Attitudes to animals and their relationship with the human have undergone significant changes over the last six decades, from the rise of the environmental movement to debates about genetic modification. Poetry has responded to these developments but also contributed to argument and activism. This essay aims to make sense of this history and its literary consequences by investigating the representation of otters in the work of a series of poets from Ted Hughes to John Kinsella. Shape-shifting, elusive, never entirely other, otters allow writers to negotiate the fluid boundary between animal and human and the value of what is wild. They enable explorations of sexuality, the attraction of animals as re-makers of human geography, and the risk to all life forms posed by pollution and nuclear contamination. By analysing a range of work from Britain and Ireland, with some attention to American and Australian contexts and the international rise of Bio Art, the discussion aims to clarify both how views of the natural have been reconfigured and how these shifts animate very different kinds of verse, from the formality of Seamus Heaney and Alice Oswald to the late modernism of Colin Simms and Maggie O’Sullivan.
{"title":"Otters and Others: Ted Hughes to John Kinsella","authors":"John C. Kerrigan","doi":"10.1093/res/hgad043","DOIUrl":"https://doi.org/10.1093/res/hgad043","url":null,"abstract":"\u0000 Attitudes to animals and their relationship with the human have undergone significant changes over the last six decades, from the rise of the environmental movement to debates about genetic modification. Poetry has responded to these developments but also contributed to argument and activism. This essay aims to make sense of this history and its literary consequences by investigating the representation of otters in the work of a series of poets from Ted Hughes to John Kinsella. Shape-shifting, elusive, never entirely other, otters allow writers to negotiate the fluid boundary between animal and human and the value of what is wild. They enable explorations of sexuality, the attraction of animals as re-makers of human geography, and the risk to all life forms posed by pollution and nuclear contamination. By analysing a range of work from Britain and Ireland, with some attention to American and Australian contexts and the international rise of Bio Art, the discussion aims to clarify both how views of the natural have been reconfigured and how these shifts animate very different kinds of verse, from the formality of Seamus Heaney and Alice Oswald to the late modernism of Colin Simms and Maggie O’Sullivan.","PeriodicalId":255318,"journal":{"name":"The Review of English Studies","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-05-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122208279","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article argues that sixteenth-century humanist depictions of Rome’s decay, together with paradigms of translatio imperii et studii, shape Edmund Spenser’s poetics of matter. The article identifies a new translatio in Spenser’s corpus, translatio materiae—matter’s movement or change—born from Spenser’s contact with and Complaints (1591) translation of Joachim du Bellay’s sonnet sequence, Les Antiquitez de Rome (1553). Where earlier humanists represent the recovery and reincorporation of Rome’s material remains as a metaphor for carrying forward antique power and artistry, Spenser transforms this image of material translatio into a law governing depicted matter’s movement and change in his Faerie Queene (1590/96). Translatio materiae runs through Spenser’s corpus as represented matter’s resurrection from states of decay into material afterlives as narrative object or poetic device. I examine this phenomenon in key heroic episodes of Faerie Queene Book One, episodes which I treat as exemplary of matter’s preservation, proliferation, and translatio as compositional strategies in the poem’s narrative and structure. Translatio materiae’s use in the poem thus points to a Spenserian theory of imitation that resists the teleology of prior translatio paradigms and instead understands Renaissance imitation to exhibit all the waywardness of matter.
{"title":"Translatio Materiae: Spenser’s Poetics of Matter","authors":"V. Pipas","doi":"10.1093/res/hgad041","DOIUrl":"https://doi.org/10.1093/res/hgad041","url":null,"abstract":"\u0000 This article argues that sixteenth-century humanist depictions of Rome’s decay, together with paradigms of translatio imperii et studii, shape Edmund Spenser’s poetics of matter. The article identifies a new translatio in Spenser’s corpus, translatio materiae—matter’s movement or change—born from Spenser’s contact with and Complaints (1591) translation of Joachim du Bellay’s sonnet sequence, Les Antiquitez de Rome (1553). Where earlier humanists represent the recovery and reincorporation of Rome’s material remains as a metaphor for carrying forward antique power and artistry, Spenser transforms this image of material translatio into a law governing depicted matter’s movement and change in his Faerie Queene (1590/96). Translatio materiae runs through Spenser’s corpus as represented matter’s resurrection from states of decay into material afterlives as narrative object or poetic device. I examine this phenomenon in key heroic episodes of Faerie Queene Book One, episodes which I treat as exemplary of matter’s preservation, proliferation, and translatio as compositional strategies in the poem’s narrative and structure. Translatio materiae’s use in the poem thus points to a Spenserian theory of imitation that resists the teleology of prior translatio paradigms and instead understands Renaissance imitation to exhibit all the waywardness of matter.","PeriodicalId":255318,"journal":{"name":"The Review of English Studies","volume":"460 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-05-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125808391","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Jennie Batchelor. The Lady’s Magazine (1770–1832) and the Making of Literary History","authors":"P. Goring","doi":"10.1093/res/hgad047","DOIUrl":"https://doi.org/10.1093/res/hgad047","url":null,"abstract":"","PeriodicalId":255318,"journal":{"name":"The Review of English Studies","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130933017","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Jack Quin. W. B. Yeats and the Language of Sculpture","authors":"Kelly E. Sullivan","doi":"10.1093/res/hgad038","DOIUrl":"https://doi.org/10.1093/res/hgad038","url":null,"abstract":"","PeriodicalId":255318,"journal":{"name":"The Review of English Studies","volume":"45 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114431860","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Victoria Moul. A Literary History of Latin and English Poetry: Bilingual Verse Culture in Early Modern England","authors":"C. Spearing","doi":"10.1093/res/hgad046","DOIUrl":"https://doi.org/10.1093/res/hgad046","url":null,"abstract":"","PeriodicalId":255318,"journal":{"name":"The Review of English Studies","volume":"92 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122748470","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Thomas Salem Manganaro. Against Better Judgement: Irrational Action and Literary Invention in the Long Eighteenth Century","authors":"Anne M. Thell","doi":"10.1093/res/hgad033","DOIUrl":"https://doi.org/10.1093/res/hgad033","url":null,"abstract":"","PeriodicalId":255318,"journal":{"name":"The Review of English Studies","volume":"51 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122840461","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"E. Derek Taylor, Melvyn New, and Elizabeth Kraft (eds). The History of Sir Charles Grandison","authors":"","doi":"10.1093/res/hgad032","DOIUrl":"https://doi.org/10.1093/res/hgad032","url":null,"abstract":"","PeriodicalId":255318,"journal":{"name":"The Review of English Studies","volume":"301 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124279735","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Noting the scarcity of extended investigations of feeling in Shakespeare’s Sonnets, this essay approaches the topic through the concept of articulation. On this basis, it becomes possible to trace the process of how Shakespeare’s lyrics produce rather than express emotion: feeling emerges in the act of speaking about feeling, which is also the attempt of segmenting heterogeneous affective states into distinctly conceptualized feelings. Examining the articulation of emotion within and between sonnets, the essay finds the gist of the poetry not in the success but in the persistent—and, it is argued, programmatically determined—‘failure’ of these attempts. The notion that Shakespeare’s Sonnets almost methodically demonstrate the irreducible volatility of feeling contradicts Michael Schoenfeldt’s classic argument that this collection of poems espouses a Galenic ethics of emotional control. While Schoenfeldt proposes that contemporary readings testify to ‘the distance separating the modern fetishes of desire and exhibitionism from the Renaissance fetishes of inscrutability and control’, the present interpretation suggests that the poems in the 1609 Quarto should be seen as equidistant from both ‘our’ present and ‘their’ past. Locating the major point of Shakespeare’s Sonnets in the act of gesturing towards an impossible and inexpressible affective space of sociality, it is claimed that the collection might be productively read as performative prefiguration of a modernity that never quite arrived.
{"title":"The Articulation of Feeling in Shakespeare’s Sonnets","authors":"","doi":"10.1093/res/hgad028","DOIUrl":"https://doi.org/10.1093/res/hgad028","url":null,"abstract":"\u0000 Noting the scarcity of extended investigations of feeling in Shakespeare’s Sonnets, this essay approaches the topic through the concept of articulation. On this basis, it becomes possible to trace the process of how Shakespeare’s lyrics produce rather than express emotion: feeling emerges in the act of speaking about feeling, which is also the attempt of segmenting heterogeneous affective states into distinctly conceptualized feelings. Examining the articulation of emotion within and between sonnets, the essay finds the gist of the poetry not in the success but in the persistent—and, it is argued, programmatically determined—‘failure’ of these attempts. The notion that Shakespeare’s Sonnets almost methodically demonstrate the irreducible volatility of feeling contradicts Michael Schoenfeldt’s classic argument that this collection of poems espouses a Galenic ethics of emotional control. While Schoenfeldt proposes that contemporary readings testify to ‘the distance separating the modern fetishes of desire and exhibitionism from the Renaissance fetishes of inscrutability and control’, the present interpretation suggests that the poems in the 1609 Quarto should be seen as equidistant from both ‘our’ present and ‘their’ past. Locating the major point of Shakespeare’s Sonnets in the act of gesturing towards an impossible and inexpressible affective space of sociality, it is claimed that the collection might be productively read as performative prefiguration of a modernity that never quite arrived.","PeriodicalId":255318,"journal":{"name":"The Review of English Studies","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117289639","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Sarah Wood. Piers Plowman and Its Manuscript Tradition","authors":"","doi":"10.1093/res/hgad044","DOIUrl":"https://doi.org/10.1093/res/hgad044","url":null,"abstract":"","PeriodicalId":255318,"journal":{"name":"The Review of English Studies","volume":"254 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116880217","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Leah Tether, Laura Chuhan-Campbell and Benjamin Pohl The Bristol Merlin: Revealing the Secrets of a Medieval Fragment","authors":"Martha Claire Baldon","doi":"10.1093/res/hgad035","DOIUrl":"https://doi.org/10.1093/res/hgad035","url":null,"abstract":"","PeriodicalId":255318,"journal":{"name":"The Review of English Studies","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126652779","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：