Il existe six recueils manuscrits de poesie ecrits de la main du scribe Ralph Crane (1565?-1632?). Ils contiennent des poemes de William Austin, Philip Massinger, Thomas Randolph, John Donne, Thomas Carew, et des poetes des Inns of Court Francis Davison, Christopher Davison, William Bagnall, Richard Gipps et Joseph Bryan. Cet article examine les exemplaires copies de ces poemes, et les cercles plus larges de collectionneurs et de lecteurs ou ils furent diffuses. Il suggere que meme si les scribes professionnels qui les recopiaient et les rassemblaient travaillaient separement, ils utilisaient des strategies relativement similaires dans la presentation de leur travail. Cette comparaison offrira aussi un contrepoint a la theorie qui tenait pour unique la pratique de Crane, et infirmera l’hypothese selon laquelle les exemplaires copies par lui se caracterisaient par ses interferences textuelles.
{"title":"Scribal Verse Manuscripts: The Poems Copied by Ralph Crane","authors":"A. Bowles","doi":"10.3917/ETAN.733.0287","DOIUrl":"https://doi.org/10.3917/ETAN.733.0287","url":null,"abstract":"Il existe six recueils manuscrits de poesie ecrits de la main du scribe Ralph Crane (1565?-1632?). Ils contiennent des poemes de William Austin, Philip Massinger, Thomas Randolph, John Donne, Thomas Carew, et des poetes des Inns of Court Francis Davison, Christopher Davison, William Bagnall, Richard Gipps et Joseph Bryan. Cet article examine les exemplaires copies de ces poemes, et les cercles plus larges de collectionneurs et de lecteurs ou ils furent diffuses. Il suggere que meme si les scribes professionnels qui les recopiaient et les rassemblaient travaillaient separement, ils utilisaient des strategies relativement similaires dans la presentation de leur travail. Cette comparaison offrira aussi un contrepoint a la theorie qui tenait pour unique la pratique de Crane, et infirmera l’hypothese selon laquelle les exemplaires copies par lui se caracterisaient par ses interferences textuelles.","PeriodicalId":51995,"journal":{"name":"ETUDES ANGLAISES","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-05-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82779126","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"On the Self-Enveloped Selflessness of Keats’s Last Great Ode","authors":"Jeremy Elprin","doi":"10.3917/etan.732.0222","DOIUrl":"https://doi.org/10.3917/etan.732.0222","url":null,"abstract":"","PeriodicalId":51995,"journal":{"name":"ETUDES ANGLAISES","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77938738","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"On the Birth of the Keatsian Ode: In-scribing the Other","authors":"Christian La Cassagnère","doi":"10.3917/etan.732.0159","DOIUrl":"https://doi.org/10.3917/etan.732.0159","url":null,"abstract":"","PeriodicalId":51995,"journal":{"name":"ETUDES ANGLAISES","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87900772","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Keats, les lieux et les formules. À propos de Keats’s Places, Richard Marggraf Turley (éd.)","authors":"Laurent Folliot","doi":"10.3917/etan.732.0235","DOIUrl":"https://doi.org/10.3917/etan.732.0235","url":null,"abstract":"","PeriodicalId":51995,"journal":{"name":"ETUDES ANGLAISES","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78767333","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Cet article reevalue l’ode romantique a travers le concept de brinkmanship (strategie de la corde raide) concu par Edward Young en 1728 et relance et developpe par Coleridge. Young depeint l’ode pindarique comme un genre a risque qui semble sauvage et « immethodique », mais qui « a autant de logique au fond, qu’Aristote ou qu’Euclide ». Coleridge elabore cette « logique » poetique et fait de l’idee de forces mentales conflictuelles mais harmonisees une partie de sa theorie de l’imagination. Ses speculations critiques illuminent sa propre ecriture d’odes et celle d’autres poetes romantiques qui utilisent le genre de maniere autoreflexive, pour tester les limites de l’imagination et explorer son fonctionnement. L’article se concentre sur l’« Intimations Ode » de Wordsworth et l’« Ode to a Nightingale » de Keats, soulignant leur audace imaginative, leur deploiement strategique de dispositifs pindariques tels que les transitions, les apostrophes et les paradoxes, et leur audacieuse intertextualite. Les aspects des odes de Keats normalement consideres comme des signes de retenue horatienne sont interpretes a la place comme des manifestations distinctives de la technique du pindarisme.
{"title":"The Romantic Ode and the Art of Brinkmanship","authors":"David Duff","doi":"10.3917/etan.732.0137","DOIUrl":"https://doi.org/10.3917/etan.732.0137","url":null,"abstract":"Cet article reevalue l’ode romantique a travers le concept de brinkmanship (strategie de la corde raide) concu par Edward Young en 1728 et relance et developpe par Coleridge. Young depeint l’ode pindarique comme un genre a risque qui semble sauvage et « immethodique », mais qui « a autant de logique au fond, qu’Aristote ou qu’Euclide ». Coleridge elabore cette « logique » poetique et fait de l’idee de forces mentales conflictuelles mais harmonisees une partie de sa theorie de l’imagination. Ses speculations critiques illuminent sa propre ecriture d’odes et celle d’autres poetes romantiques qui utilisent le genre de maniere autoreflexive, pour tester les limites de l’imagination et explorer son fonctionnement. L’article se concentre sur l’« Intimations Ode » de Wordsworth et l’« Ode to a Nightingale » de Keats, soulignant leur audace imaginative, leur deploiement strategique de dispositifs pindariques tels que les transitions, les apostrophes et les paradoxes, et leur audacieuse intertextualite. Les aspects des odes de Keats normalement consideres comme des signes de retenue horatienne sont interpretes a la place comme des manifestations distinctives de la technique du pindarisme.","PeriodicalId":51995,"journal":{"name":"ETUDES ANGLAISES","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78002331","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Making Sense of Wilfred Owen’s Keatsian Heritage: Exposure and Ode to a Nightingale","authors":"L. Anthony","doi":"10.3917/etan.732.0203","DOIUrl":"https://doi.org/10.3917/etan.732.0203","url":null,"abstract":"","PeriodicalId":51995,"journal":{"name":"ETUDES ANGLAISES","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84345869","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Lyric Embarrassment and the Phenomenology of Alterity in Keats’s Two Odes on Art","authors":"David Lo","doi":"10.3917/etan.732.0186","DOIUrl":"https://doi.org/10.3917/etan.732.0186","url":null,"abstract":"","PeriodicalId":51995,"journal":{"name":"ETUDES ANGLAISES","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81779545","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Negation and Poetic Capability in Keats’s Odes","authors":"Oriane Monthéard","doi":"10.3917/etan.732.0171","DOIUrl":"https://doi.org/10.3917/etan.732.0171","url":null,"abstract":"","PeriodicalId":51995,"journal":{"name":"ETUDES ANGLAISES","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90914486","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This essay is a meditation on the binary title of Middlemarch, and in particular on the first of the two semantic elements that comprise it. I coin the term “middleness” to describe the human state in the book, as it is explored “in the middest” both of time and space, and examine it along three axes, one temporal—to do with the consciousness of living in the middle of history—and two spatial. The first of these latter is horizontal, with reflections on the nature of the setting in the very centre of England, Loamshire or Warwickshire, and the psycho-geographical effects of this setting upon the characters in the novel; and the second is vertical, with reflections on the focus of persons standing essentially in the middle of the social hierarchy. I attempt to uncover discrimination between those characters who manage to achieve a chosen and considered position in relation to “middleness”—that is to say mediocritas in its Horatian sense—and those who are merely “mediocre” in its modern sense.
{"title":"Middleness in Middlemarch","authors":"M. Hollington","doi":"10.3917/etan.731.0030","DOIUrl":"https://doi.org/10.3917/etan.731.0030","url":null,"abstract":"This essay is a meditation on the binary title of Middlemarch, and in particular on the first of the two semantic elements that comprise it. I coin the term “middleness” to describe the human state in the book, as it is explored “in the middest” both of time and space, and examine it along three axes, one temporal—to do with the consciousness of living in the middle of history—and two spatial. The first of these latter is horizontal, with reflections on the nature of the setting in the very centre of England, Loamshire or Warwickshire, and the psycho-geographical effects of this setting upon the characters in the novel; and the second is vertical, with reflections on the focus of persons standing essentially in the middle of the social hierarchy. I attempt to uncover discrimination between those characters who manage to achieve a chosen and considered position in relation to “middleness”—that is to say mediocritas in its Horatian sense—and those who are merely “mediocre” in its modern sense.","PeriodicalId":51995,"journal":{"name":"ETUDES ANGLAISES","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82078209","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In her 1856 review of Browning’s Men and Women George Eliot highlights lines about the poet’s powers of observation as he “stood and watched the cobbler at his trade” and “took such cognizance of men and things.” As a novelist she shows similar powers, and such glimpses of life and work can be found throughout her fiction in the margins of the main action, from the handloom weaver seen through a window in the first of the Scenes of Clerical Life, through Dorothea’s famous view from her window of rural figures in the dawn in Middlemarch, to the small boy in fancy dress in the opening scene of Daniel Deronda. These and similar scenes involve a shift of attention away from the principal characters that may serve different purposes but is an intrinsic feature of her realism and its power to surprise us into new insight and understanding.
{"title":"Such cognizance of men and things: Glimpses of Life and Work in the Margins of George Eliot’s Fiction","authors":"J. Rignall","doi":"10.3917/etan.731.0045","DOIUrl":"https://doi.org/10.3917/etan.731.0045","url":null,"abstract":"In her 1856 review of Browning’s Men and Women George Eliot highlights lines about the poet’s powers of observation as he “stood and watched the cobbler at his trade” and “took such cognizance of men and things.” As a novelist she shows similar powers, and such glimpses of life and work can be found throughout her fiction in the margins of the main action, from the handloom weaver seen through a window in the first of the Scenes of Clerical Life, through Dorothea’s famous view from her window of rural figures in the dawn in Middlemarch, to the small boy in fancy dress in the opening scene of Daniel Deronda. These and similar scenes involve a shift of attention away from the principal characters that may serve different purposes but is an intrinsic feature of her realism and its power to surprise us into new insight and understanding.","PeriodicalId":51995,"journal":{"name":"ETUDES ANGLAISES","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87155752","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","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：