In Homo Ludens: A Study of the Play-Element in Culture (1949) Johan Huizinga argues that “civilisation is, in its earliest phases, played,” and he sees this play as antithetical in nature, generated out of contrasts and competition. Viewing The Shepheardes Calender (1579) through the lens of Huizinga’s understanding of the play concept, I consider how Spenser uses antithetical cultural play in the form of contrasting classical and popular elements, to generate a new vision for English poetics. My analysis concentrates firstly on how the editor E.K. draws attention to, and misreads, cultural difference. This is followed by an examination of the August eclogue’s depiction of two contrasting visions for English song. Reading Spenser companionably with Huizinga helps us to see how difference can be generative of meaning in the poem, producing a hodgepodge in which a mixture of cultural types challenges the reader to imagine new possibilities for English poetry.
在《Ludens: A Study of the play - element In Culture》(1949)一书中，Johan Huizinga认为“文明在其最初阶段就是游戏”，他认为这种游戏本质上是对立的，产生于对比和竞争。通过惠伊津加对戏剧概念的理解来审视《牧羊人日历》(1579)，我思考了斯宾塞如何以对比古典和流行元素的形式使用对立的文化游戏，从而为英国诗学创造了新的视野。我的分析首先集中在编辑E.K.如何引起对文化差异的注意和误读。接下来是八月牧歌对英语歌曲两种截然不同的愿景的描述。与惠伊津加一起阅读斯宾塞有助于我们了解差异如何在诗歌中产生意义，产生一种文化类型混合的大杂烩，挑战读者想象英语诗歌的新可能性。
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This essay places Spenser in the company of the Brazilian anthropologist Eduardo Viveiros de Castro and explores how ontological pluralism might afford a rich, provocative approach to the worlds of The Faerie Queene. We begin with an example of how Viveiros de Castro’s work might allow a specific episode from Book V to be reimagined. We then offer an overview of his anthropological writings, exploring both his historical account of European encounters with Amerindians in the sixteenth century and his rejection of the nature/culture distinction as typically deployed by anthropologists in favor of a “multinaturalism” informed by Amazonian cosmologies. Noting how Viveiros de Castro’s rethinking of cannibalism, as a practice that involves incorporating the perspective of the other, resonates with the place of this practice in Book VI of Spenser’s poem, we consider the symbolic entanglements of the Salvage Nation with the key themes of the Book of Courtesy. Cannibalism emerges not just as a projection of European fantasies but as a way of reckoning with the constitutive role of absolute alterity.
这篇文章将斯宾塞置于巴西人类学家爱德华多·维韦罗斯·德·卡斯特罗的陪伴下，探讨本体论多元化如何为《仙后》的世界提供一种丰富而富有煽动性的方法。我们从一个例子开始，看看维维罗斯·德·卡斯特罗的作品是如何让第五本书中的一个特定情节得以重新想象的。然后，我们对他的人类学著作进行概述，探索他对16世纪欧洲人与美洲印第安人相遇的历史描述，以及他对自然/文化区分的拒绝，这种区分通常由人类学家提出，支持亚马逊宇宙论所代表的“多自然主义”。注意到Viveiros de Castro对同类相食的重新思考，作为一种包含了他人观点的实践，与斯宾塞诗歌第六卷中这种实践的位置产生了共鸣，我们考虑了打捞国与礼貌之书的关键主题的象征性纠缠。同类相食不仅仅是欧洲人幻想的一种投射，也是一种对绝对另类的构成角色的一种思考方式。
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This article considers Spenserian allegory in light of the ontology and epistemology of the post-structuralist philosopher Gilles Deleuze. Drawing on Deleuze’s interpretation of Baruch Spinoza, I compare the characters of Spenser’s poem to Deleuzean affects, differential intensities that come into being through their varying relations on a “plane of immanence.” Where influential recent arguments have characterized allegorical materiality in The Faerie Queene in terms of deadness and aesthetic emptiness, I will instead emphasize the immanent vitality and generativity of matter in Spenser’s poem. Entering into Deleuzean Becomings as they encounter other bodies in the differential field Spenser calls “Faerie land,” the denizens of Spenser’s Faerie, I will argue, produce affective significance in excess of the delimiting violence of allegorical abstraction. This excess, finally, opens the possibility for our own divergent encounters with the poem—for readings that bring Spenser into differential relation with thinkers of our own historical era.
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In the following essay, I read The Faerie Queene alongside disability theorist Rosemarie Garland-Thomson’s Staring: How We Look. There is much to stare at in The Faerie Queene, but here I pay attention to scenes of spectacular bodily violence. I draw a connection between the poem’s fascination with bodily violence and the growing field of anatomy in late sixteenth-century England, which used staring to gather and create knowledge. Using examples from Books I, II, and III, I explore different kinds of staring at spectacular violence in The Faerie Queene to uncover the poem’s ethics of staring.
{"title":"Spectacular Staring: Spenser with Rosemarie Garland-Thomson","authors":"Megan Bowman","doi":"10.1086/723099","DOIUrl":"https://doi.org/10.1086/723099","url":null,"abstract":"In the following essay, I read The Faerie Queene alongside disability theorist Rosemarie Garland-Thomson’s Staring: How We Look. There is much to stare at in The Faerie Queene, but here I pay attention to scenes of spectacular bodily violence. I draw a connection between the poem’s fascination with bodily violence and the growing field of anatomy in late sixteenth-century England, which used staring to gather and create knowledge. Using examples from Books I, II, and III, I explore different kinds of staring at spectacular violence in The Faerie Queene to uncover the poem’s ethics of staring.","PeriodicalId":39606,"journal":{"name":"Spenser Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84834368","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}
hat is it that companions do? How do they pass the time? It may be quite enough just to travel together, or sit side by side under a tree and keep each other company. But often companions will converse, and when they converse, they are obliged to take turns. The word “conversation” first comes into the language as a description of a general sense of being in community, of participating in the texture of social life. Around Spenser’s time the sense begins to narrow toward specifically verbal exchange and familiar discourse, a usage that activates the word’s etymology, con-versare, differently: from turning together in a common direction, it becomes the collaborative back-and-forth of taking turns. There may be, to this arrangement, an air of easy exchange, the permissive, digressive sense of “conversational” often applied to Montaigne. But the word may also invoke the idealization of dialogue that John Durham Peters describes in his history of the idea of communication, Speaking into the Air: reciprocity in talk as “the summit of human encounter, the essence of liberal education, and the medium of participatory democracy.” These are the hopes that tend to inform present-day critical uses of the word, when we put ourselves in conversation with other texts, or put texts in conversation with one another. The conversation wemean is an ideally unhierarchical exchange of ideas, which borrows from the quotidian responsiveness of talk in person to overcome the constitutive estrangements and asymmetries of criticism—the
{"title":"The Root of Civil Conversation: Spenser with (and by) Himself","authors":"Jeff Dolven","doi":"10.1086/723096","DOIUrl":"https://doi.org/10.1086/723096","url":null,"abstract":"hat is it that companions do? How do they pass the time? It may be quite enough just to travel together, or sit side by side under a tree and keep each other company. But often companions will converse, and when they converse, they are obliged to take turns. The word “conversation” first comes into the language as a description of a general sense of being in community, of participating in the texture of social life. Around Spenser’s time the sense begins to narrow toward specifically verbal exchange and familiar discourse, a usage that activates the word’s etymology, con-versare, differently: from turning together in a common direction, it becomes the collaborative back-and-forth of taking turns. There may be, to this arrangement, an air of easy exchange, the permissive, digressive sense of “conversational” often applied to Montaigne. But the word may also invoke the idealization of dialogue that John Durham Peters describes in his history of the idea of communication, Speaking into the Air: reciprocity in talk as “the summit of human encounter, the essence of liberal education, and the medium of participatory democracy.” These are the hopes that tend to inform present-day critical uses of the word, when we put ourselves in conversation with other texts, or put texts in conversation with one another. The conversation wemean is an ideally unhierarchical exchange of ideas, which borrows from the quotidian responsiveness of talk in person to overcome the constitutive estrangements and asymmetries of criticism—the","PeriodicalId":39606,"journal":{"name":"Spenser Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90501757","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}
If allegory inheres in narrative, narrative is fundamental to The Faerie Queene, and if allegory does not, Spenser’s major poem uncontestably remains a narrative form. My essay treats the working of narrative in the poem, taking as its lodestar Paul Ricoeur’s Time and Narrative, whose thesis asserts the intimacy of narrative with human time. Ricoeur’s theory develops and extends the thinking of Augustine on temporality and Aristotle on narrative form, the former offering a subjective grounding, the latter an objective one. Both Augustine’s awareness of time and Aristotle’s emplotment are needed, but only a poetics of narrative, such as Ricoeur’s, can mediate between them. Through metaphorical reference, narrative, according to Ricoeur, transfigures the world. Informed by Ricoeur’s theory, my essay treats the opening of Book I, the binding of Occasion in Book II, the chronicles of Books II and III, the early cantos of Book IV, and more.
{"title":"Poetic Narrative and Human Time: Spenser with Paul Ricoeur","authors":"Judith H. Anderson","doi":"10.1086/723568","DOIUrl":"https://doi.org/10.1086/723568","url":null,"abstract":"If allegory inheres in narrative, narrative is fundamental to The Faerie Queene, and if allegory does not, Spenser’s major poem uncontestably remains a narrative form. My essay treats the working of narrative in the poem, taking as its lodestar Paul Ricoeur’s Time and Narrative, whose thesis asserts the intimacy of narrative with human time. Ricoeur’s theory develops and extends the thinking of Augustine on temporality and Aristotle on narrative form, the former offering a subjective grounding, the latter an objective one. Both Augustine’s awareness of time and Aristotle’s emplotment are needed, but only a poetics of narrative, such as Ricoeur’s, can mediate between them. Through metaphorical reference, narrative, according to Ricoeur, transfigures the world. Informed by Ricoeur’s theory, my essay treats the opening of Book I, the binding of Occasion in Book II, the chronicles of Books II and III, the early cantos of Book IV, and more.","PeriodicalId":39606,"journal":{"name":"Spenser Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82544110","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}
Location is one of the primary determinants of “meaning” in The Faerie Queene, if not the primary determinant. The present essay uses a Lefebvrian lens to illustrate the tensions inherent in Spenser’s attempt to generate spaces intended both to “mirror” and re-“fashion” the various “realms” Queen Elizabeth is invited to “see” in fairyland and to analyze what Lefebvre identifies as the resulting “antagonism” between “a knowledge which serves power and a form of knowing which refuses to acknowledge power.” While such an approach helps to reveal the conflicted nature of Spenserian space and the sort of social “discipline” its production entails, the emergent analogy between the two authors allows us to read Lefebvre’s own, ultimately frustrated, attempt to articulate “a unified theory of space” as a sort of Marxist “allegory” that repeatedly destabilizes its own premises.
{"title":"“Soveraigne place”: Spenser with Henri Lefebvre","authors":"Richard A. Mccabe","doi":"10.1086/722428","DOIUrl":"https://doi.org/10.1086/722428","url":null,"abstract":"Location is one of the primary determinants of “meaning” in The Faerie Queene, if not the primary determinant. The present essay uses a Lefebvrian lens to illustrate the tensions inherent in Spenser’s attempt to generate spaces intended both to “mirror” and re-“fashion” the various “realms” Queen Elizabeth is invited to “see” in fairyland and to analyze what Lefebvre identifies as the resulting “antagonism” between “a knowledge which serves power and a form of knowing which refuses to acknowledge power.” While such an approach helps to reveal the conflicted nature of Spenserian space and the sort of social “discipline” its production entails, the emergent analogy between the two authors allows us to read Lefebvre’s own, ultimately frustrated, attempt to articulate “a unified theory of space” as a sort of Marxist “allegory” that repeatedly destabilizes its own premises.","PeriodicalId":39606,"journal":{"name":"Spenser Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72423305","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}
Wittgenstein’s early philosophical masterpiece, the Tractatus Logico-Philosophicus, builds to a logical picture of the whole world and asks what words can give us pictures of. Broadly speaking, this “picture-theory of language” exposes the underlying assumptions of allegory. Rejecting logic in his late work, especially the Philosophical Investigations, Wittgenstein asks what, in the vast array of human circumstances, words are used for. Meaning is no longer a spectral picture inside the head; it is out in the world, woven into all our interactions. Similarly, when we interpret The Faerie Queene, we are not constructing models of what each of us alone (in competition with everyone else) pictures as the true meaning. We are interacting with the text and with one another in the delicate web that is the poem’s field. All, or almost all, such interpretations are illuminating, but none of them is final, comprehensive, or in any simple sense true.
{"title":"Allegory as Language Game: Spenser with Ludwig Wittgenstein","authors":"G. Teskey","doi":"10.1086/722430","DOIUrl":"https://doi.org/10.1086/722430","url":null,"abstract":"Wittgenstein’s early philosophical masterpiece, the Tractatus Logico-Philosophicus, builds to a logical picture of the whole world and asks what words can give us pictures of. Broadly speaking, this “picture-theory of language” exposes the underlying assumptions of allegory. Rejecting logic in his late work, especially the Philosophical Investigations, Wittgenstein asks what, in the vast array of human circumstances, words are used for. Meaning is no longer a spectral picture inside the head; it is out in the world, woven into all our interactions. Similarly, when we interpret The Faerie Queene, we are not constructing models of what each of us alone (in competition with everyone else) pictures as the true meaning. We are interacting with the text and with one another in the delicate web that is the poem’s field. All, or almost all, such interpretations are illuminating, but none of them is final, comprehensive, or in any simple sense true.","PeriodicalId":39606,"journal":{"name":"Spenser Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75123185","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}
In Staying with the Trouble (2016), the feminist philosopher Donna Haraway argues for a practice of speculative, collective fabulation, or sympoiesis, allied to cross-species relation, generation, and continuity, as our only means of survival on a devastated planet. Placing her trust in the intricate knots of biological relationality and mutual dependence that persist in earth’s muddy soil, or compost, she offers, in the story of the symbiont Camille, a fable of symbiogenesis, or “becoming-with-others for a habitable, flourishing world.” This essay argues that The Faerie Queene, a poem centrally concerned with the opposition of waste and fertility, is an open, unfinished, sympoietic work deeply interested in soil and its generative admixtures, producing its own version of what Haraway describes as material-semiotic composting, or theory in the mud. Denying privilege to the human, Spenser employs speculative, interlaced fictions to argue for the persistence of life-forms emerging from earth’s damaged soil.
{"title":"Thinking through Symbionts: Spenser with Donna Haraway","authors":"S. Chaudhuri","doi":"10.1086/723100","DOIUrl":"https://doi.org/10.1086/723100","url":null,"abstract":"In Staying with the Trouble (2016), the feminist philosopher Donna Haraway argues for a practice of speculative, collective fabulation, or sympoiesis, allied to cross-species relation, generation, and continuity, as our only means of survival on a devastated planet. Placing her trust in the intricate knots of biological relationality and mutual dependence that persist in earth’s muddy soil, or compost, she offers, in the story of the symbiont Camille, a fable of symbiogenesis, or “becoming-with-others for a habitable, flourishing world.” This essay argues that The Faerie Queene, a poem centrally concerned with the opposition of waste and fertility, is an open, unfinished, sympoietic work deeply interested in soil and its generative admixtures, producing its own version of what Haraway describes as material-semiotic composting, or theory in the mud. Denying privilege to the human, Spenser employs speculative, interlaced fictions to argue for the persistence of life-forms emerging from earth’s damaged soil.","PeriodicalId":39606,"journal":{"name":"Spenser Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72754558","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}
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