Patrick Cheney
- Published in print:
- 2008
- Published Online:
- July 2012
- ISBN:
- 9780719079627
- eISBN:
- 9781781701058
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719079627.003.0004
- Subject:
- Literature, Shakespeare Studies
This chapter explores Shakespeare's counter-Spenserian authorship, emphasising the importance of re-thinking Shakespearean authorship, because most critics still see Shakespeare as a ‘man of the ...
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This chapter explores Shakespeare's counter-Spenserian authorship, emphasising the importance of re-thinking Shakespearean authorship, because most critics still see Shakespeare as a ‘man of the theatre’. It also examines one example of Shakespeare's counter-Spenserian authorship, and tries to recover Shakespeare's concern for literary authorship within the anonymity of the medium of theatre. The analysis presented in the chapter helps in questioning two well-known and interrelated views of Shakespeare's career.Less
This chapter explores Shakespeare's counter-Spenserian authorship, emphasising the importance of re-thinking Shakespearean authorship, because most critics still see Shakespeare as a ‘man of the theatre’. It also examines one example of Shakespeare's counter-Spenserian authorship, and tries to recover Shakespeare's concern for literary authorship within the anonymity of the medium of theatre. The analysis presented in the chapter helps in questioning two well-known and interrelated views of Shakespeare's career.
Jay Watson, Jaime Harker, and James G. Jr. Thomas (eds)
- Published in print:
- 2017
- Published Online:
- May 2019
- ISBN:
- 9781496812308
- eISBN:
- 9781496812346
- Item type:
- book
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781496812308.001.0001
- Subject:
- Literature, American, 20th Century Literature
William Faulkner’s first ventures into print culture began far from the world of highbrow publishing with which he is typically associated—the world of New York publishing houses, little magazines, ...
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William Faulkner’s first ventures into print culture began far from the world of highbrow publishing with which he is typically associated—the world of New York publishing houses, little magazines, and literary prizes—though they would come to encompass that world as well. This collection explores Faulkner’s multifaceted engagements, as writer and reader, with the US and international print cultures of his era, along with the ways in which these cultures have mediated his relationship with a variety of twentieth- and twenty-first-century audiences.
The essays gathered here address the place of Faulkner and his writings in the creation, design, publishing, marketing, reception, and collecting of books, in the culture of twentieth-century magazines, journals, newspapers, and other periodicals (from pulp to avant-garde), in the history of modern readers and readerships, and in the construction and cultural politics of literary authorship. Six contributors focus on Faulkner’s sensational 1931 novel Sanctuary as a case study illustrating the author’s multifaceted relationship to the print ecology of his time, tracing the novel’s path from the wellsprings of Faulkner’s artistic vision to the novel’s reception among reviewers, tastemakers, intellectuals, and other readers of the early 1930s.
Faulkner’s midcentury critical rebranding as a strictly highbrow modernist, disdainful of the market and impervious to literary trends or the corruption of commerce, has buried the much more interesting complexity of his ongoing engagements with print culture and its engagements with him. This collection will spur critical interest in the intersection of Faulkner’s writing career and the unrespectable, experimental, and audacious realities of interwar and Cold War print culture.Less
William Faulkner’s first ventures into print culture began far from the world of highbrow publishing with which he is typically associated—the world of New York publishing houses, little magazines, and literary prizes—though they would come to encompass that world as well. This collection explores Faulkner’s multifaceted engagements, as writer and reader, with the US and international print cultures of his era, along with the ways in which these cultures have mediated his relationship with a variety of twentieth- and twenty-first-century audiences.
The essays gathered here address the place of Faulkner and his writings in the creation, design, publishing, marketing, reception, and collecting of books, in the culture of twentieth-century magazines, journals, newspapers, and other periodicals (from pulp to avant-garde), in the history of modern readers and readerships, and in the construction and cultural politics of literary authorship. Six contributors focus on Faulkner’s sensational 1931 novel Sanctuary as a case study illustrating the author’s multifaceted relationship to the print ecology of his time, tracing the novel’s path from the wellsprings of Faulkner’s artistic vision to the novel’s reception among reviewers, tastemakers, intellectuals, and other readers of the early 1930s.
Faulkner’s midcentury critical rebranding as a strictly highbrow modernist, disdainful of the market and impervious to literary trends or the corruption of commerce, has buried the much more interesting complexity of his ongoing engagements with print culture and its engagements with him. This collection will spur critical interest in the intersection of Faulkner’s writing career and the unrespectable, experimental, and audacious realities of interwar and Cold War print culture.
Christopher Grobe
- Published in print:
- 2017
- Published Online:
- September 2018
- ISBN:
- 9781479829170
- eISBN:
- 9781479839599
- Item type:
- chapter
- Publisher:
- NYU Press
- DOI:
- 10.18574/nyu/9781479829170.003.0007
- Subject:
- Film, Television and Radio, Television
This chapter focuses on the solo career of Spalding Gray, who helped popularize confessional monologue in the American theater. Received at first as someone who “talks for a living,” Spalding Gray ...
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This chapter focuses on the solo career of Spalding Gray, who helped popularize confessional monologue in the American theater. Received at first as someone who “talks for a living,” Spalding Gray was rebranded after his death as, in fact, a writer. This simple binary—talk vs. writing—does a disservice to Gray’s monologues, or, as he sometimes called them, his “talking novels.” Placing Gray in his context—as a member of the multimedia experimental theater ensemble the Wooster Group, as an artist poised between theater and performance art, and as a man frankly puzzled by the relationship between theatrical performance and literary authorship—this chapter argues that the tension between writing and talking (and not a choice between the two) defines confessional monologue as a form. Special attention is paid to the way Gray’s monologues have been published, as well as to Gray’s debt to the confessional poet Robert Lowell.Less
This chapter focuses on the solo career of Spalding Gray, who helped popularize confessional monologue in the American theater. Received at first as someone who “talks for a living,” Spalding Gray was rebranded after his death as, in fact, a writer. This simple binary—talk vs. writing—does a disservice to Gray’s monologues, or, as he sometimes called them, his “talking novels.” Placing Gray in his context—as a member of the multimedia experimental theater ensemble the Wooster Group, as an artist poised between theater and performance art, and as a man frankly puzzled by the relationship between theatrical performance and literary authorship—this chapter argues that the tension between writing and talking (and not a choice between the two) defines confessional monologue as a form. Special attention is paid to the way Gray’s monologues have been published, as well as to Gray’s debt to the confessional poet Robert Lowell.
Joseph Hone
- Published in print:
- 2021
- Published Online:
- January 2021
- ISBN:
- 9780198842316
- eISBN:
- 9780191878312
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780198842316.003.0008
- Subject:
- Literature, 18th-century Literature
This conclusion draws together the findings of individual chapters. It establishes that the political animus behind Pope’s verse can be traced back to his engagement with poets who have been lost to ...
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This conclusion draws together the findings of individual chapters. It establishes that the political animus behind Pope’s verse can be traced back to his engagement with poets who have been lost to posterity; that his allusions to the great authors of the seventeenth century—Waller, Denham, Dryden, and Cowley—were usually refracted through the literary critical judgements of his milieu; that he consistently returned to the topic of dynastic politics through his early poems; that he emerged from his milieu because, unlike some of his contemporaries, he was willing to distance himself from politics by constructing himself as an aloof literary author. The conclusion explores the significance of this shift from political authorship to literary authorship and its influence on our modern ideas about the literary canon.Less
This conclusion draws together the findings of individual chapters. It establishes that the political animus behind Pope’s verse can be traced back to his engagement with poets who have been lost to posterity; that his allusions to the great authors of the seventeenth century—Waller, Denham, Dryden, and Cowley—were usually refracted through the literary critical judgements of his milieu; that he consistently returned to the topic of dynastic politics through his early poems; that he emerged from his milieu because, unlike some of his contemporaries, he was willing to distance himself from politics by constructing himself as an aloof literary author. The conclusion explores the significance of this shift from political authorship to literary authorship and its influence on our modern ideas about the literary canon.
Joseph Hone
- Published in print:
- 2021
- Published Online:
- January 2021
- ISBN:
- 9780198842316
- eISBN:
- 9780191878312
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780198842316.003.0006
- Subject:
- Literature, 18th-century Literature
Soon after the Hanoverian succession, Pope ceased writing original poems of consequence and instead began two new projects: his translation of the Iliad and the publication of his collected Works of ...
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Soon after the Hanoverian succession, Pope ceased writing original poems of consequence and instead began two new projects: his translation of the Iliad and the publication of his collected Works of 1717. This chapter asks what prompted this change of direction. The opening section traces Pope’s movements and those of his friends during the messy and unpredictable transfer of power in 1714. Although Pope’s private correspondence and manuscript poems signal his disaffection with the new regime, his public persona is distinctly apolitical. Pope countered accusations of treachery by disowning political readings of his earlier poems and by rebranding those works as timeless literary exercises. His translation of Homer and the publication of his Works were calculated to enshrine his reputation as an author of classic literary status. By publishing a Works and not a Poems on Several Occasions, this chapter argues, Pope inserted himself into a canonical tradition divorced from contemporary poems on affairs of state. His emergence as a literary colossus was motivated by political necessity as much as it was by raw ambition or vanity.Less
Soon after the Hanoverian succession, Pope ceased writing original poems of consequence and instead began two new projects: his translation of the Iliad and the publication of his collected Works of 1717. This chapter asks what prompted this change of direction. The opening section traces Pope’s movements and those of his friends during the messy and unpredictable transfer of power in 1714. Although Pope’s private correspondence and manuscript poems signal his disaffection with the new regime, his public persona is distinctly apolitical. Pope countered accusations of treachery by disowning political readings of his earlier poems and by rebranding those works as timeless literary exercises. His translation of Homer and the publication of his Works were calculated to enshrine his reputation as an author of classic literary status. By publishing a Works and not a Poems on Several Occasions, this chapter argues, Pope inserted himself into a canonical tradition divorced from contemporary poems on affairs of state. His emergence as a literary colossus was motivated by political necessity as much as it was by raw ambition or vanity.
