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This volume questions and qualifies commonly accepted assumptions about the early modern English sonnet: that it was a strictly codified form, most often organised in sequences, which only emerged at the very end of the sixteenth century and declined as fast as it had bloomed, and that minor poets merely participated in the sonnet fashion by replicating established conventions. Drawing from book history and relying on close reading and textual criticism, this collection offers a more nuanced account of the history of the sonnet. It discusses how sonnets were written, published and received in…mehr
This volume questions and qualifies commonly accepted assumptions about the early modern English sonnet: that it was a strictly codified form, most often organised in sequences, which only emerged at the very end of the sixteenth century and declined as fast as it had bloomed, and that minor poets merely participated in the sonnet fashion by replicating established conventions. Drawing from book history and relying on close reading and textual criticism, this collection offers a more nuanced account of the history of the sonnet. It discusses how sonnets were written, published and received in England as compared to mainland Europe, and explores the works of major (Shakespeare, Sidney, Spenser) and minor (Barnes, Harvey) poets alike. Reflecting on current editorial practices, it also provides the first modern edition of an early seventeenth-century Elizabethan miscellany including sonnets presumably by Sidney and Spenser.
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Autorenporträt
Rémi Vuillemin is Senior Lecturer in English language and literature at Université de Strasbourg, France. Laetitia Sansonetti is Senior Lecturer in English literature and translation studies at Université Paris Nanterre, France. Enrica Zanin is Senior Lecturer in comparative early modern literature at Université de Strasbourg, France.
Inhaltsangabe
Introduction Laetitia Sansonetti, Rémi Vuillemin, Enrica Zanin Shaping the sonnet, from Italy and France to England 1 English Petrarchism: From commentary on poetry to poetry as commentary William J. Kennedy 2 Early modern theories of the sonnet: Accounts of the quatorzain in Italy, France and England in the second half of the sixteenth century Carlo Alberto Girotto, Jean-Charles Monferran, Rémi Vuillemin Performing the English sonnet 3 Sonnet-mongers on the early modern English stage Guillaume Coatalen 4 In and out: Shakespeare's shifting sonnets. From Love's Labour's Lost to The Passionate Pilgrim Sophie Chiari Placing the sonnet: Sonnets isolated or sequenced 5 'Small parcelles': Unsequenced sonnets in the sixteenth century Chris Stamatakis 6 ' ... and sweetly nectarize this bitter gall': Gabriel Harvey's sonnet therapy Elisabeth Chaghafi 7 Barnabe Barnes's sonnet sequences: Moral conversion and prodigal authorship Rémi Vuillemin Editing the sonnet 8 The Muses Garland (1603): Fragment of a printed verse miscellany Hugh Gazzard 9 Sonnet sequence as sound continuum: How we read Shakes-speares Sonnets Andrew Eastman
Introduction Laetitia Sansonetti, Rémi Vuillemin, Enrica Zanin Shaping the sonnet, from Italy and France to England 1 English Petrarchism: From commentary on poetry to poetry as commentary William J. Kennedy 2 Early modern theories of the sonnet: Accounts of the quatorzain in Italy, France and England in the second half of the sixteenth century Carlo Alberto Girotto, Jean-Charles Monferran, Rémi Vuillemin Performing the English sonnet 3 Sonnet-mongers on the early modern English stage Guillaume Coatalen 4 In and out: Shakespeare's shifting sonnets. From Love's Labour's Lost to The Passionate Pilgrim Sophie Chiari Placing the sonnet: Sonnets isolated or sequenced 5 'Small parcelles': Unsequenced sonnets in the sixteenth century Chris Stamatakis 6 ' ... and sweetly nectarize this bitter gall': Gabriel Harvey's sonnet therapy Elisabeth Chaghafi 7 Barnabe Barnes's sonnet sequences: Moral conversion and prodigal authorship Rémi Vuillemin Editing the sonnet 8 The Muses Garland (1603): Fragment of a printed verse miscellany Hugh Gazzard 9 Sonnet sequence as sound continuum: How we read Shakes-speares Sonnets Andrew Eastman
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