This document contains two book reviews. The first review summarizes a new edition of Barnabe Riche's obscure Renaissance tale "Brusanus, Prince of Hungaria" edited by Joseph Khoury. The second review discusses a book titled "Restoration Plays and Players: An Introduction" by David Roberts that provides an overview of Restoration theatre from 1660-1714.
An Objective Evaluation of Shakespeare’s Universal Appealpaperpublications3
Suit the action to the word, the word to the action, with this special observance; that you o‟verstep not the modesty of
nature. For anything so o‟erdone is from the purpose of playing, whose end both at the first, and now, was and is, to hold
as „twere the mirror up to nature, to show Virtue her own feature, scorn her own Image, and the very age and body of the
time his form and pressure.
- Hamlet: III.ii.17-24
An Objective Evaluation of Shakespeare’s Universal Appealpaperpublications3
Suit the action to the word, the word to the action, with this special observance; that you o‟verstep not the modesty of
nature. For anything so o‟erdone is from the purpose of playing, whose end both at the first, and now, was and is, to hold
as „twere the mirror up to nature, to show Virtue her own feature, scorn her own Image, and the very age and body of the
time his form and pressure.
- Hamlet: III.ii.17-24
A Novel Idea: an introduction to the novel, the Early American Novel, and "Th...Mensa Foundation
What is a novel? This slidedeck accompanies the Mensa Foundation's lesson plan on the Early American novel, and explores what it means to be a novel, what it means to be an American novel, and introduces "The Coquette."
Stream of Consciousness in Virginia Woolf's 'To The Lighthouse'Dilip Barad
This presentation is about the narrative technique used by Modernist female novelist Virginia Woolf in her novel 'To The Lighthouse'. It deals with illustrations from the novel and its explanations. The interior monologue, free association etc are explained in this presentation.
“ 'The other city, the city of dreams': Literary utopias and literary utopian...Caroline Edwards
This keynote lecture was delivered at the Ralahine Centre for Utopian Studies, University of Limerick in December 2019. It examined the relationship between the urban and the utopian – specifically, the question of the knowability and unknowability of city spaces within literary texts (primarily London, but also other smaller British cities). It focussed on an emerging caucus of twenty-first-century British fictions that use urban settings, as well as real and imagined escapes from the city (in pastoral or temporal terms) to blend mimetic topographical detail and the locatedness of an identifiable city space with a more formally dislocating sense of ambiguity.
Literary technique used by woolf in to the lighthouseNiyati Pathak
This presentation is a part of my academic activity i...
I'm dying my masters in English literature in India ..
Where I have american literature paper were i presented library technique used by Virginia Woolf in to the lighthouse ............
Symbolism in Virginia Wollf’s ‘To The Lighthouse’shabanakhalani
This novel is published on 5th May – 1927.
The novel is landmark of high modernism.
To the Lighthouse, Virginia Woolf used the language of psychoanalysis.
Reader can find stream of consciousness during reading the novel.
About the new historical fiction A Handful of Blossoms.Novelist & Poet. Translator & Blogger. Photographer & Photomodel. Digitalartist & Catlover. Lara Biyuts the Silver Thread Spinner.
A Novel Idea: an introduction to the novel, the Early American Novel, and "Th...Mensa Foundation
What is a novel? This slidedeck accompanies the Mensa Foundation's lesson plan on the Early American novel, and explores what it means to be a novel, what it means to be an American novel, and introduces "The Coquette."
Stream of Consciousness in Virginia Woolf's 'To The Lighthouse'Dilip Barad
This presentation is about the narrative technique used by Modernist female novelist Virginia Woolf in her novel 'To The Lighthouse'. It deals with illustrations from the novel and its explanations. The interior monologue, free association etc are explained in this presentation.
“ 'The other city, the city of dreams': Literary utopias and literary utopian...Caroline Edwards
This keynote lecture was delivered at the Ralahine Centre for Utopian Studies, University of Limerick in December 2019. It examined the relationship between the urban and the utopian – specifically, the question of the knowability and unknowability of city spaces within literary texts (primarily London, but also other smaller British cities). It focussed on an emerging caucus of twenty-first-century British fictions that use urban settings, as well as real and imagined escapes from the city (in pastoral or temporal terms) to blend mimetic topographical detail and the locatedness of an identifiable city space with a more formally dislocating sense of ambiguity.
Literary technique used by woolf in to the lighthouseNiyati Pathak
This presentation is a part of my academic activity i...
I'm dying my masters in English literature in India ..
Where I have american literature paper were i presented library technique used by Virginia Woolf in to the lighthouse ............
Symbolism in Virginia Wollf’s ‘To The Lighthouse’shabanakhalani
This novel is published on 5th May – 1927.
The novel is landmark of high modernism.
To the Lighthouse, Virginia Woolf used the language of psychoanalysis.
Reader can find stream of consciousness during reading the novel.
About the new historical fiction A Handful of Blossoms.Novelist & Poet. Translator & Blogger. Photographer & Photomodel. Digitalartist & Catlover. Lara Biyuts the Silver Thread Spinner.
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Desenvolvendo aplicações Cross-Platform com XamarinJúnior Porfirio
Desenvolver em múltiplas plataformas tem sido um desafio para os desenvolvedores e corporações. Com Xamarin esse desafio se torna mais simples. Objetivo dessa palestra é realizar uma introdução ao tema e demonstrar através de demos o poder dessa tecnologia para as plataformas IOS, Windows Phone e Android.
Research conducted as an assignment in our class Mobile Reputations, Collaborative Consumption in Sharing Economy, at Panteion University. Featuring results about Gamers, collaborating activities in gaming, their gaming and social media habits, their mobile-self and how all of these are combined in their life. Project by Sofia-Maria Russu, Agapi Mirgioti, Nadia Sinekoglou and Elena Constadinidy.
Defining Literature Essay
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In our secular age literary critics tend to deny that literary texts reveal 'truth' in a religious sense even though great authors like Milton and Robert Browning saw themselves as divine messengers. Even poets such as Shelley imbued their works with a spiritual quality in defiance of tendencies to regard poetry as outmoded and alien to progressive and rationalit thought. Perhaps it is time to rise to poetry's defence as Shelley did.
Week 4This weeks readings take us East of the Greek civilizatio.docxcockekeshia
Week 4
This weeks' readings take us East of the Greek civilization. The Bhagavad-Gita is a central text to Hinduism, but also, an important text that had widely influenced thinkers world-wide. In the mid 19th century, for example, English translations of the text reached the US. Major American writers from Emerson to Thoreau to Walt Whitman were widely influenced by the text, and it surely played a role in developing the Transcendentalist movement (useful here is the ways in which Eastern ideas influenced the ways in which some Christians re-evaluated their conception of God and human experience).
On a more fundamental scale, the Bhagavad Gita is a philosophical text that unearths key understandings of the Hindu religion in a narrative form--but more widely than viewing this specifically in the context of religion, the text forces us to think about larger discussions of ethics and differences between what is right and wrong that pertain to all cultures. Likely, this is the reason for the text's popularity around the world: The simplicity of the two actors in the text, as well as the fundamental problem facing Arjuna, are compelling to anyone and everyone.
The reading here is challenging in that there are lots of new terms and ideas here. There is no way to become an expert on another religion in a week...do the best you can and look up words and terms as you need to. Please keep an open mind to this reading. I am in no way trying to challenge any kind of religious foundation you have, the point here is to read and to be exposed the world at large.
This week's second reading focuses on one of the most popular narratives to come out of (now) middle East--then part of Persia. The text, however, is a mix of stories collected from no singular cultural or linguistic group. Instead, the stories in the text suggest wide-flung influence, most likely stemming from the "Silk Road," a complex set of trade routes that bridged the middle East to India and Asia. The complex mix of cultures, then, are likely at the heart of this sometimes strange collection of stories. The manuscript for Nights is the most complete of any text from the middle ages, although the manuscript itself suggests that the tales were penned much earlier and, like Greek myth, began from an oral story-telling tradition.
As Europeans began trade routes with the East, by the 1700s early translations of One Thousand and One Nights were available in France, and soon after, in England, which helped set into European minds a complex set of stereotypes and images of the East that were culturally and historically inaccurate: flying carpets, magic lamps, hyper-sexuality are all stereotypes we can pull out of our own popular culture about that part of the world, and largely stem from this text. Differences between the East and West have often culminated in cultural misunderstandings: certainly after 2001 we understand this concept. In scholarly terms, the term "The Other" (Links t.
Week 4This weeks readings take us East of the Greek civilizatio.docx
Ren and Ref Brusanus Review
1. 222 book reviews
(51); of the extraordinarily fluid series of registers and idioms in which Edgar-
Tom speaks (chapter 8, “Tom’s Voices,” and chapter 10, “Tom’s Places”); of the
scene in which Edgar-Tom leads the blinded Gloucester (chapter 14, “Shuttered
Genealogy”); and of the duel between Edgar and Edmund (221–24). Because of
readings like this, I will put Lear on my undergraduate syllabus next year for the
first time since I can’t remember when. I always avoid the play because I feel like
students don’t get it and I don’t know how to tell them what they are supposed
to get. Poor Tom has changed this; it has given me a provocative way of thinking
about Lear, and an exciting, challenging model for reading it (to follow and to
resist) which I did not have before.
jeremy lopez
University of Toronto
Riche, Barnabe.
The Adventures of Brusanus, Prince of Hungaria (1592).
Ed. with intro. and annotations by Joseph Khoury. Publications of the Barnabe
Riche Society. Toronto: Centre for Reformation and Renaissance Studies, 2014.
Pp. 383. ISBN 978-0-7727-2144-0 (paperback) $28.
The number of pages listed above is misleading, as most of the pages in this
edition of Barnabe Riche’s very obscure Brusanus, Prince of Hungaria are taken
up by Joseph Khoury’s introduction. The tale itself is relatively short—certainly
by the standards of some of the most famous Renaissance prose narratives—but
it is remarkable for its variety. Khoury’s thorough and perceptive introduction
shows us exactly how rich Riche’s tale is. Perhaps most valuably, while Khoury
very successfully introduces the story and places it in a number of contexts, he
leaves a great deal of scope for future scholars. Brusanus is an interesting story
that deserves to be better known.
Much of the text’s inclusive character can be found in its generic variety.
As Khoury points out, the work can be classified in a number of ways: it is a
narrative of male friendship, a love story, a text in the mirror for princes tradi-
tion, and an entry in the querelle des femmes, to name only the most obvious
generic labels that could be applied to this tale. As well, Riche’s text has con-
siderable stylistic variety, changing from a very skilful pastiche of euphuism to
2. comptes rendus 223
a plainer and sometimes quite funny style. The choice of euphuism may seem
odd in a book that dates from the early 1590s, after the popularity of Lyly’s
distinctive style had waned, but I think that Riche uses this style not primarily
for decorative effect but mainly for thematic effect. Khoury comments briefly
on this aspect of Brusanus—perhaps future work on this tale will take up this
question.
Insofar as Riche’s narrative has been known up to now, it has been as one
of the sources for Shakespeare’s Measure for Measure. In this case, as so often,
Shakespeare’s knowledge and use of the prose fiction of his time has helped
to prevent Renaissance prose fiction from passing into complete obscurity.
Riche is worth knowing for his own sake, however, and this edition of Brusanus
should help his reputation. In this connection, I am encouraged to note that
one of the most valuable aspects of Khoury’s introduction is that he focuses
on Riche as someone who uses sources and not just as someone who was a
source for a writer in whom we are more interested. The main example here
is Riche’s use of Robert Greene’s Gwydonius: The Carde of Fancie, itself a work
modelled (however satirically) on Lyly’s Euphues. With great detail and percep-
tion, Khoury shows how carefully Riche used Gwydonius; he demonstrates that
this use should not be taken as plagiarism, but rather as a far-reaching engage-
ment with and alteration of Greene’s narrative.
For me, this was the most interesting part of Khoury’s introduction. He
makes the argument that Brusanus can perhaps best be appreciated as a work of
very subtle intertextuality. I found this argument—made both in the introduc-
tion and in his very careful and detailed annotations—entirely persuasive. Like
many Renaissance literary texts (and, to some extent, like most literary texts),
Riche’s narrative shows that what we call intertextuality could also be called
interdependence. Khoury demonstrates that for Riche, works like Euphues and
Gwydonius function not only as starting points but also as points of reference:
throughout Brusanus, Riche returns to these texts—both stylistically and the-
matically—in order to situate his own text, one that is simultaneously the same
as and different from these (and other) sources. As Khoury demonstrates, one
of the potential uses of Brusanus, both in the classroom and in scholarly dis-
cussion, could be to stimulate discussions of Renaissance concepts of novelty,
originality, and authorship.
So far my discussion of Brusanus has concentrated on its importance to
literary history and to a number of critical debates within Renaissance literary
3. 224 book reviews
studies. I do not want to give the impression that Riche’s narrative is only
worthy, however: Brusanus is an engaging story that easily holds the attention
and is pleasurable to read. I think it would work well in a variety of university
courses, both in the context of Renaissance studies and in the context of theo-
ries of adaptation and intertextuality. Khoury’s careful editing has resulted in a
very usable text.
Riche himself had a remarkable and varied career both as a writer and as
a soldier. Unfortunately, he was never able to obtain financial security or even
a reasonable pension for all his military labours. As Khoury points out, we can
see these issues near the end of the narrative in Riche’s detailing of Dorestus’s
rewarding of the soldiers who fought for him. Riche’s financial woes cannot be
remedied now, but it seems like an act of justice to restore this valuable narrative
to print. It is a welcome addition to the ever-increasing canon of Renaissance
prose fiction in scholarly and relatively cheap editions.
stephen guy-bray
University of British Columbia
Roberts, David.
Restoration Plays and Players: An Introduction.
Cambridge, UK: Cambridge University Press, 2014. Pp. ix, 252 + 12 ill. ISBN
978-1-107-61797-1 (paperback) $30.95.
David Roberts’s Restoration Plays and Players is a wide-ranging and yet laudably
lucid introduction to the world of Restoration theatre (1660–1714). Though
it targets an undergraduate audience, Roberts’s theatrical primer will be a
welcome addition to any bookshelf for teachers of later seventeenth-century
drama. The book’s successive chapters cover almost every imaginable topic—
playwrights, companies, actors and acting, playhouses, audiences and critics,
texts and publishers, and revivals and adaptations. Each chapter begins with a
broad discussion of its central topic across the period and is closed by a series
of compact case studies illustrating, for instance, how a company’s managerial
ethos or cast of actors shaped the drama written and produced.
The finest and most useful chapter, in my view, and the one that effec-
tively serves as the book’s introduction, is its second, “The Life Cycle of the