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Writing Epic in the Aftermath of Civil War: Paradise Lost, the Aeneid, and the Politics of Contemporary History 内战后的史诗书写:失乐园、埃涅阿斯纪与当代政治
IF 0.2 2区 文学 0 POETRY Pub Date : 2018-04-17 DOI: 10.1353/MLT.2018.0006
D. Loewenstein
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引用次数: 2
Peculiar and Personal: Milton's De Doctrina Christiana 独特而个人化:弥尔顿的《论基督教教义》
IF 0.2 2区 文学 0 POETRY Pub Date : 2018-04-17 DOI: 10.1353/MLT.2018.0001
J. Hale
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引用次数: 1
Milton's Earthbound Bodies: Genesis, Physics, Aesthetics 弥尔顿的肉体:创世纪,物理学,美学
IF 0.2 2区 文学 0 POETRY Pub Date : 2018-04-17 DOI: 10.1353/MLT.2018.0005
C. O'Connell
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引用次数: 0
Heroic Restorations: Dryden and Milton 英雄修复:德莱顿与米尔顿
IF 0.2 2区 文学 0 POETRY Pub Date : 2018-04-17 DOI: 10.1353/MLT.2018.0007
T. Luxon
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引用次数: 0
Milton, Deliberative Liberty, and the Law of Spousal Privileges 弥尔顿:《协商自由与配偶特权法》
IF 0.2 2区 文学 0 POETRY Pub Date : 2018-04-17 DOI: 10.1353/MLT.2018.0008
Todd Butler
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引用次数: 0
Milton's Sensuous Poetics: On the Material Texts of Paradise Lost 弥尔顿的感性诗学:论《失乐园》的物质文本
IF 0.2 2区 文学 0 POETRY Pub Date : 2018-04-17 DOI: 10.1353/MLT.2018.0004
T. Festa
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引用次数: 0
Preface: Miltonic Poetics 前言:弥尔顿诗学
IF 0.2 2区 文学 0 POETRY Pub Date : 2018-04-17 DOI: 10.1353/MLT.2018.0000
L. L. Knoppers
When Milton’s Death, poised at the gates of hell, upturns his nostril to snuff the smell of mortal change on earth, we find a strikingly compressed nexus of theology, ontology, cosmology, and intertextuality in Paradise Lost. The primordial snuff is Death’s response to his mother, Sin, who, with Satan’s success in tempting Adam and Eve, feels “new strength within me rise, / Wings growing, and dominion given me large / Beyond this deep” (10.243–45) and urges Death to go with her to earth, “For Death from Sin no power can separate” (10.251).1 Death, a perpetually ravenous “meagre shadow” (10.264), needs no further encouragement, avowing:
当米尔顿之死,在地狱之门前,仰起鼻孔,嗅到地球上致命变化的气息时,我们在《失乐园》中发现了神学、本体论、宇宙学和互文性的惊人压缩关系。最原始的鼻烟是死亡对他的母亲辛的回应,随着撒旦成功地诱惑了亚当和夏娃,她感到“我内心的新力量崛起了,翅膀长了,统治赋予了我巨大的力量/超越了这个深度”(10.243-45),并敦促死亡与她一起去地球,“因为死亡与罪没有任何力量可以分开”(10.251)。1死亡,一个永远贪婪的“微弱的阴影”(10.264),无需进一步鼓励,宣称:
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引用次数: 0
Mortal Change: Life after Death in Paradise Lost 凡人的变化:《失乐园》中的死后生活
IF 0.2 2区 文学 0 POETRY Pub Date : 2018-04-11 DOI: 10.1353/MLT.2018.0003
Mandy Green
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引用次数: 0
Three of Borges's Miltons 三个博尔赫斯的弥尔顿
IF 0.2 2区 文学 0 POETRY Pub Date : 2018-02-07 DOI: 10.1353/MLT.2017.0010
Angelica Duran
“John Milton, Englishman” figures regularly in the works of Argentine Jorge Luis Borges, from his early newspaper writings to his late poems, through direct quotation and indirect reference.1 Borges’s translator, friend, and aficionado Willis Barnstone received no demurral from the septuagenarian Borges when he remarked that, “In various conversations and so frequently in your writing you mention Milton. You mention him far more than you do Dante.” Milton’s prominence for Borges is clear from his ready response to Barnstone’s follow-up question, “When did you read Milton’s Paradise Lost?”:2 “My parents went to Europe in the year 1914. . . . I got a copy of Milton’s works in the Everyman’s Library edition, and instead of seeing Paris — I must have been fifteen at the time — I stayed in the hotel and read Paradise Lost, Paradise Regained, Samson Agonistes, and the sonnets,” to which he immediately added, “And I don’t regret it.”3 We glean from this characteristically pithy and playful response that Borges’s first exposure to Milton’s works was influential both because it came early in his life, during particularly impressionable years, and because his own bookish Parisian experience resembled Milton’s. Milton likely would have found some satisfaction in Borges’s first reading of his works. Most generally, that reading was
“英国人约翰·弥尔顿”经常出现在阿根廷作家豪尔赫·路易斯·博尔赫斯的作品中,从他早期的报纸文章到他后期的诗歌,通过直接引用和间接引用的方式博尔赫斯的翻译,朋友和爱好者威利斯·巴恩斯通没有收到博尔赫斯的异议,他说,“在各种谈话中,在你的作品中,你经常提到弥尔顿。你提到他的次数远多于提到但丁的次数。”弥尔顿对博尔赫斯的重要性,从他对巴恩斯通的后续问题“你什么时候读到弥尔顿的《失乐园》?”“我的父母在1914年去了欧洲. . . .我得到了一本弥尔顿作品的《普通人图书馆》版,但我没有去巴黎——那时候我应该十五岁了——我呆在旅馆里,读了《失乐园》、《复乐园》、《参孙》和十四行诗,”他马上补充道,“我不后悔。我们从这个典型的简洁和俏皮的回答中得知,博尔赫斯第一次接触弥尔顿的作品是有影响的,因为它发生在他生命的早期,在特别易受影响的年代,因为他自己的书生气的巴黎经历与弥尔顿的相似。弥尔顿可能会在博尔赫斯第一次读他的作品时得到一些满足。一般来说,阅读是
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引用次数: 0
Apple Trees in the Archive: Thoreau, Milton, and the Melancholy of American History 档案中的苹果树:梭罗、弥尔顿与美国历史的忧郁
IF 0.2 2区 文学 0 POETRY Pub Date : 2018-02-07 DOI: 10.1353/MLT.2017.0004
G. Osborne
In book 10 of Milton’s Paradise Lost, Satan, recently returned to hell after his exploits in Eden, brags to his infernal cronies that his seduction of Adam and Eve was wondrously simple. He has lured them away from God with only an “apple” (PL 10.485–87). But Satan’s claims for the simplicity of the fruit of the tree of knowledge are reductive. In fact, the fruit is only an apple according to Satan; no other speaker in Paradise Lost names it so.1 Elsewhere, Milton makes the fruit intentionally ambiguous — as “Ruddie and Gold” as an apple at one moment, as “downie” and “ambrosial” as a peach at another — but never finally classified one way or the other (PL 9.578, 851–52).2 In keeping the fruit of the Fall generic, Milton keeps its effects implicitly tied to both Nature’s general fecundity and Eve’s “fruitful Womb,” reminding readers of the full span of biblical history, from God’s predetermination of “each / Plant” and “every Herb” even “before it grew” in Genesis, through the possibility of humankind’s redemption through Eve’s descendants — Christ, and his followers (PL 5.388–90, 7.334–36). When Satan introduces the “goodly” tree’s “apples” to Eve as “fair,” he seeks to
在米尔顿的《失乐园》第10本书中,撒旦在伊甸园的事迹结束后,最近回到了地狱,他向地狱般的密友吹嘘说,他对亚当和夏娃的诱惑非常简单。他仅仅用一个“苹果”就引诱他们离开了上帝(PL 10.485-87)。但撒旦对知识之树果实的简单性的主张是还原性的。事实上,根据撒旦的说法,这种水果只是一个苹果;在《失乐园》中,没有其他演讲者这样称呼它。1在其他地方,米尔顿故意让这种水果模棱两可——一会儿是苹果的“Ruddie and Gold”,一会儿是桃子的“downie”和“ambrosial”——但从未最终以这样或那样的方式分类(PL 9.57851-52)。2为了保持秋天的水果的通用性,米尔顿将其影响隐含地与大自然的普遍多产和夏娃的“多产的女人”联系在一起,提醒读者圣经历史的全貌,从《创世纪》中上帝对“每一株植物”和“每一种草本植物”的预先定义,甚至“在它生长之前”,到夏娃的后代——基督,以及他的追随者(PL 5.388–90,7.334–36)。当撒旦向夏娃介绍“善良”树的“苹果”是“公平的”时,他试图
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引用次数: 0
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Milton Studies
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