reading that ...
More
The history of structuring and reading books is surveyed in the Greek 3rd century and the Latin 1st century BC. Many illustrations of papyri are given. Papyri are seen to show ways of reading that relate juxtaposed items and pursue sequences; the composition of the interconnected book is linked with readers' private active creation of personal collections (anthologies). Intense and scholarly modes of reading are available, and attested by marginalia and abundant commentaries, etc. The differences in reading Greek, older Latin, and contemporary Latin poetry are shown. The environments and circumstances of reading in the late Republic are explored (including libraries).Less
The history of structuring and reading books is surveyed in the Greek 3rd century and the Latin 1st century BC. Many illustrations of papyri are given. Papyri are seen to show ways of reading that relate juxtaposed items and pursue sequences; the composition of the interconnected book is linked with readers' private active creation of personal collections (anthologies). Intense and scholarly modes of reading are available, and attested by marginalia and abundant commentaries, etc. The differences in reading Greek, older Latin, and contemporary Latin poetry are shown. The environments and circumstances of reading in the late Republic are explored (including libraries).
Herbert F. Tucker
- Published in print:
- 2008
- Published Online:
- May 2008
- ISBN:
- 9780199232987
- eISBN:
- 9780191716447
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199232987.003.0011
- Subject:
- Literature, Poetry
Having rescued the epic muse from the usages of the novel, heroic myth declined towards the fin de siècle into a Victorian museum collectible. The characteristic form for epic after 1870 became the ...
More
Having rescued the epic muse from the usages of the novel, heroic myth declined towards the fin de siècle into a Victorian museum collectible. The characteristic form for epic after 1870 became the anthology of tales, organized by deep, reflexive belief in civilized progress. Classical antiquity (Lewis Morris), Ireland and the South Seas (de Vere, Ferguson, Domett), the world's religions (Owen Meredith, Edwin Arnold), natural history and English history too (Blind, Palgrave) — all found place in epics whose plots were folded into the meta-narrative of a progressive evolution that had produced imperial modernity as its crowning vantage. Against this escalation of claims greater poets of the day, Morris and Swinburne, pitched their epic dissent, maintaining in plots of singular catastrophe tragedy's resistance to assimilation by the Gilded Age, and stubbornly enshrining the scandal of tragic joy where the newcomer Yeats might recruit it for fresh political purposes. The epic logic of eclectic retrospect meanwhile bred a scholarly subgenre in comprehensive, multi-volumed literary, national, and anthropological histories.Less
Having rescued the epic muse from the usages of the novel, heroic myth declined towards the fin de siècle into a Victorian museum collectible. The characteristic form for epic after 1870 became the anthology of tales, organized by deep, reflexive belief in civilized progress. Classical antiquity (Lewis Morris), Ireland and the South Seas (de Vere, Ferguson, Domett), the world's religions (Owen Meredith, Edwin Arnold), natural history and English history too (Blind, Palgrave) — all found place in epics whose plots were folded into the meta-narrative of a progressive evolution that had produced imperial modernity as its crowning vantage. Against this escalation of claims greater poets of the day, Morris and Swinburne, pitched their epic dissent, maintaining in plots of singular catastrophe tragedy's resistance to assimilation by the Gilded Age, and stubbornly enshrining the scandal of tragic joy where the newcomer Yeats might recruit it for fresh political purposes. The epic logic of eclectic retrospect meanwhile bred a scholarly subgenre in comprehensive, multi-volumed literary, national, and anthropological histories.
Christopher Ricks
- Published in print:
- 2003
- Published Online:
- January 2012
- ISBN:
- 9780197263037
- eISBN:
- 9780191734007
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197263037.003.0004
- Subject:
- History, Cultural History
This lecture attempts to make a good claim on behalf of anagrams as capable of being a true assistance to art. This claim asks what the lecture proffers to be something of an anthology. It recollects ...
More
This lecture attempts to make a good claim on behalf of anagrams as capable of being a true assistance to art. This claim asks what the lecture proffers to be something of an anthology. It recollects that a particular period, the Shakespearian moment, is the heyday of the anagram, especially in its religious intimations. The lecture also tries to illustrate from Shakespeare's Sonnets the secular felicities to which the anagrammatic may variously give rise.Less
This lecture attempts to make a good claim on behalf of anagrams as capable of being a true assistance to art. This claim asks what the lecture proffers to be something of an anthology. It recollects that a particular period, the Shakespearian moment, is the heyday of the anagram, especially in its religious intimations. The lecture also tries to illustrate from Shakespeare's Sonnets the secular felicities to which the anagrammatic may variously give rise.
AMRAM TROPPER
- Published in print:
- 2011
- Published Online:
- January 2012
- ISBN:
- 9780197264744
- eISBN:
- 9780191734663
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197264744.003.0007
- Subject:
- History, Middle East History
This chapter examines the current state of research into mishnah, the first major work of rabbinic Judaism. It explains that the mishnah is primarily an edited anthology of brief and often elliptical ...
More
This chapter examines the current state of research into mishnah, the first major work of rabbinic Judaism. It explains that the mishnah is primarily an edited anthology of brief and often elliptical pronouncements on matters of Jewish law and practice, frequently providing conflicting views on the individual matters discussed. It discusses the six sedarim of the mishnah and mentions that the mishnah frequently digresses from its main topics at every level of the organisational hierarchy.Less
This chapter examines the current state of research into mishnah, the first major work of rabbinic Judaism. It explains that the mishnah is primarily an edited anthology of brief and often elliptical pronouncements on matters of Jewish law and practice, frequently providing conflicting views on the individual matters discussed. It discusses the six sedarim of the mishnah and mentions that the mishnah frequently digresses from its main topics at every level of the organisational hierarchy.
Hermann Levin Goldschmidt
- Published in print:
- 2007
- Published Online:
- March 2011
- ISBN:
- 9780823228263
- eISBN:
- 9780823237142
- Item type:
- chapter
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fso/9780823228263.003.0021
- Subject:
- Religion, Judaism
This chapter discusses The Empty House and Shofar, works of German writer Karl Otten. The Empty House, published in 1959, is a prose anthology that included selections by Paul Adler, Ernst Blass, and ...
More
This chapter discusses The Empty House and Shofar, works of German writer Karl Otten. The Empty House, published in 1959, is a prose anthology that included selections by Paul Adler, Ernst Blass, and Albert Ehrenstein. In this book Otten, not a Jew himself, acted on behalf of the Jews and out of a sense of the horrible injustice done to them. In 1963, he wrote Shofar, which highlighted the lofty heights German Jewry had achieved as it had seldom been shown to before. In this work, Otten also suggested that vacuum created by the elimination of the Jews from the German intellectual life cannot be filled.Less
This chapter discusses The Empty House and Shofar, works of German writer Karl Otten. The Empty House, published in 1959, is a prose anthology that included selections by Paul Adler, Ernst Blass, and Albert Ehrenstein. In this book Otten, not a Jew himself, acted on behalf of the Jews and out of a sense of the horrible injustice done to them. In 1963, he wrote Shofar, which highlighted the lofty heights German Jewry had achieved as it had seldom been shown to before. In this work, Otten also suggested that vacuum created by the elimination of the Jews from the German intellectual life cannot be filled.
Ceri Sullivan
- Published in print:
- 2008
- Published Online:
- September 2008
- ISBN:
- 9780199547845
- eISBN:
- 9780191720901
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199547845.003.0005
- Subject:
- Literature, 17th-century and Restoration Literature
This chapter moves on to the heart's reception of scripture in the well-known subgenre of ‘wreath’, ‘corona’, or ‘coronet’ verse. Here, the approved secular mode of reading selectively, pen in hand, ...
More
This chapter moves on to the heart's reception of scripture in the well-known subgenre of ‘wreath’, ‘corona’, or ‘coronet’ verse. Here, the approved secular mode of reading selectively, pen in hand, is performed with conscientious obtuseness on divine texts. These verses see themselves as anthologies or florilegia, gatherings of commonplaces to be rewoven into other poems. Once again a rhetorical trope precedes the theological image in their antanaclasis (a repetition of words with a subtle shift in meaning). Unfortunately, though by now predictably, these three bustling poets show themselves to be more concerned with the physical practice of collection than with its effect on interpretation. The reception theory implicit in early modern pedagogy on the collection of loci endorses rhetorical inventio over the intervention involved in understanding any text when reading it. Snorting with earnestness to anthologize from divine texts simply allows the three poets to ignore the intention of the revealed law of God. Their repetition of words culled from scriptures has a self-centredness that assassinates one proper meaning to allow another in subsequent use. Selves are woven into the wreaths presented to a justly irritated God, who must by now be wondering what it takes to get the soul to talk to him directly.Less
This chapter moves on to the heart's reception of scripture in the well-known subgenre of ‘wreath’, ‘corona’, or ‘coronet’ verse. Here, the approved secular mode of reading selectively, pen in hand, is performed with conscientious obtuseness on divine texts. These verses see themselves as anthologies or florilegia, gatherings of commonplaces to be rewoven into other poems. Once again a rhetorical trope precedes the theological image in their antanaclasis (a repetition of words with a subtle shift in meaning). Unfortunately, though by now predictably, these three bustling poets show themselves to be more concerned with the physical practice of collection than with its effect on interpretation. The reception theory implicit in early modern pedagogy on the collection of loci endorses rhetorical inventio over the intervention involved in understanding any text when reading it. Snorting with earnestness to anthologize from divine texts simply allows the three poets to ignore the intention of the revealed law of God. Their repetition of words culled from scriptures has a self-centredness that assassinates one proper meaning to allow another in subsequent use. Selves are woven into the wreaths presented to a justly irritated God, who must by now be wondering what it takes to get the soul to talk to him directly.
- Published in print:
- 2008
- Published Online:
- June 2013
- ISBN:
- 9780804748636
- eISBN:
- 9780804779395
- Item type:
- chapter
- Publisher:
- Stanford University Press
- DOI:
- 10.11126/stanford/9780804748636.003.0004
- Subject:
- Literature, World Literature
The Tsukubashū, an anthology of various renga configurations, was compiled by Nijō Yoshimoto in 1356 and 1357, with the invaluable assistance of Gusai and his disciples. Modeled after the imperial ...
More
The Tsukubashū, an anthology of various renga configurations, was compiled by Nijō Yoshimoto in 1356 and 1357, with the invaluable assistance of Gusai and his disciples. Modeled after the imperial waka anthologies, the Tsukubashū is composed of twenty sections subdivided by topic: Spring, Summer, Autumn, and Winter; Sacred Rites (Shintō), Buddhism, Love, Miscellaneous, Travel, Celebrations, Miscellaneous Forms, and Hokku. It has a total of 2,190 verses, including 119 hokku, from 460 poets. Shinkei consistently cites the so-called middle period (nakatsukoro) in the treatise's historical construction as a period of decline in the quality of renga composition.Less
The Tsukubashū, an anthology of various renga configurations, was compiled by Nijō Yoshimoto in 1356 and 1357, with the invaluable assistance of Gusai and his disciples. Modeled after the imperial waka anthologies, the Tsukubashū is composed of twenty sections subdivided by topic: Spring, Summer, Autumn, and Winter; Sacred Rites (Shintō), Buddhism, Love, Miscellaneous, Travel, Celebrations, Miscellaneous Forms, and Hokku. It has a total of 2,190 verses, including 119 hokku, from 460 poets. Shinkei consistently cites the so-called middle period (nakatsukoro) in the treatise's historical construction as a period of decline in the quality of renga composition.
- Published in print:
- 2008
- Published Online:
- June 2013
- ISBN:
- 9780804748636
- eISBN:
- 9780804779395
- Item type:
- chapter
- Publisher:
- Stanford University Press
- DOI:
- 10.11126/stanford/9780804748636.003.0005
- Subject:
- Literature, World Literature
Sasamegoto and Shinkei's other writings provide unequivocal evidence that the eighth imperial anthology, Shinkokinshū (1205), represents the apogee of waka history. Shinkei's valuation of ...
More
Sasamegoto and Shinkei's other writings provide unequivocal evidence that the eighth imperial anthology, Shinkokinshū (1205), represents the apogee of waka history. Shinkei's valuation of Shinkokinshū included a third factor: Shinkokinshū-style poetry's unparalleled “success in the world” (yo ni tokimekitamaishi koto). In this chapter, Shinkei considers the work of Shōtetsu, by all accounts the major waka poet of the Muromachi period, as a revival of the superior qualities of Shinkokinshū poetry. However, the age was actually under the dominance of the conservative Nijō Yoshimoto school. Shōtetsu was not included in the Shinzoku Kokinwakashū (1439), the last of the twenty-one imperial anthologies.Less
Sasamegoto and Shinkei's other writings provide unequivocal evidence that the eighth imperial anthology, Shinkokinshū (1205), represents the apogee of waka history. Shinkei's valuation of Shinkokinshū included a third factor: Shinkokinshū-style poetry's unparalleled “success in the world” (yo ni tokimekitamaishi koto). In this chapter, Shinkei considers the work of Shōtetsu, by all accounts the major waka poet of the Muromachi period, as a revival of the superior qualities of Shinkokinshū poetry. However, the age was actually under the dominance of the conservative Nijō Yoshimoto school. Shōtetsu was not included in the Shinzoku Kokinwakashū (1439), the last of the twenty-one imperial anthologies.
Neil Rhodes
- Published in print:
- 2004
- Published Online:
- September 2007
- ISBN:
- 9780199245727
- eISBN:
- 9780191715259
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199245727.003.0006
- Subject:
- Literature, Shakespeare Studies
This chapter takes one central aspect of the educational curriculum mentioned earlier — the commonplace method — showing first the creative uses to which Shakespeare puts this and how his own texts ...
More
This chapter takes one central aspect of the educational curriculum mentioned earlier — the commonplace method — showing first the creative uses to which Shakespeare puts this and how his own texts are transformed into commonplace material in a new vernacular tradition. Early printed books in Latin, such as the Polyanthea and the Poetarum flores, are presented as early modern literary databases. They are followed in English by the ‘wit’ books of the late 1590s, the English Parnassus (1657), and then by 18th-century anthologies such as those by Gildon, Dodd, and Enfield in which Shakespeare is prominent. In the late 18th century, Shakespeare supplies the elocution movement with soundbites collected in the new ‘readers’ and ‘speakers’. It is argued that the evolution of the commonplace-book into anthology creates resources for English studies as the mantle of classical authority is handed over to the vernacular.Less
This chapter takes one central aspect of the educational curriculum mentioned earlier — the commonplace method — showing first the creative uses to which Shakespeare puts this and how his own texts are transformed into commonplace material in a new vernacular tradition. Early printed books in Latin, such as the Polyanthea and the Poetarum flores, are presented as early modern literary databases. They are followed in English by the ‘wit’ books of the late 1590s, the English Parnassus (1657), and then by 18th-century anthologies such as those by Gildon, Dodd, and Enfield in which Shakespeare is prominent. In the late 18th century, Shakespeare supplies the elocution movement with soundbites collected in the new ‘readers’ and ‘speakers’. It is argued that the evolution of the commonplace-book into anthology creates resources for English studies as the mantle of classical authority is handed over to the vernacular.
Joshua Eckhardt
- Published in print:
- 2009
- Published Online:
- September 2009
- ISBN:
- 9780199559503
- eISBN:
- 9780191721397
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199559503.001.0001
- Subject:
- Literature, 17th-century and Restoration Literature
This book reappraises the work of early 17th-century collectors of English Renaissance poetry in manuscript. The verse miscellanies, or poetry anthologies, of these collectors have long attracted the ...
More
This book reappraises the work of early 17th-century collectors of English Renaissance poetry in manuscript. The verse miscellanies, or poetry anthologies, of these collectors have long attracted the attention of literary editors looking for texts by individual, major authors, and they have more recently interested historians for their poems on affairs of state, called verse libels. By contrast, this book investigates the relationships that the compilers of miscellanies established between such presumably literary and political texts. It focuses on two of the most popular, and least printable, literary genres that they collected: libels, and anti-courtly love poetry, a literary mode that the collectors of John Donne's poems played a major role in establishing. They made Donne the most popular poet in manuscripts of the period, and they demonstrated a special affinity for his most erotic or obscene poems, such as “To his Mistress going to bed” and “The Anagram”. Donne collectors also exhibited the similarities between these Ovidian love elegies and the sexually explicit or counter-Petrarchan verse of other authors, thereby organizing a literary genre opposed to the conventions of courtly love lyrics. Furthermore, collectors politicized this genre by relating examples of it to libels. In so doing, manuscript verse collectors demonstrated a type of literary and political activity distinct from that of authors, stationers, and readers.Less
This book reappraises the work of early 17th-century collectors of English Renaissance poetry in manuscript. The verse miscellanies, or poetry anthologies, of these collectors have long attracted the attention of literary editors looking for texts by individual, major authors, and they have more recently interested historians for their poems on affairs of state, called verse libels. By contrast, this book investigates the relationships that the compilers of miscellanies established between such presumably literary and political texts. It focuses on two of the most popular, and least printable, literary genres that they collected: libels, and anti-courtly love poetry, a literary mode that the collectors of John Donne's poems played a major role in establishing. They made Donne the most popular poet in manuscripts of the period, and they demonstrated a special affinity for his most erotic or obscene poems, such as “To his Mistress going to bed” and “The Anagram”. Donne collectors also exhibited the similarities between these Ovidian love elegies and the sexually explicit or counter-Petrarchan verse of other authors, thereby organizing a literary genre opposed to the conventions of courtly love lyrics. Furthermore, collectors politicized this genre by relating examples of it to libels. In so doing, manuscript verse collectors demonstrated a type of literary and political activity distinct from that of authors, stationers, and readers.
The Multigraph Collective
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9780226469140
- eISBN:
- 9780226469287
- Item type:
- book
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226469287.001.0001
- Subject:
- History, History of Ideas
This book delivers a reworking of the history of print through a unique effort in authorial collaboration. The book itself is not a typical monograph—rather, it is a “multigraph,” the collective work ...
More
This book delivers a reworking of the history of print through a unique effort in authorial collaboration. The book itself is not a typical monograph—rather, it is a “multigraph,” the collective work of twenty-two scholars who together have assembled an alphabetically arranged tour of key concepts for the study of print culture, from Anthologies and Binding to Publicity and Taste. Each entry builds on its term in order to resituate print and book history within a broader media ecology throughout the eighteenth and nineteenth centuries. The central theme is interactivity, in three senses: people interacting with print; print interacting with the non-print media that it has long been thought, erroneously, to have displaced; and people interacting with each other through print. The resulting book introduces new energy to the field of print studies, leading to considerable new avenues of investigation.Less
This book delivers a reworking of the history of print through a unique effort in authorial collaboration. The book itself is not a typical monograph—rather, it is a “multigraph,” the collective work of twenty-two scholars who together have assembled an alphabetically arranged tour of key concepts for the study of print culture, from Anthologies and Binding to Publicity and Taste. Each entry builds on its term in order to resituate print and book history within a broader media ecology throughout the eighteenth and nineteenth centuries. The central theme is interactivity, in three senses: people interacting with print; print interacting with the non-print media that it has long been thought, erroneously, to have displaced; and people interacting with each other through print. The resulting book introduces new energy to the field of print studies, leading to considerable new avenues of investigation.
William Wootten
- Published in print:
- 2015
- Published Online:
- May 2016
- ISBN:
- 9781781381632
- eISBN:
- 9781781384893
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9781781381632.003.0006
- Subject:
- Literature, Poetry
This chapter focuses on poetry anthologies published in the 1950s and 1960s. Robert Conquest's 1956 Macmillan anthology New Lines was responsible for consolidating the arguments and personnel of the ...
More
This chapter focuses on poetry anthologies published in the 1950s and 1960s. Robert Conquest's 1956 Macmillan anthology New Lines was responsible for consolidating the arguments and personnel of the Movement in the public mind. This was achieved through his clear taste and agenda, New Lines' limited personnel of just nine poets, and the generous selections from the poets' work it contained. Another anthology published in the same year was G. S. Fraser's Poetry Now, where no less than 74 poets are represented. The contents list reveals that Fraser was acquainted with the work of many poets from all sides of the poetry world, while the introduction reveals him to be well informed on recent poetic trends. Penguin, the biggest British publisher at that time, also drew up a scheme for new poetry anthologies: a new edition of Kenneth Allott's Contemporary Verse; Poetry since the War, a book suggested by [C. B.] Cox and [A. E.] Dyson of the Critical Quarterly; and An Anthology of Twentieth Century Lyrics with an emphasis on the Georgian style and its inheritors to be edited by one John Smith.Less
This chapter focuses on poetry anthologies published in the 1950s and 1960s. Robert Conquest's 1956 Macmillan anthology New Lines was responsible for consolidating the arguments and personnel of the Movement in the public mind. This was achieved through his clear taste and agenda, New Lines' limited personnel of just nine poets, and the generous selections from the poets' work it contained. Another anthology published in the same year was G. S. Fraser's Poetry Now, where no less than 74 poets are represented. The contents list reveals that Fraser was acquainted with the work of many poets from all sides of the poetry world, while the introduction reveals him to be well informed on recent poetic trends. Penguin, the biggest British publisher at that time, also drew up a scheme for new poetry anthologies: a new edition of Kenneth Allott's Contemporary Verse; Poetry since the War, a book suggested by [C. B.] Cox and [A. E.] Dyson of the Critical Quarterly; and An Anthology of Twentieth Century Lyrics with an emphasis on the Georgian style and its inheritors to be edited by one John Smith.
Amit Chaudhuri
- Published in print:
- 2003
- Published Online:
- October 2011
- ISBN:
- 9780199260522
- eISBN:
- 9780191698668
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199260522.003.0003
- Subject:
- Literature, 20th-century Literature and Modernism
This chapter dwells on the Lawrence's perceived finest collection of poetry, the Birds, Beasts and Flowers. This anthology of poems provides glimpses of Lawrence's fascination with non-human life and ...
More
This chapter dwells on the Lawrence's perceived finest collection of poetry, the Birds, Beasts and Flowers. This anthology of poems provides glimpses of Lawrence's fascination with non-human life and the tremendous unknown forces of life. The main discussion of this chapter looks into the gaps between the thing named in a Lawrentian nature poem and the description which is supposed to identify it. It also deals with the gaps between the object in the poem and its metaphoric recreation. The chapter attempts to show that the Lawrentian sign or word, through the traces of intertextuality, are reminiscent of the general discourse to which it belongs. This is displayed in the main signifiers of his poem — bat, tortoise, goat and eagle — wherein through the poems, the signifiers instead of making connections with the referents outside the text move from page to page, where each signifier creates traces of or are reminiscent of other signifiers. The chapter also attempts to examine how D. H. Lawrence in his Birds, Beasts and Flowers describes not the beasts and animal per se but the imitations and the same mask with minor modifications these ‘signified’ objects display.Less
This chapter dwells on the Lawrence's perceived finest collection of poetry, the Birds, Beasts and Flowers. This anthology of poems provides glimpses of Lawrence's fascination with non-human life and the tremendous unknown forces of life. The main discussion of this chapter looks into the gaps between the thing named in a Lawrentian nature poem and the description which is supposed to identify it. It also deals with the gaps between the object in the poem and its metaphoric recreation. The chapter attempts to show that the Lawrentian sign or word, through the traces of intertextuality, are reminiscent of the general discourse to which it belongs. This is displayed in the main signifiers of his poem — bat, tortoise, goat and eagle — wherein through the poems, the signifiers instead of making connections with the referents outside the text move from page to page, where each signifier creates traces of or are reminiscent of other signifiers. The chapter also attempts to examine how D. H. Lawrence in his Birds, Beasts and Flowers describes not the beasts and animal per se but the imitations and the same mask with minor modifications these ‘signified’ objects display.
Tom Lockwood
- Published in print:
- 2005
- Published Online:
- September 2007
- ISBN:
- 9780199280780
- eISBN:
- 9780191712890
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199280780.003.0004
- Subject:
- Literature, 19th-century Literature and Romanticism
This chapter explores the way in which anthologies, biographies, and critical accounts of Jonson and his work, set in the context of contemporary developments in the theory and practice of literary ...
More
This chapter explores the way in which anthologies, biographies, and critical accounts of Jonson and his work, set in the context of contemporary developments in the theory and practice of literary history, changed the way in which Jonson was viewed and received in the Romantic age. It argues that the material surveyed has been unduly neglected, and that without an understanding of such varied critical accounts our conception of the modes in which the Romantic age responded to Jonson is unfairly narrowed. Some key strands emerge: the difficulty of placing Jonson in the foundational (but very different) literary histories of Thomas Warton and Samuel Johnson; the connection between theatrical exposure to Jonson and critical estimation of his work in the accounts of Isaac Reed and Thomas Davies; the varied estimations of Jonson's classicism in anthologies of his poetry; and the way in which the Shakespearean editorial tradition constructed Jonson as a malign counter to the blameless Shakespeare. These trends are checked, and in some cases reversed, in 1808, the year in which Charles Lamb published his Specimens of English Dramatic Poets, and Octavius Gilchrist offered An Examination of the Charges Maintained...of Ben Jonson's Enmity &c. Towards Shakspeare. It is argued that critical responses to Jonson change after these two key interventions: they provoke a revaluation of Jonson's character and work, in which conceptions of Jonson's literary friendships come increasingly to matter.Less
This chapter explores the way in which anthologies, biographies, and critical accounts of Jonson and his work, set in the context of contemporary developments in the theory and practice of literary history, changed the way in which Jonson was viewed and received in the Romantic age. It argues that the material surveyed has been unduly neglected, and that without an understanding of such varied critical accounts our conception of the modes in which the Romantic age responded to Jonson is unfairly narrowed. Some key strands emerge: the difficulty of placing Jonson in the foundational (but very different) literary histories of Thomas Warton and Samuel Johnson; the connection between theatrical exposure to Jonson and critical estimation of his work in the accounts of Isaac Reed and Thomas Davies; the varied estimations of Jonson's classicism in anthologies of his poetry; and the way in which the Shakespearean editorial tradition constructed Jonson as a malign counter to the blameless Shakespeare. These trends are checked, and in some cases reversed, in 1808, the year in which Charles Lamb published his Specimens of English Dramatic Poets, and Octavius Gilchrist offered An Examination of the Charges Maintained...of Ben Jonson's Enmity &c. Towards Shakspeare. It is argued that critical responses to Jonson change after these two key interventions: they provoke a revaluation of Jonson's character and work, in which conceptions of Jonson's literary friendships come increasingly to matter.
Hester Lees-Jeffries
- Published in print:
- 2007
- Published Online:
- October 2011
- ISBN:
- 9780199230785
- eISBN:
- 9780191696473
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199230785.003.0001
- Subject:
- Literature, 16th-century and Renaissance Literature
This chapter discusses the origins of this book. The book takes its title from the hill of the Muses in ancient Boeotia and the spring located there, and also from an anthology of English poetry — ...
More
This chapter discusses the origins of this book. The book takes its title from the hill of the Muses in ancient Boeotia and the spring located there, and also from an anthology of English poetry — the first of such — which appeared in 1600. The date and patriotic sentiment of the latter seems fitting, as does its intention of assembling a new whole out of apparently disparate fragments. The book is not a simple motif study of fountains in English Renaissance literature: it is, rather, an investigation of how literary fountains both inform and are informed by real fountains in early modern literature and culture and, more, what sort of modus legendi might be (re)formulated that would take account of the interpenetrations and elisions of the textual, visual, material, and experiential in early modern England. While its focus remains the literature of the late 16th century, this book recognizes that intertextuality and influence can be material as well as literary.Less
This chapter discusses the origins of this book. The book takes its title from the hill of the Muses in ancient Boeotia and the spring located there, and also from an anthology of English poetry — the first of such — which appeared in 1600. The date and patriotic sentiment of the latter seems fitting, as does its intention of assembling a new whole out of apparently disparate fragments. The book is not a simple motif study of fountains in English Renaissance literature: it is, rather, an investigation of how literary fountains both inform and are informed by real fountains in early modern literature and culture and, more, what sort of modus legendi might be (re)formulated that would take account of the interpenetrations and elisions of the textual, visual, material, and experiential in early modern England. While its focus remains the literature of the late 16th century, this book recognizes that intertextuality and influence can be material as well as literary.
Robin Rinehart
- Published in print:
- 2011
- Published Online:
- May 2011
- ISBN:
- 9780199755066
- eISBN:
- 9780199895182
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199755066.003.0005
- Subject:
- Religion, Sikhism
This chapter introduces the most controversial portion of the Dasam Granth, Charitropakhian, a series of stories about deceitful women embedded within a frame story about a king who imprisons his ...
More
This chapter introduces the most controversial portion of the Dasam Granth, Charitropakhian, a series of stories about deceitful women embedded within a frame story about a king who imprisons his son, thinking that he has tried to seduce the king's new wife. The opening and closing sections of Charitropakhian detail lengthy battles between divine and demonic forces. The chapter summarizes the opening and closing sections, provides summaries and selected translations from the stories, and considers the controversies about the sexually explicit nature of some of the text. The chapter situates these stories in the broader context of Indian story literature, the concept of human aims, or the purusharthas, as well as literature produced at kings' courts, and argues for a new reading of the text as a whole.Less
This chapter introduces the most controversial portion of the Dasam Granth, Charitropakhian, a series of stories about deceitful women embedded within a frame story about a king who imprisons his son, thinking that he has tried to seduce the king's new wife. The opening and closing sections of Charitropakhian detail lengthy battles between divine and demonic forces. The chapter summarizes the opening and closing sections, provides summaries and selected translations from the stories, and considers the controversies about the sexually explicit nature of some of the text. The chapter situates these stories in the broader context of Indian story literature, the concept of human aims, or the purusharthas, as well as literature produced at kings' courts, and argues for a new reading of the text as a whole.
Robin Rinehart
- Published in print:
- 2011
- Published Online:
- May 2011
- ISBN:
- 9780199755066
- eISBN:
- 9780199895182
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199755066.003.0006
- Subject:
- Religion, Sikhism
The concluding chapter explores how scholars have sought to categorize the different compositions within the Dasam Granth and argues that previous models are inadequate, proposing instead to read the ...
More
The concluding chapter explores how scholars have sought to categorize the different compositions within the Dasam Granth and argues that previous models are inadequate, proposing instead to read the text as an example of the courtly anthology that addresses the purusharthas, or human aims. The chapter analyzes the usage of key terms such as dharma, Purana, and Tantra both in the Dasam Granth and in analyses of the texts, arguing that previous analyses that have sought to interpret Hindu concepts within the Dasam Granth have done so using flawed definitions of those concepts. The chapter suggests that the Dasam Granth represents a critical stage in the evolution of Sikhism as a distinct religious community and that its concern with the nature of both spiritual and worldly leadership may account for its popularity in the Sikh kingdoms.Less
The concluding chapter explores how scholars have sought to categorize the different compositions within the Dasam Granth and argues that previous models are inadequate, proposing instead to read the text as an example of the courtly anthology that addresses the purusharthas, or human aims. The chapter analyzes the usage of key terms such as dharma, Purana, and Tantra both in the Dasam Granth and in analyses of the texts, arguing that previous analyses that have sought to interpret Hindu concepts within the Dasam Granth have done so using flawed definitions of those concepts. The chapter suggests that the Dasam Granth represents a critical stage in the evolution of Sikhism as a distinct religious community and that its concern with the nature of both spiritual and worldly leadership may account for its popularity in the Sikh kingdoms.
