The Renaissance was the Ruin-naissance, the birth of the ruin as a distinct category of cultural discourse, one that inspired voluminous poetic production. For humanists, the ruin became the material sign that marked the rupture between themselves and classical antiquity. In the first full-length book to document this cultural phenomenon, Andrew Hui explains how the invention of the ruin propelled poets into creating works that were self-aware of their absorption of the past as well as their own survival in the future.
“ The Lady's Song ' , a Jacobite piece , was not printed until after Dryden's death ( in Poetical Miscellanies : the Fifth Part ( 1704 ) ) , but five manuscripts from the late seventeenth century survive . 92 In Bodleian Library MS Don ...
... ruin and the landscape garden had become a stage-set: no great estate was complete without its sham ruins, while garden designers of the time spread the idea to “create your own ruin” (Roth et al. 1997, 5). The vogue of the folly ...
... Roma patria comune? Foreigners in Early Modern Rome,” in Art and Identity in Early Modern Rome, eds. Jill Burke and Michael Bury (Aldershot, 2008), pp. 31–35. 37 Egmont Lee, “Foreigners in Quattrocento Rome,” Renaissance and Reformation ...
... fiction is clear if we turn to a well-thumbed example—George Herbert's seemingly straightforward celebration of ... Shakespeare's Unreformed Fictions (Oxford, 2013), 1–24 (5) * The British Church', in Helen Wilcox (ed.), The English ...
The book will appeal to scholars of early modern literature and culture, book history, art history, and the history of mnemonics and thanatology, and will prove an indispensable guide for researchers, instructors, and students alike.
Such problems of describing and drawing meaning from ruined structures. Figure 69. John Constable, A Ruined Cottage at Capel, Suffolk, 1796. Pen and ink. Victoria and Albert Museum, London. Figure 70. Johann Heinrich Roos, Sheep at the ...
The book ends with Milton who invests gestures of self-abasement with unexpected dignity.
1, edited by G. Gregory Smith. Oxford: Oxford University Press, 1904. Weeks, Sophie. “Francis Bacon and the Art- Nature Distinction.” Ambix 54, no. 2 (2007): 117–145. Wells, Robin Headlam. Shakespeare on Masculinity.
First Published in 1996. Routledge is an imprint of Taylor & Francis, an informa company.
For Spenser's use of exegetical techniques of interpreting images in bono [sensu] et in malo, as well as of biblical correctio, see Carol V. Kaske, Spenser and Biblical Poetics (Ithaca: Cornell University Press, 1999). 102.