front cover of Talk and Textual Production in Medieval England
Talk and Textual Production in Medieval England
Marisa Libbon
The Ohio State University Press, 2021
People in medieval England talked, and yet we seldom talk or write about their talk. People conversed not within literary texts, but in the world in which those texts were composed and copied. The absence of such talk from our record of the medieval past is strange. Its absence from our formulation of medieval literary history is stranger still. In Talk and Textual Production in Medieval England, Marisa Libbon argues that talk among medieval England’s public, especially talk about history and identity, was essential to the production of texts and was a fundamental part of the transmission and reception of literature. Examining Richard I’s life as an exemplary subject of medieval England’s class-crossing talk about the past, Libbon advances a theory of how talk circulates history, identity, and cultural memory over time. By identifying sites of local talk about England's past, from law courts to palace chambers, and tracing rumors about Richard that circulated during his life and long after his death, Libbon offers a literary history of Richard that accounts for the spaces between and around extant manuscript copies of Middle English romances like Richard Coeur de Lion, insular and Continental chronicles, and chansons de geste with figures such as Charlemagne and Roland. These spaces, usually dismissed as silent, tell us about the processes of writing and reading and illuminate the intangible daily life in which textual production occurred. In revealing the pressures that talk about the past exerted on textual production, this book relocates the power of making culture and collective memory to a wider, collaborative authorship in medieval England. 
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The Teaching Archive
A New History for Literary Study
Rachel Sagner Buurma and Laura Heffernan
University of Chicago Press, 2021
The Teaching Archive shows us a series of major literary thinkers in a place we seldom remember them inhabiting: the classroom. Rachel Sagner Buurma and Laura Heffernan open up “the teaching archive”—the syllabuses, course descriptions, lecture notes, and class assignments—of critics and scholars including T. S. Eliot, Caroline Spurgeon, I. A. Richards, Edith Rickert, J. Saunders Redding, Edmund Wilson, Cleanth Brooks, Josephine Miles, and Simon J. Ortiz. This new history of English rewrites what we know about the discipline by showing how students helped write foundational works of literary criticism and how English classes at community colleges and HBCUs pioneered the reading methods and expanded canons that came only belatedly to the Ivy League. It reminds us that research and teaching, which institutions often imagine as separate, have always been intertwined in practice. In a contemporary moment of humanities defunding, the casualization of teaching, and the privatization of pedagogy, The Teaching Archive offers a more accurate view of the work we have done in the past and must continue to do in the future.
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TESTED WOMAN PLOT
WOMEN'S CHOICES, MEN'S JUDGMENTS, AND TH
LOIS E. BUELER
The Ohio State University Press, 2001

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Textile Orientalisms
Cashmere and Paisley Shawls in British Literature and Culture
Suchitra Choudhury
Ohio University Press, 2023
The first major study of Cashmere and Paisley shawls in nineteenth-century British literature, this book shows how they came to represent both high fashion and the British Empire. During the late eighteenth century, Cashmere shawls from the Indian subcontinent began arriving in Britain. At first, these luxury goods were tokens of wealth and prestige. Subsequently, affordable copies known as “Paisley” shawls were mass-produced in British factories, most notably in the Scottish town of the same name. Textile Orientalisms is the first full-length study of these shawls in British literature of the extended nineteenth century. Attentive to the juxtaposition of objects and their descriptions, the book analyzes the British obsession with Indian shawls through a convergence of postcolonial, literary, and cultural theories. Surveying a wide range of materials—plays, poems, satires, novels, advertisements, and archival sources—Suchitra Choudhury argues that while Cashmere and Paisley shawls were popular accoutrements in Romantic and Victorian Britain, their significance was not limited to fashion. Instead, as visible symbols of British expansion, for many imaginative writers they emerged as metaphorical sites reflecting the pleasures and anxieties of the empire. Attentive to new theorizations of history, fashion, colonialism, and gender, the book offers innovative readings of works by Sir Walter Scott, Wilkie Collins, William Thackeray, Frederick Niven, and Elizabeth Inchbald. In determining a key status for shawls in nineteenth-century literature, Textile Orientalisms reformulates the place of fashion and textiles in imperial studies. The book’s distinction rests primarily on three accounts. First, in presenting an original and extended discussion of Cashmere and Paisley shawls, Choudhury offers a new way of interpreting the British Empire. Second, by tracing how shawls represented the social and imperial experience, she argues for an associative link between popular consumption and the domestic experience of colonialism on the one hand and a broader evocation of texts and textiles on the other. Finally, discussions about global objects during the Victorian period tend to overlook that imperial Britain not only imported goods but also produced their copies and imitations on an industrial scale. By identifying the corporeal tropes of authenticity and imitation that lay at the heart of nineteenth-century imaginative production, Choudhury’s work points to a new direction in critical studies.
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Textual Confrontations
Comparative Readings in Latin American Literature
Alfred J. Mac Adam
University of Chicago Press, 1987
In this masterful experiment in truly comparative literary criticism, Alfred J. Mac Adam establishes Latin America's place in the Western literary tradition. By juxtaposing Latin American and Anglo-American texts, he shows how Latin American literature has gone beyond the context of Hispanic letters to borrow from, exploit, and finally extend the Western tradition.

Mac Adam describes the changes that have taken place in Latin American literature since the time of Modernismo (roughly 1880-1920), when Spanish American writers tried to update their literary language by imitating foreign, mostly French, literature. Since then, as he demonstrates, Latin American writing has achieved a pioneering status by means of a different kind of imitation—parody—whereby it gives back to the former centers of Western culture their own writing, now distorted and reshaped into something new.
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Textual Magic
Charms and Written Amulets in Medieval England
Katherine Storm Hindley
University of Chicago Press, 2023
An expansive consideration of charms as a deeply integrated aspect of the English Middle Ages.
 

Katherine Storm Hindley explores words at their most powerful: words that people expected would physically change the world. Medieval Europeans often resorted to the use of spoken or written charms to ensure health or fend off danger. Hindley draws on an unprecedented archive of more than a thousand such charms from medieval England—more than twice the number gathered, transcribed, and edited in previous studies and including many texts still unknown to specialists on this topic. Focusing on charms from 1100 to 1350 CE as well as previously unstudied texts in Latin, French, and English, Hindley addresses important questions of how people thought about language, belief, and power. She describes seven hundred years of dynamic, shifting cultural landscapes, where multiple languages, alphabets, and modes of transmission gained and lost their protective and healing power. Where previous scholarship has bemoaned a lack of continuity in the English charms, Hindley finds surprising links between languages and eras, all without losing sight of the extraordinary variety of the medieval charm tradition: a continuous, deeply rooted part of the English Middle Ages.
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Theater Enough
American Culture and the Metaphor of the World Stage, 1607–1789
Jeffrey H. Richards
Duke University Press, 1991
The early settlers in America had a special relationship to the theater. Though largely without a theater of their own, they developed an ideology of theater that expressed their sense of history, as well as their version of life in the New World. Theater Enough provides an innovative analysis of early American culture by examining the rhetorical shaping of the experience of settlement in the new land through the metaphor of theater.
The rhetoric, or discourse, of early American theater emerged out of the figures of speech that permeated the colonists’ lives and literary productions. Jeffrey H. Richards examines a variety of texts—histories, diaries, letters, journals, poems, sermons, political tracts, trial transcripts, orations, and plays—and looks at the writings of such authors as John Winthrop and Mercy Otis Warren. Richards places the American usage of theatrum mundi—the world depicted as a stage—in the context of classical and Renaissance traditions, but shows how the trope functions in American rhetoric as a register for religious, political, and historical attitudes.
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Theory And The Premodern Text
Paul Strohm
University of Minnesota Press, 2000

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Thieving Three-Fingered Jack
Transatlantic Tales of a Jamaican Outlaw, 1780-2015
Botkin, Frances R.
Rutgers University Press, 2018

The fugitive slave known as “Three-Fingered Jack” terrorized colonial Jamaica from 1780 until vanquished by Maroons, self-emancipated Afro-Jamaicans bound by treaty to police the island for runaways and rebels.  A thief and a killer, Jack was also a freedom fighter who sabotaged the colonial machine until his grisly death at its behest. Narratives about his exploits shed light on the problems of black rebellion and solutions administered by the colonial state, creating an occasion to consider counter-narratives about its methods of divide and conquer. For more than two centuries, writers, performers, and storytellers in England, Jamaica, and the United States have “thieved" Three Fingered Jack's riveting tale, defining black agency through and against representations of his resistance.

Frances R. Botkin offers a literary and cultural history that explores the persistence of stories about this black rebel, his contributions to constructions of black masculinity in the Atlantic world, and his legacies in Jamaican and United States popular culture.

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A THOUSAND WORDS
PORTRAITURE, STYLE, AND QUEER MODERNISM
JAIME HOVEY
The Ohio State University Press, 2006
A Thousand Words argues that there is such a thing as queer modernism, and that the (mostly) literary portrait—one of the more prominent forms of experimentalism in late-nineteenth- and early-twentieth-century writing—functions as one of its most important erotically dynamic aesthetic mechanisms, one modeled on visual portraiture’s relationships of looking between the artists, sitters, and spectators of paintings. Jaime Hovey looks at how the dynamic structure of visual portraiture was appropriated by modernist writers—including Oscar Wilde, Gertrude Stein, T. S. Eliot, Virginia Woolf, Ernest Hemingway, and Colette, among others, who used the self-conscious literary portrait.

Portraiture speaks to the complex relationship between identity, sexuality, and art, and the presence of so many portraits in this era suggests that sexual, gender, and racial aspects of character, personality, and personal identity were of major concern to most modernist writers. Yet it took most of the twentieth century for critical work to appear that meaningfully explored these themes, and very little has been said about the queerness of literary portraiture. This book demonstrates that literary portraiture is enamored of its own self-consciousness, with the pleasures of looking at itself seeing itself, and that its texts circulate this pleasure between writers, narrators and other characters, and readers as a perverse aesthetics
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To Exercise Our Talents
The Democratization of Writing in Britain
Christopher Hilliard
Harvard University Press, 2006

In twentieth-century Britain the literary landscape underwent a fundamental change. Aspiring authors--traditionally drawn from privileged social backgrounds--now included factory workers writing amid chaotic home lives, and married women joining writers' clubs in search of creative outlets. In this brilliantly conceived book, Christopher Hilliard reveals the extraordinary history of "ordinary" voices.

Writing as an organized pursuit emerged in the 1920s, complete with clubs, magazines, guidebooks, and correspondence schools. The magazine The Writer helped coordinate a network of "writers' circles" throughout Britain that offered prospective authors--especially women--outside the educated London elite a forum in which to discuss writing. The legacy of Wordsworth and other English Romantics encouraged the belief that would-be authors should write about what they knew personally--that art flowed from genuine experience and technique was of secondary importance. The 1930s saw a boom in the publication of so-called proletarian writing, working-class men writing "in my own language about my own people," as Birmingham writer Leslie Halward put it. During World War II, soldiers turned to poetry to cope with the trauma of war, and the popular magazine Seven promoted the idea that anyone, regardless of social background, could be a creative writer. Self-expression became a democratic right.

In capturing the creative lives of ordinary people--would-be fiction-writers and poets who until now have left scarcely a mark on written history--Hilliard sensitively reconstructs the literary culture of a democratic age.

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Today the Struggle
Literature and Politics in England during the Spanish Civil War
By Katharine Bail Hoskins
University of Texas Press, 1969

Many writers, from Aristophanes to Joseph Heller, have written about politics. But at certain periods in history, often at times of conflict and turmoil, writers have consciously used their literary talents to support or oppose a specific cause. The 1930s, a decade of widespread social and political breakdown, was such a period.

Today the Struggle examines the political involvement of those leading British writers who dedicated their talents to the defense of Nationalists or Loyalists during the Spanish Civil War and who saw that war as symbolic of their own Right-Left dialogue.

Conservatives like William Butler Yeats and T. S. Eliot and Roman Catholics like Evelyn Waugh were passionately anti-Communist. They viewed fascism as a bulwark against communism but were unwilling to support the Franco cause actively. Other pro-Nationalists were not so hesitant: Roy Campbell and Wyndham Lewis were ardent participants in the fight against the British left wing.

Pro-Loyalists, united only in their antifascism, ranged from conservative to anarchist in political commitment. Their literary contributions included fine poems by W. H. Auden and Stephen Spender, experimental drama by Auden and Christopher Isherwood, and impassioned prose by Rex Warner, George Orwell, and Aldous Huxley.

Katharine Hoskins’s principal interest in Today the Struggle is to discover how and why certain writers supported specific political actions, to ascertain the effectiveness of their efforts, and to evaluate the influence of these efforts on their work.

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Tough Love
Amazon Encounters in the English Renaissance
Kathryn Schwarz
Duke University Press, 2000
In Tough Love Kathryn Schwarz takes up a range of literary, historical, and theoretical texts in order to examine the relationship between Amazon myth and the social conventions that governed gender and sexuality during the early modern period. Imagined as embodiments of female masculinity, amazonian figures stimulated both homoerotic and heteroerotic response, and Schwarz shows that their appearance in narratives disrupted assumptions concerning identity, gender, domesticity, and desire.
Despite seeming to function as signs for what is outside the social—the alien, the exotic, the other—Amazons in sixteenth- and seventeenth-century texts were often represented in conventionally domestic roles, as mothers and lovers, wives and queens, Schwarz demonstrates. She traces this pattern in works by Shakespeare, Spenser, Sidney, Raleigh, and Jonson, as well as in such materials as conduct manuals, explorers’ accounts, court spectacles, and political tracts. Through readings of these texts, Schwarz shows that the Amazon myth provided a language both for setting forth and for challenging the terms of social logic. In representations of Amazon encounters, she argues, homosocial bonds became indistinguishable from heterosexual desires, masculine agency attached itself as logically to women as it did to men, and sexual difference was made nearly impossible to sustain or define. Schwarz’s analysis unveils the Amazon as a theoretical term, one that illuminates the tensions and paradoxes through which ideologies of the domestic take shape.
Tough Love contributes to the ongoing discussion of gendered identity and sexual desire in the early modern period. It will interest students of queer theory, cultural studies, early modern history, feminism, and literature.
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Transatlantic Connections
Whitman U.S., Whitman U.K.
Thomas, M. Wynn
University of Iowa Press, 2005
In this series of textual readings and cultural comparisons, M. Wynn Thomas explores Whitman’s amazing ability to appeal across distances and centuries.

The book’s contrasting sections reflect the two locations studied: the first shows Whitman in his time and place, while the second repositions him within the cultures of England and Wales from the late 19th to the late 20th century. In the opening chapter he is placed against the vivid, outrageous background of the New York of his time; the second finds evidence in his poetry of a critique of the new urban politics of the emerging city boss; the third radically redefines Whitman's relationship to his famous contemporary Longfellow. Other chapters deal with the Civil War poet, exploring the ways in which his poetic responses were in part shaped by his relationship to his soldier brother George, and his use of the meteorological discoveries of his day to fashion metaphors for imaging the different phases of the conflict.

The second section ponders the paradox that this Whitman, who was so much the product of his specific time and limited “local” culture, should come to be accepted as an international visionary. The United Kingdom is taken as offering striking instances of this phenomenon, and his transatlantic admirers are shown to have been engaged in an unconscious process of “translating” Whitman into the terms of their own culturally specific social, political, and sexual preoccupations. Some of the connections explored are those between Whitman and Edward Carpenter, the so-called English Whitman; between Whitman and perhaps his greatest English critic, D. H. Lawrence; and between Whitman and the Welsh poets Ernest Rhys, Amanwy (David Rees Griffiths), Niclas y Glais (T. E. Nicholas), Waldo Williams, Glyn Jones, Dylan Thomas, and R. S. Thomas.

This bold and original study, offering new points of entry into understanding Whitman as the product of his time and place as well as understanding the reception of Whitman in the U.K. as a process of cultural translation, should fascinate scholars of Whitman and students of comparative literature.
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Translation Effects
Language, Time, and Community in Medieval England
Mary Kate Hurley
The Ohio State University Press, 2021
In Translation Effects: Language, Time, and Community in Medieval England, Mary Kate Hurley reinterprets a well-recognized and central feature of medieval textual production: translation. Medieval texts often leave conspicuous evidence of the translation process. These translation effects are observable traces that show how medieval writers reimagined the nature of the political, cultural, and linguistic communities within which their texts were consumed. Examining translation effects closely, Hurley argues, provides a means of better understanding not only how medieval translations imagine community but also how they help create communities.
 
Through fresh readings of texts such as the Old English Orosius, Ælfric’s Lives of the Saints, Ælfric’s Homilies, Chaucer, Trevet, Gower, and Beowulf, Translation Effects adds a new dimension to medieval literary history, connecting translation to community in a careful and rigorous way and tracing the lingering outcomes of translation effects through the whole of the medieval period.
 
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Transmedia Adaptation in the Nineteenth Century
Lissette Lopez Szwydky
The Ohio State University Press, 2020
How did Mary Shelley’s Frankenstein give rise to the iconic green monster everyone knows today? In 1823, only five years after publication, Shelley herself saw the Creature come to life on stage, and this performance shaped the story’s future. Suddenly, thousands of people who had never read Shelley’s novel were participating in its cultural animation. Similarly, early adaptations magnified the reception and renown of all manner of nineteenth-century literary creations, from Byron and Keats to Dickens and Tennyson and beyond. Yet, until now, adaptation has been seen as a largely modern phenomenon.
 
In Transmedia Adaptation in the Nineteenth Century, Lissette Lopez Szwydky convincingly historicizes the practice of adaptation, drawing on multiple disciplines to illustrate narrative mobility across time, culture, and geography. Case studies from stage plays, literature, painting, illustration, chapbooks, and toy theaters position adaptation as a central force in literary history that ensures continued cultural relevance, accessibility, and survival. The history of these forms helps to inform and put into context our contemporary obsessions with popular media. Finally, in upending a traditional understanding of canon by arguing that adaptation creates canon and not the other way around, Szwydky provides crucial bridges between nineteenth-century literary scholarship, adaptation studies, and media studies, thus identifying new stakes for all.
 
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Tropes, Parables, and Performatives
J. Hillis Miller
Duke University Press, 1991
Tropes, Parables, Performatives collects J. Hillis Miller’s essays on seven major twentieth-century authors: Lawrence, Kafka, Stevens, Williams, Woolf, Hardy, and Conrad. For all their evident differences, these essays from early to late explore a single intuition about literature, which may be framed by three words: “trope,” “parable,” and “performative.”
Throughout these essays Miller is fascinated with the tropological dimension of literary language, with the way figures of speech turn aside the telling of a story or the presentation of a literary theme. The exploration of this turning leads to the recognition that all works of literature are parabolic, “thrown beside” their real meaning. They tell one story but call forth something else.
Miller further agrees that all parables are fundamentally performative. They do not merely name something or give knowledge, but rather use words to make something happen, to get the reader from here to there. Each essay here attempts to formulate what, in a given case, the reader perfomatively enters by way of parabolic trope.
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Tropicopolitans
Colonialism and Agency, 1688–1804
Srinivas Aravamudan
Duke University Press, 1999
In Tropicopolitans Srinivas Aravamudan reconstructs the colonial imagination of the eighteenth century. By exploring representations of peoples and cultures subjected to colonial discourse, he makes a case for the agency—or the capacity to resist domination—of those oppressed. Aravamudan’s analysis of texts that accompanied European commercial and imperial expansion from the Glorious Revolution through the French Revolution reveals the development of anticolonial consciousness prior to the nineteenth century.
“Tropicalization” is the central metaphor of this analysis, a term that incorporates both the construction of various dynamic tropes by which the colonized are viewed and the site of the study, primarily the tropics. Tropicopolitans, then, are those people who bear and resist the representations of colonialist discourse. In readings that expose new relationships between literary representation and colonialism in the eighteenth century, Aravamudan considers such texts as Behn’s Oroonoko, Defoe’s Robinson Crusoe and Captain Singleton, Addison’s Cato, and Swift’s Gulliver’s Travels and The Drapier’s Letters. He extends his argument to include analyses of Johnson’s Rasselas, Beckford’s Vathek, Montagu’s travel letters, Equiano’s autobiography, Burke’s political and aesthetic writings, and Abbé de Raynal’s Histoire des deux Indes. Offering a radical approach to literary history, this study provides new mechanisms for understanding the development of anticolonial agency.
Introducing eighteenth-century studies to a postcolonial hermeneutics, Tropicopolitans will interest scholars engaged in postcolonial studies, eighteenth-century literature, and literary theory.


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Truth and Tales
Cultural Mobility and Medieval Media
Fiona Somerset and Nicholas Watson
The Ohio State University Press, 2015
In the medieval period, as in the media culture of the present, learned and popular forms of talk were intermingled everywhere. They were also highly mobile, circulating in speech, writing, and symbol, as performances as well as in material objects. The communication through and between different media we all negotiate in daily life did not develop from a previous separation of orality and writing, but from a communications network not unlike our own, if slower, and similarly shaped by disparities of access. Truth and Tales: Cultural Mobility and Medieval Media, edited by Fiona Somerset and Nicholas Watson, develops a variety of approaches to the labor of imaginatively reconstructing this network from its extant artifacts.
 
Truth and Tales includes fourteen essays by medieval literary scholars and historians. Some essays focus on written artifacts that convey high or popular learning in unexpected ways. Others address a social problem of concern to all, demonstrating the genres and media through which it was negotiated. Still others are centered on one or more texts, detailing their investments in popular as well as learned knowledge, in performance as well as writing. This collective archaeology of medieval media provides fresh insight for medieval scholars and media theorists alike.
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The Turning Key
Autobiography and the Subjective Impulse since 1800
Jerome H. Buckley
Harvard University Press, 1984

A noted scholar considers here a broad range of English autobiographical writing since 1800. Jerome Hamilton Buckley discusses not only autobiographies proper but also novels and poems animated by the subjective impulse. Drawing from time to time on American and Continental European writers, he focuses on British autobiographers, especially those, like Wordsworth, concerned with a larger psychological or spiritual dimension to their personal experience. With economy and grace, he examines the work of Darwin, Ruskin, Mill, Newman, C. S. Lewis, Bertrand Russell, and Edwin Muir. He discusses also the roleplaying and self-creation of Oscar Wilde, George Moore, Edmund Gosse, and Henry Adams. Variations in the autobiographical novel are described, with special attention to Dickens, George Eliot, Lawrence, and Joyce. Buckley concludes by exploring the differences between the principal Victorian poets and the confessional poets of today in their attitudes toward subjectivity.

Buckley reaffirms traditional notions—that the self exists and persists through its vicissitudes, that autobiography, for the most part, reflects or represents a pre-existing self rather than creating it, and that the self is rooted in history and in the objective social and physical world. No other book has attempted to place autobiography in a similar perspective, and none combines analysis of specific autobiographies with a regard for the function of subjectivity and a concern for its cultural consequences.

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Twisted Words
Torture and Liberalism in Imperial Britain
Katherine Judith Anderson
The Ohio State University Press, 2022
Twisted Words: Torture and Liberalism in Imperial Britain examines torture across the fiction, periodicals, and government documents of the British Empire in the latter half of the nineteenth century. Placing acts of torture and words about torture in relation to changing definitions of citizenship and human rights, Katherine Judith Anderson argues that torture—as a technique of state terrorism—evolved in relation to nineteenth-century liberalism, combining the traditional definition of exceptional acts of cruelty with systemic, banal, or everyday violence. Analyzing canonical novels by George Eliot, Anthony Trollope, and George Meredith alongside an impressive array of lesser-known fiction through the lenses of critical terrorism studies and political, legal, and phenomenological theory, Anderson rethinks torture as a mode of reclaiming an embodied citizenship and demonstrates how the Victorians ushered in our modern definition of torture. Furthermore, she argues that torture is foundational to Western modernity, since liberalism was, and continues to be, dependent on state-sanctioned––and at times state-sponsored—torture, establishing parallels between Victorian liberal thought and contemporary (neo)imperialism and global politics.
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The Two-Soul'd Animal
Early Modern Literatures of the Classical and Christian Souls
James Jaehoon Lee
Northwestern University Press, 2019
The Two-Soul’d Animal illuminates an early modern debate that recognized the troubling extent to which Christian thought had defined the human in terms of two incompatible models of soul. As the sixteenth century progressed, Christian and humanist thinkers began to realize that these two souls fundamentally contradicted each other. On the one hand, Christian theology had a great debt to Aristotle’s tripartite model of the soul based on three organic faculties: intellection, sensation, and nutrition. On the other, the Christian soul was defined by its immortal, immaterial, and transcendental substance. The sixteenth-century acknowledgement of the two souls provoked a great deal of anxiety, leading Christian thinkers to ask: How can we, as God’s perfect design, have two redundant and yet contradictory souls? And how could the core of the religious subject possibly be defined by a psychological paradox? As a result, the “soul” was an intrinsically unstable term being renegotiated in Renaissance culture. 

The English writers studied in The Two-Soul’d Animal place two prevailing interpretations of the soul’s faculties—one rhetorical on the plane of aesthetics, the other theological on the plane of ethics—into contact as a way to construct a new mode of Christian agency.
 
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