Pub Date : 2020-12-31DOI: 10.1525/9780520974463-015
{"title":"Heintze’s Translation of Burns","authors":"","doi":"10.1525/9780520974463-015","DOIUrl":"https://doi.org/10.1525/9780520974463-015","url":null,"abstract":"","PeriodicalId":41054,"journal":{"name":"RENASCENCE-ESSAYS ON VALUES IN LITERATURE","volume":"70 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88003320","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-31DOI: 10.1525/9780520974463-018
{"title":"Works Cited","authors":"","doi":"10.1525/9780520974463-018","DOIUrl":"https://doi.org/10.1525/9780520974463-018","url":null,"abstract":"","PeriodicalId":41054,"journal":{"name":"RENASCENCE-ESSAYS ON VALUES IN LITERATURE","volume":"26 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79661319","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-31DOI: 10.1525/9780520974463-012
T. Carlyle
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Pub Date : 2020-10-19DOI: 10.5840/renascence202072310
C. Davis
Protestant cross-cultural missionaries have appeared as characters in literary narratives for some two hundred years. These narratives use three patterns. The first, showing godly missionaries supported by divine interventions, includes nonfiction accounts of missionaries like Hudson Taylor, Jim Elliot, and Don Richardson. The second pattern, showing missionaries as orthodox fanatics, includes Brontë’s Jane Eyre, Maugham’s “Rain,” and Kingsolver’s The Poisonwood Bible. The third pattern, common in postcolonial novels, portrays missionaries with ambivalence and humor and includes elements of Bakhtin’s “carnivalesque”: comic-grotesque imagery, obscenities, and feasts. This postcolonial missionary character represents not oppression but freedom and appears in such novels as Anand’s Untouchable, Achebe’s Things Fall Apart, and Vargas Llosa’s The Storyteller.
{"title":"Protestant Missionaries in Literature","authors":"C. Davis","doi":"10.5840/renascence202072310","DOIUrl":"https://doi.org/10.5840/renascence202072310","url":null,"abstract":"Protestant cross-cultural missionaries have appeared as characters in literary narratives for some two hundred years. These narratives use three patterns. The first, showing godly missionaries supported by divine interventions, includes nonfiction accounts of missionaries like Hudson Taylor, Jim Elliot, and Don Richardson. The second pattern, showing missionaries as orthodox fanatics, includes Brontë’s Jane Eyre, Maugham’s “Rain,” and Kingsolver’s The Poisonwood Bible. The third pattern, common in postcolonial novels, portrays missionaries with ambivalence and humor and includes elements of Bakhtin’s “carnivalesque”: comic-grotesque imagery, obscenities, and feasts. This postcolonial missionary character represents not oppression but freedom and appears in such novels as Anand’s Untouchable, Achebe’s Things Fall Apart, and Vargas Llosa’s The Storyteller.","PeriodicalId":41054,"journal":{"name":"RENASCENCE-ESSAYS ON VALUES IN LITERATURE","volume":"107 1","pages":"125-146"},"PeriodicalIF":0.0,"publicationDate":"2020-10-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76551544","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-10-19DOI: 10.5840/renascence202072312
Carla A. Arnell
This essay of practical literary criticism explores how Hope Mirrlees’s fantasy novel Lud-in-the-Mist draws upon biblical and medieval narrative traditions to develop a fantasy tale whose Christian theology is smuggled in as sweetly and subtly as the novel’s fairy fruit. Through my analysis, I argue that Mirrlees uses symbolism and allegory to develop an aesthetic theology aimed at addressing her own and her protagonist’s existential anxiety about death. In the course of that theological tale, she represents faith as an antidote to existential fear and sacramental ritual as a means of reconciling the spiritual and material, the divine and the human, both of which have become estranged at the novel’s start. In that regard, her story about the return of Catholic sacramentalism to the bourgeois town of Lud-in-the-Mist adumbrates her own turn to Catholicism in the years after the novel’s publication, suggesting for Mirrlees’s enigmatic biography an earlier and more gradual turn to religious conversion than has hitherto been described in scholarly accounts of her evolution as a religious thinker.
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Pub Date : 2020-10-19DOI: 10.5840/renascence202072311
S. Benson
The standard view is that Shakespeare depicts alcoholic consumption as good in moderation, but bad when used to excess. Although he illustrates in Falstaff and others alcohol’s debilitating effects, Shakespeare also treats occasional drunkenness at festive events—christenings, wakes, church ales—as benign and even salutary. Such occasions are part and parcel of the pre-Reformation tolerance of social drunkenness (as opposed to moderate imbibing), what I call good Christian drinking. The REED documents attest to the church’s accommodation of drinking at parish festivities, particularly at ales. I argue that Shakespeare’s plays permit and even encourage social drunkenness as a lubricant for fellowship—especially if the drinking is done in the company of fellow believers. Engaging this serious Reformation controversy with comic levity, Shakespeare shows a taste that is remarkably latitudinarian concerning the religious tolerance of social drunkenness.
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Pub Date : 2020-09-03DOI: 10.1093/oso/9780198707868.003.0010
Felicity R. James
Charles Lamb helped develop the familiar essay genre through his Essays of Elia (1823) and Last Essays (1833). Highly popular through the nineteenth and early twentieth centuries, he faded from view through the twentieth century thanks to New Critical scorn. This chapter restores the Elian voice to contemporary conversations about the essay, tracing Lamb’s influence and afterlives in the work of later writers from Anne Fadiman to David Foster Wallace. More broadly, the chapter uses Lamb to open up the many nuances of the familiar essay, and to trace its origins and debts. From conversation to letter-writing to the work of the Romantic poets and the strange persona of Elia himself, it explores the many meanings and histories of the familiar mode.
{"title":"Charles Lamb, Elia, and Essays in Familiarity","authors":"Felicity R. James","doi":"10.1093/oso/9780198707868.003.0010","DOIUrl":"https://doi.org/10.1093/oso/9780198707868.003.0010","url":null,"abstract":"Charles Lamb helped develop the familiar essay genre through his Essays of Elia (1823) and Last Essays (1833). Highly popular through the nineteenth and early twentieth centuries, he faded from view through the twentieth century thanks to New Critical scorn. This chapter restores the Elian voice to contemporary conversations about the essay, tracing Lamb’s influence and afterlives in the work of later writers from Anne Fadiman to David Foster Wallace. More broadly, the chapter uses Lamb to open up the many nuances of the familiar essay, and to trace its origins and debts. From conversation to letter-writing to the work of the Romantic poets and the strange persona of Elia himself, it explores the many meanings and histories of the familiar mode.","PeriodicalId":41054,"journal":{"name":"RENASCENCE-ESSAYS ON VALUES IN LITERATURE","volume":"58 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-09-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75178715","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-09-03DOI: 10.1093/oso/9780198707868.003.0003
Warren Boutcher
The chapter resituates the history of the literary essay in English in the tradition of ‘various and miscellaneous’ literature going back to classical antiquity. This vast and multifarious tradition of writing was defined negatively by its not being classifiable as a contribution to the formal literary and scholarly genres of poetry and philosophy. Montaigne founded the modern ‘essay’ by putting a particular and enduring stamp on what is identified in this chapter as the ‘authored miscellany’. This is not an anonymous anthology of texts but a personal and varied collection of or commentary upon sundry texts and examples of the kind represented in classical antiquity by Aulus Gellius’s Noctes Atticae. The chapter traces the history of the authored miscellany, and Montaigne’s role in its transformation into the essay, from the perspective of a pivotal moment at the turn of the eighteenth and nineteeth centuries, as captured in the writings and library of Isaac D’Israeli (1766–1848).
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Pub Date : 2020-09-03DOI: 10.1093/oso/9780198707868.003.0011
T. Wright
This chapter presents the writings of Carlyle and Emerson as key examples of the nineteenth-century ‘voiced essay’. It explores how, in Britain and America during the period, a new vogue for public lectures meant that essayists were increasingly becoming orators. Rather than being simply an aesthetic or formal quality, however, the chapter also shows how, in the case of Emerson and Carlyle, the ‘voiced essay’ also allowed writers to engage with ideas of orality and speech on the level of theme: reimagining their readerships as circles of listeners, and using tropes of ventriloquism and vocal orchestration in the service of distinct political visions. Thinking about nineteenth-century essays as multi-levelled charismatic vocal and social performances provides a new way of thinking about the genre and its audience at a moment of productive tension between competing forms of social authority.
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