Cannibals, Witches, and Divorce: Estranging the RenaissanceMarjorie B. Garber When we speak of the English Renaissance, what is it that we are naming, what are we recognizing reborn? As the essays in this latest collection from the English Institute demonstrate, our basic notions of the period have themselves been reconceived. In Cannibals, Witches, and Divorce, seven critics defamiliarize the images of the Renaissance "to permit the repressed to return, to acknowledge the presence of the unassimilable ghost the mark of difference of an age that is at once self and 'other'." John Hollander discovers a "hidden undersong" in the Spenserian lyric, while Patricia Parker examines the question of feminine dominance and male resistance in the Bower of Bliss. Stephen Orgel and Steven Mullaney document the Renaissance encounter with the alien "other" in essays on The Tempest and The Merchant of Venice. Macbeth, in Janet Adelman's reading, encodes the fantasy of an absolute and destructive maternal figure. Marjorie Garber addresses the Shakespearean authorship controversy in the context of the subversive uncanniness of the texts themselves; Mary Nyquist discusses Milton's Eve, his divorce tracts, and the exegetical tradition as recently examined by feminist biblical scholars. Together, these essays explore Renaissance discourses of estrangement as strategies for the construction of the self and the world. |
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... lyric tension between power and song - that tension that opens Virgil's Eclogues with an allusion to the " god " who has given the singer his " ease . " Indeed , the other lyric context recalled in the stanza of Verdant's suspended ...
Estranging the Renaissance Marjorie B. Garber. Within this specifically pastoral lyric context , Verdant's suspended instruments summon up a Spenserian echo as well , and one intimately bound up with the tensions within Spenser's lyric ...
... lyric is fre- quently described in oppositional terms , by its relation or tension with something else - lyric cynosure as distinct from outside world , lyric as opposed to epic or narrative , and so on . The Faerie Queene seems to be ...
Contents
Lyric and Power in | 21 |
Shakespeare and the Cannibals | 40 |
Brothers and Others or the Art of Alienation | 67 |
Copyright | |
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Cannibals, Witches, and Divorce: Estranging the Renaissance Marjorie Garber No preview available - 1987 |