Billing, Valerie Christine. “Big Women, Small Men: The Erotics of Size in Early Modern English Literature and Culture.” Proquest Dissertations and Theses. U of California, Davis, 2014. Web.
When Venus lifts Adonis off his horse and tucks him under her arm at the beginning of Shakespeare’s Venus and Adonis, she flaunts her large physical size and her willingness to use her size to satisfy her desires. Enormous, desirous female figures like Venus appear across a wide range of early modern written and visual texts. In four chapters that analyze poetry, drama, prose, and visual art, this dissertation argues that taking size as a category of literary analysis enables new understandings of embodiment, gender, sexuality, and desire as they are represented in early modern texts. These texts depict physical size as relational and performable: Venus is large, for instance, not because Shakespeare gives us her measurements but because she is so easily able to carry and dominate Adonis. My focus on the dyad of the larger woman and smaller man calls attention to size as a category that drives desire and produces queer expressions of heterosexuality. Depictions of relations between larger female and smaller male figures revise gendered patterns of dominance and submission in ways that resist traditional early modern constructions of masculinity, femininity, and companionate marriage and provide the readers and spectators that consume these texts with a set of queer pleasures conjured by the interplay between gender and size. In the first chapter, I analyze the erotic relationships goddesses, giantesses, and Amazons have with mortal men in the supernatural settings of Venus and Adonis and Spenser’s The Faerie Queene. Chapter two interrogates the pleasures of the large mother in as she appears in dramatic texts, including Brome’s The New Academy, Hawkins’s Apollo Shroving, Marlowe’s Edward II, and Shakespeare’s Coriolanus and The Winter’s Tale. My third chapter argues that Elizabeth I performed large size with her costuming and rhetoric in order to magnify her body and political authority in relation to her male courtiers. The final chapter argues for size as a crucial element in the dynamics of theatrical spectatorship and cross-dressing plays, analyzing Jonson’s Epicoene, Beaumont’s The Knight of the Burning Pestle, and Shakespeare’s Twelfth Night.
Cantwell, Elizabeth. “Fitting Infinity on the Page: A Calculus of Verse and Nights I Let the Tiger Get You (poems).” Proquest Dissertations and Theses. Diss. U of Southern California, 2014. Web.
Fitting Infinity on the Page: A Calculus of Verse probes the poetry of both the Early Modern age and the contemporary “information” age in search of the infinite. The preoccupation with infinity—both mathematically and phenomenologically—crops up at regular intervals in verse; as a mode of writing obsessed with limits and boundaries, with rules and measure, poetry offers an especially fraught space for writers with infinity on their minds. A close examination of this relationship between stanzas and science prompts some fascinating questions: In what ways did Early Modern poets use form to parallel or anticipate the mathematical procedures necessary to harness infinity? How do today’s poets situate themselves in the new cosmos—in a multiverse, for example, instead of a universe? How does poetry understand the space of the page with regards to the space that lies beyond our atmosphere and within our bodies? This dissertation’s three chapters each loosely “pair” an Early Modern poet with a contemporary one: William Shakespeare with Jack Spicer, Lady Mary Wroth with Anne Carson, and Edmund Spenser with Christian Bok. Other important figures—John Donne, Margaret Cavendish, and Marcel Duchamp—pop up along the way. In an interdisciplinary (or, perhaps, un disciplinary) manner, Fitting Infinity on the Page opens itself to both historical and structural cross-pollination. It examines the intersections of chaos theory and poetry in a chaotic manner, and illuminates connections between quantum mechanics and sonnet sequences by accelerating the particles of verse, watching them smash into each other, and analyzing what strange new entities they produce.
Nights I Let The Tiger Get You is a collection of poems that, like the critical section of this dissertation, deals with the way the unknowable and the unquantifiable is constantly rearing its head in the course of our everyday lives. The manuscript is a neurotic journey through the surreal déjà vu of recurring dreams and the disorienting patterns of our own personal histories. The collection’s poems view the failures of a family’s internal structure through the distorted lens of the subconscious—but the language’s twists and turns ultimately open the narrator’s world to hope.
Dawson, Brent. “The Baseless Fabric: Literary Worlds and Global Relations in English Renaissance Literature.” Proquest Dissertations and Theses. Emory U, 2014. Web.
“The Baseless Fabric” is a study of the multiple senses of worldhood in early modern literature and culture. Its aim is to provide a new model for discussing global relations by attending to the tensions that animate early modern notions of universal connection and that, I argue, still structure modern ideas of globalization. Crossing national and disciplinary boundaries, I trace the connections and tensions between the multiple notions of worldhood that circulate in the period—travel accounts of the “New World,” philosophical theories of multiple worlds, cartographic representations of the globe, and the “world” of a work of art. Each chapter centers on one literary work and a sense of worldhood developed therein—worldly matter in Spenser’s Faerie Queene, the world-as-stage in Shakespeare’sAntony and Cleopatra, polygenesis in Cavendish’s Blazing World, and multiple worlds in Milton’s Paradise Lost. By attending to the plurality of discourses of worldhood in early modernity, I offer a starting point for thinking the range and complexity of ideas of universality in the period beyond a traditional humanist framework.
Ellison, Darryl William. “Chaucer out of Bounds: Chaucerian Continuations, Adaptations, and Apocrypha.” Proquest Dissertations and Theses. Rutgers The State University of New Jersey—New Brunswick 2014.
This dissertation explores the boundaries that define the “Chaucerian,” a concept that was as much a product of Chaucer’s later editors, adapters, and imitators as it was a product of his contemporaries and predecessors. In exploring the Chaucerian, this dissertation juxtaposes concepts and materials from different historical periods, including Shakespeare, Spenser, Henryson, and 20th- and 21st-century film. This project not only explores the anachronistic connections that led to the creation of the Chaucerian, but also concludes that anachronism is an essential part of what still sustains it. Anachronistic scholarship that approaches texts and authors from beyond the traditional boundaries that separate them—and which separate us from them—is not only essential to our understanding of Chaucer, but essential to our understanding of our relationship to his work and to the past itself.
Etzkorn, Timothy M. “‘I mean glory in my general intention’: Elizabeth’s England, England’s Elizabeth, and the Sixteenth Century’s Subversive Adaptation of Amazonian Myth.” Proquest Dissertations and Theses. U of Wyoming, 2014. Web.
This thesis examines the compulsive re-telling of Amazonian myth in the early modern era and studies the ways that this myth was conflated with Queen Elizabeth I’s narrative-of-personhood. Queen Elizabeth meticulously crafted a self-image that often portrayed on her as a protecting mother of England. Additionally, Parliamentary edicts tightly controlled what could and could not be said about her. Nonetheless, in and after Elizabeth’s reign, we can see a re-visitation of Amazonian myth as well as semiotics of the Amazon to describe and represent Queen Elizabeth. This pattern occurs both inside and outside of England. Often, such images promoted androcentric government, or they advocated political decisions antithetical to her wishes - such as further military action in the Low Countries. In this thesis, I look at a number of paintings and engravings from England and Europe that blend semiotics of the Amazon with visual representations of Queen Elizabeth’s narrative-of-personhood. I also look at a number of English texts, such as William Painter’s “The Amazones,” Edmund Spenser’s The Faerie Queene, and William Shakespeare’s A Midsummer Night’s dream. I use renaissance studies scholarship to thoroughly examine the texts in this thesis and adaptation theory to unpack the rhetorical effect of adapting text and person in the case of this thesis. Ultimately, adaptations of Amazonian myth coupled with appropriations of Queen Elizabeth’s narrative-of-personhood did little to make political or social changes but did much to reveal androcentric anxieties regarding Queen Elizabeth’s rule.
Hodes, Nathaniel. “The Muses’ Method: Logic and the Moral Function of English Renaissance Poetry.” Proquest Dissertations and Theses. Brandeis U, 2014. Web.
The newfound social mobility of late-16th-century England allowed writers to critique authoritarian power structures and advocate Protestant reforms through allegorical fiction. Surprisingly, where many of these works touch on national and theological matters, the characters’ discourse becomes conspicuously logical, adopting an unnaturally objective tone full of formal syllogisms. Authors craft such moments in reaction to the growing popularity of Ramism (initiated by French educator Pierre de la Ramée), which promoted syllogistic reason as the basis of all understanding. Ramus broke Aristotelian convention by fusing the certitude of abstract, scientific demonstration with the probable judgments of humanism concerning the active, moral life. Protestants especially embraced logic to facilitate the Reformation doctrine of sola scriptura : that every biblical text has only one literal meaning discovered through inferential argument. Laboring to dramatize their characters’ claims to conviction, however, Milton and other poets reflect a broader Renaissance worry that reason is corrupt, and so logic is hopelessly worldly and timebound.
Chapter 1 focuses on Abraham Fraunce’s conversion of Edmund Spenser’s Shepheardes Calender to a straightforward argument, which undermines Spenser’s literary intention to consolidate a national identity through numerous conflicting allegories concerning the proper role of church and government. Subsequent chapters examine poetic revolts against logic’s mandate of a precise way of reasoning and arguing. Chapter 2 examines how Shakespeare’s Richard III uses Ramist method, especially in his implausible seduction of Anne, to circumvent the divine right of kingship by convincing others of his supposedly hidden inner virtue. Chapter 3 concentrates on the sinner of John Donne’s Holy Sonnets, who grapples with anxiety about his salvation via logic. Donne’s sermons reveal that logic cannot redirect errant desires but rather leads us to replace reason with a faith instilled by the Holy Spirit—a process that the Holy Sonnets enact. By the late 17th century, Ramism had developed into a science of ethical praxis aimed at calculating the highest moral ends. Chapter 4 examines how, in response, John Milton represents Satan and Eve in Paradise Lost seduced by the seeming certainties of syllogistic. Convincing themselves that falling is their only option, they negate their own freedom.
Keck, Russell L. “Individualism and Corporatism from Chaucer to Milton.” Proquest Dissertations and Theses. Purdue U, 2014. Web.
This dissertation argues that in the transition from medieval to early modern literature there is a consistent, productive tension between the centripetal pull of corporate identities and the centrifugal impulses of personal experience. Nuanced uses of this tension by early English authors reveal a shift toward individualism from the fourteenth to the seventeenth century. This tension can be discerned within a series of poetic and dramatic texts, which offer specific interventions in the development of the individual self during the English Renaissance. The tension between individualism and corporatism functioned as a shared literary paradigm with which English authors constructed increasingly complex narratives and characters. I show how the competing modes of individualism and corporatism frame the romances of Chaucer and Malory (Chapters One and Two), organize the epics of Spenser and Milton (Chapter’s Three and Six), and characterize the historical dramas of Marlowe and Shakespeare (Chapters Four and Five). By demonstrating that there was a growing attention paid to individualism in the literature of the English Renaissance, I participate in the recent scholarly turn to Burckhardtian criticism among early modernist scholars. Additionally, by demonstrating that individualism was germinal, but definitely present, in the English Middle Ages, I build on the important contributions of medievalists who have investigated the formations of individual identity and subjectivity in the art and literature of the fourteenth and fifteenth centuries. I thus track the influence of medieval texts on early modern authors—and their fascination with the individual’s relationship to the corporate structures of society—with the aim of initiating a richer critical discourse on the history of the individual in English literature.
Lukens, David. “The English Eden: Nationhood and Kingship in Shakespeare and Spenser.” Proquest Dissertations and Theses. East Carolina U, 2014. Web.
Throughout the Renaissance in England are works that glorify the nation under a strong nationalistic message. Spenser, with The Faerie Queene, presents a chivalric romance that follows the adventures of several knights who seek to complete tasks for the titular Queen Gloriana. It is through multiple levels of allegory that these knights and the enemies they overcome become embodiments of the English nation triumphing over foreign and Catholic nations. It is not just this political lens, but also the blending of religious parallels that elevates these English heroes like Redcrosse and Prince Arthur into Christ-figures, primarily in the context of Christ as a righteous warrior and conqueror.
Shakespeare, while not as extensive in the use of allegory as Spenser, also delves into similar ideas concerning the presentation of a strong and united England. However, he also emphasizes the king’s role in creating and maintaining a strong nation, with the kings being associated with Christ. Alongside this comparison to Christ is also the recurring conceit that compares the nation to a garden, England as an Eden; such a nation requires a proper gardener, a strong king, to maintain it. By reading in a Spenserian mode, the similarities (and the differences) become apparent in understanding the ideas, praise, and critique for a strong monarch that in turn allows for a strong nation in Shakespeare’s English history plays. Though the focus of this thesis will primarily be on the Henriad plays, the inclusion of Spenser provides a contemporary with which to compare and contrast ideas that are shared between both authors.
Nicosia, Marissa O’Connor. “Historical Futures in Seventeenth-Century Literature.” Proquest Dissertations and Theses. University of Pennsylvania, 2014. Web.
“Historical Futures in Seventeenth-Century Literature” investigates the uses of the future in seventeenth-century historical literature. While the primary concern of historical literature is, and always has been, the past, authors writing in this genre often instrumentalize the past to reflect on the unknown future. Writers like William Shakespeare, Edmund Spenser, John Fletcher, John Ford, Margaret Cavendish, John Milton, John Dryden, Aphra Behn, as well as their lesser known contemporaries, Samuel Sheppard, John Crouch, and Marchamont Nedham, experimented with literary temporality by both aligning past events to display the present as inevitable and creating speculative futures that imagined solutions to pressing issues of succession, justice, and providence. Chapters on the history play, romance, and epic engage with material from multiple eras within the seventeenth century to demonstrate that these literary appeals to posterity emerged with increasing frequency during the mid-seventeenth century when civil war, social instability, and regime change threatened the very future of the English polity. Responding to the volatile political climate, seventeenth-century writers increasingly depicted the future as if it were already past in order to translate aspiration into fact. I call these imagined futures embedded in historical literature “historical futures” to draw attention to their paradoxically mixed temporality: authors creating historical futures describe events that have not yet come to pass as if they have already happened, and they authorize their fictions with the documentary apparatus of history.
Pertile, Giulio. “Feeling Faint: Exposing Consciousness in the Renaissance.” Proquest Dissertations and Theses. Princeton U, 2014. Web.
A study of swooning in theatrical and narrative works from the Renaissance, “Feeling Faint: Exposing Consciousness in the Renaissance” situates the Renaissance swoon in the context of the history of consciousness. On the one hand it reads the Renaissance swoon against medieval and neo-Platonic trances, in which loss of consciousness is a portal to divine vision. On the other, it sees the swoon as a proleptic challenge to the conception of consciousness in terms of clear and distinct awareness which emerges from Protestant notions of interiority and inner conviction to become a pillar of the modern rational and ethical self. The swoon opens up a vista onto a different mode of feeling—a self-experience identifiable with consciousness only in the measure that the latter can turn away from the world of objects and intuit nothing but itself. Such self-intuition is shown to be inseparable from threshold experiences where consciousness is disrupted or lost; consciousness itself is thereby revealed to be a form of vulnerability and exposure. The first chapter considers several moments of intense stupefaction in Ariosto’s Orlando Furioso and argues that, in a world where sensation invariably gives rise to error, knowledge is available only when sensation is suspended. The second chapter turns to Spenser’s Faerie Queene, and in particular to the recurrent motif of the “stound,” a state of intensified temporality in which the senses apprehend nothing but their own activity; the chapter unfolds both the physiological and the theological ramifications of this state. The third chapter discusses Montaigne’s description of his swoon on falling from a horse in Book II of the Essais; it argues that this moment at once facilitates and undercuts the encounter with death which lies at the heart of Montaigne’s concept of expérience. The fourth chapter argues for a convergence of radical skepticism and reflexive affectivity in Othello’s swoon at the beginning of Act 4 of Othello. The final chapter traces “specters of insentience” throughout the Winter’s Tale, showing how those specters always emerge in situations where one character’s surplus of sensory power leads to another’s loss of it.
Shapiro, Aaron Charles. “Renaissance Cryptophilology: Scholars, Poets, and the Pursuit of Lost Texts.” Proquest Dissertations and Theses. Boston U, 2014. Web.
This study offers a narrative of literary responses to lost texts, ancient and modern, from the age of Petrarch to the age of Milton. Whether continental scholars or English poets, the authors whom I consider share an abiding belief that the imagination is the right vehicle to access the otherwise irretrievable past, and that absent texts can be put to practical uses. Bringing together the work of textual critics, bibliographers, and literary scholars, the introduction evaluates available methods of studying lost texts and proposes an integrated framework for further research. The four chapters that follow provide four distinct answers to the question, what did early modern scholars and poets make out of lost texts? The first chapter finds Petrarch in his De remediis utriusque fortunae inaugurating a long-lasting tradition, the lament for lost books and libraries. I argue that, with help from Petrarch, the Florentine circle of Leonardo Bruni developed what would become a conventional language for explaining these losses. A chapter on scholarly misbehavior examines fifteenth- and sixteenth-century narratives—i.e., legends, lies, and slanders—about lost texts alongside the emergence of the humanist supplements, the efforts of early modern editors (e.g., Erasmus, Ermolao Barbaro) to fill lacunae in partial classical texts with their original compositions, sometimes surreptitiously. This practice of imitation-as-emendation led English authors—Shakespeare, Chapman, Jonson, and Burton—to complete the partial texts of their recent and medieval predecessors and to apprehend with their imaginations the literary heritage that they could not hold in their hands. In the two latter chapters, I argue that this interest sometimes took the form of an imaginative supplement, as when Spenser completes Chaucer’s fragmentary Squire’s Tale in The Faerie Queene , and sometimes the form of a meditation, as when Milton in “Il Penseroso” envisions English literary history as a series of incomplete works. Likewise, earlier claims about lost texts could simply be revived (e.g., in the invective of Thomas Nashe), or they could be repurposed in self-conscious tropes, as when Ben Jonson and Edmund Spenser entice their readers with representations of lost, unpublished, and unwritten works.
Romanelli, Christina. “Sacred Heresies: The Harrowing of Hell in Early Modern English Literature.” Proquest Dissertations and Theses. The U of North Carolina at Greensboro, 2014. Web.
Sacred Heresies traces the English literary tradition of the Harrowing of Hell out of the Catholic Middle Ages, through the Protestant Renaissance, and into the proto-scientific Restoration period. I argue that Christ’s theatrical descent into hell serves as source material for authors wishing to depict characters overcoming evil through confrontation with the devil or demonic figures. Edmund Spenser, Christopher Marlowe, William Shakespeare, and Margaret Cavendish draw on the narratives associated with the Harrowing in order to represent (or question) the lawful or righteous use of magic to combat spiritual, social, and political enemies. The ultimate source for these characterizations and actions is the Jesus Christ of the apocryphal Gospel of Nicodemus, a multi-faceted version of Christ who is rebel, magician, warrior, advocate, and kinfolk simultaneously. The early modern writers who discovered this Christ in their reading of texts like William Langland’s Piers Plowman and their viewing of the vestiges of the cycle plays found a virtuous subject encountering and often debating with diabolical forces, acts that have previously denoted either witchcraft or exorcism. By offering the Harrowing Christ-figure as a third alternative to these codified subject positions, my project puts scholarship on religious change into conversation with investigations of witchcraft trials and proto-scientific discourse in a way that redefines how we understand magic in early modern England.
Scholarship that connects magic and religion has focused almost exclusively on the negative aspects of the relationship. Stuart Clark observes that accusations of witchcraft were “endemic in the discourse of religious difference,” and Genevieve Guenther notes that the instrumental aesthetics of conjuring on stage threatened to damn the audience for simply observing events. Given these deleterious associations, any desire to practice magic seems blatantly ludicrous. This study contributes an alternative model for the magical practitioner, a model powerful enough to overcome the damning effects of consorting with Lucifer himself—that of the Harrowing Christ. In the investigation of the motivations for laudable uses of magic in these literary texts, it became clear that magical practice provided a sense of human agency over supernatural events that responded to the lack of agency implied by new Protestant emphases on contemplation and predestination. If as Ian McAdam states, “Radical Protestant internalization of faith placed an almost unbearable burden of responsibility on the believer,” modeling behavior on Christ’s defeat of Satan countered this tendency by empowering the subject to more fully participate in his or her own salvation by confronting damnation directly.
Reading the literary texts alongside Tudor and Stuart theological debates about Christ’s descent into hell unearthed an unexpected element in the trajectory of the reinterpretations of the Harrowing of Hell. Whereas poets, playwrights, and prose writers were crafting characters based on the model of Christ, theologians were fashioning Christ himself for new contexts and audiences. For example, an image published with Adam Hill’s 1592 The Defence of the Article: Christ descended into Hell portrays Christ as climbing out of a coffin onto a dragon and a skeleton in order to connect Christ with St George, the patron saint of England. By William Allen’s 1697 sermon titled A Practical Improvement of the Articles of Christ’s Descent into Hell, the fact that scientists have the ability to prove how “the Body of Man becomes that of another” through “successive Transmigration” serves as proof that the infinitely more powerful Christ is “a most intelligent Agent” who can “order and watch the Particles of a Humane Body” in order to raise the dead to everlasting life (D3v). These surprising interpretations of the third article—Christ as nationalistic hero or Christ as scientist extraordinairy—support the claim made by scholars like Dewey Wallace and Patrick Collinson that the English used contested theological positions to separate themselves from both the Catholics and the Puritans and construct a stable identity for the Anglican Church that contributed to the emerging sense of England as a nation-state.
Sarkar, Debapriya. “Possible Knowledge: Forms of Literary and Scientific Thought in Early Modern England.” Proquest Dissertations and Theses. The State U of New Jersey—New Brunswick, 2014. Web.
This dissertation argues that the emergence of a new intellectual paradigm I call “possible knowledge”—encompassing projective, probable, counterfactual, hypothetical, conjectural, and prophetic ways of thinking—shaped literary and scientific writing in Renaissance England. The project uncovers a prehistory of scientific probability, still perceived as an Enlightenment-era phenomenon, by focusing on a constellation of speculative modes of knowing that drew on the imagination in the face of epistemic uncertainty. Possible knowledge emerges from elements crucial to our understanding of the literary, including mimesis, utopian discourse, and dramatic enactment, and it crosses generic boundaries. The disruption of prophetic certainty, for instance, informs the action in William Shakespeare’s Macbeth,while the unrepeatable epic events in John Milton’s Paradise Lost reveal why contemporary experimental methods—which could produce only probable knowledge about the natural world—were insufficient to explicate prelapsarian states of being. I engage with the history and philosophy of science to show how the techniques of writing associated with possible knowledge are visible across modern disciplinary divides: the error and the endlessness that govern Edmund Spenser’s epic-romance, The Faerie Queene, are at the heart of the modern scientific epistemology laid out in Francis Bacon’s inductive method. And as Margaret Cavendish’s utopian experiment with cognitive realms in The Blazing World underscores, possibility could allow authors intellectual freedom and creativity in their engagement with the material world. By focusing on hypothetical and suppositional modes of thinking, I map the contours of the humanities and the sciences as these began to assume their modern disciplinary forms.
Velde Vander, Wendy Marcella. “How Kingdoms Were Forged: King Arthur, Queen Elizabeth, and the Assimilation of Self and Other in the New Ancient World.” Proquest Dissertations and Theses. Boston U, 2014. Web.
Medieval xenophobia fostered attitudes that viewed anything foreign or distasteful as monstrous. Accordingly, insular inhabitants of the Middle Ages were constantly striving to distinguish Self from Other. My dissertation argues that sixteenth-century England began to reverse this trend: it began to reconcile difference, not by distinguishing Self from Other, but by blurring those distinctions. Visions of ancient Self and contemporary Other began to fuse as proponents of Imperial Britain sought to assimilate foreign monsters that were once considered barbaric, inferior, or inhuman. This method of assimilation is especially apparent during the Elizabethan Age of conquest in the New World.
England’s prophetic destiny was inextricably tied to its epic history, its Trojan ancestry, and its most glorified rulers, Brutus and his distant successor, King Arthur. Thus, reestablishing and rewriting Britain’s legendary past became an exercise in securing its future. I maintain that John Dee (c. 1527-1608/9) and Edmund Spenser (c. 1552-1599) strategically fused ancient Britain and the New World via the figures of King Arthur and his alleged descendant, Queen Elizabeth. Portions of Dee’s Brytanici Imperii Limites are explored to illustrate this connection, as are some of his arcane mystical pursuits. I further examine sections of Spenser’s Faerie Queene in relation to Queen Elizabeth and King Arthur, and interpret Arthur in Faery lond as a metaphor for England in the New World.
My introduction establishes the key features of the Galfridian tradition and its significance to the Tudor dynasty. It further discusses medieval perceptions of the monstrous that influenced the early-modern era. Subsequent chapters argue that England’s assimilation of Other extended to pagan deities and giants, Native Americans, ancient Israelites, and (in Elizabeth’s case) to the feminine Other. My final chapter demonstrates how Queen Elizabeth, via her affiliation with King Arthur, became a temporal bridge uniting England’s epic past with its future glory.
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