Academic literature on the topic 'Britomart'

Bowman, Mary R. ""she there as Princess rained": Spenser's Figure of Elizabeth." Renaissance Quarterly 43, no. 3 (1990): 509–28. http://dx.doi.org/10.2307/2862557.

McKeown, Adam. "Looking at Britomart Looking at Pictures." SEL Studies in English Literature 1500-1900 45, no. 1 (2005): 44–63. http://dx.doi.org/10.1353/sel.2005.0010.

Fike, Matthew A. "Britomart and the Descent into Hell." ANQ: A Quarterly Journal of Short Articles, Notes and Reviews 10, no. 4 (January 1997): 13–18. http://dx.doi.org/10.1080/08957699709600784.

Jin-Ah Lee. "Female Rule in Renaissance England: Britomart and Pamphilia." Journal of Classic and English Renaissance Literature 17, no. 2 (December 2008): 61–84. http://dx.doi.org/10.17259/jcerl.2008.17.2.61.

Pivetti, Kyle. "The Optics of Prediction in The Faerie Queene: Merlin’s Reflecting Telescope." Explorations in Renaissance Culture 45, no. 1 (April 25, 2019): 7–28. http://dx.doi.org/10.1163/23526963-04501002.

Stump, Donald. "Fashioning Gender: Cross-Dressing in Spenser’s Legend of Britomart and Artegall." Spenser Studies 15, no. 1 (January 2000): 95–119. http://dx.doi.org/10.1086/spsv15p95.

DAVIES, ROWENA. "BRITOMART AS ‘BONA MULIER’; ERASMIAN INFLUENCE UPON THE ICON OF ISIS." Notes and Queries 32, no. 1 (March 1, 1985): 25–26. http://dx.doi.org/10.1093/nq/32-1-25.

Murphy, Jessica C. "“Of the sicke virgin”: Britomart, Greensickness, and the Man in the Mirror." Spenser Studies 25 (June 2010): 109–27. http://dx.doi.org/10.7756/spst.025.005.109-127.

Stump, Donald. "Elizabeth and Her Favorites: Britomart, Florimell, and Oram’s Concept of Fragmented Historical Persons." Spenser Studies 34 (January 2020): 177–84. http://dx.doi.org/10.1086/706542.

Gunder, Michael. "Urban Policy Formulation Under Efficiency: The Case Of Auckland City Council'S Britomart Development." Urban Policy and Research 14, no. 3 (September 1996): 199–214. http://dx.doi.org/10.1080/08111149608551596.

Courchaine, Lorette. "Helmets off: Spenser's Britomart and Radigund Unveiled." W&M ScholarWorks, 1995. https://scholarworks.wm.edu/etd/1539625982.

Slefinger, John T. "Refashioning Allegorical Imagery: From Langland to Spenser." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu150048449869678.

Harrington, Erin R. "Intersections of new historicism and contemporary theory in renaissance literature." Thesis, 2012. http://hdl.handle.net/1957/35246.

Thompson, Joanna. The character of Britomart in Spenser's The faerie queene. Lewiston, N.Y: E. Mellen Press, 2001.

The learning, wit, and wisdom of Shakespeare's Renaissance women. Lewiston: Edwin Mellen Press, 1997.

Parrish, Emma. Britomart. Not Avail, 2003.

Wynne-Evans, Sigrid. Britomart and Amoret. The Beaded Bear, 2002.

Spenser, Edmund. Britomart: From Books III, IV And V Of The Faery Queene. Kessinger Publishing, LLC, 2007.

Spenser, Edmund. Britomart: From Books III, IV And V Of The Faery Queene. Kessinger Publishing, LLC, 2007.

Auckland (N.Z.). City Council., ed. Report on [i.e. of] Auckland City Council: Management of the Britomart Project. Wellington: Office of The Controller and Auditor-General, 1999.

Pierce, Grace Adele. The Red Cross Knight And The Legend Of Britomart: Being Tales From Spenser's Faerie Queen Done Into Simpler English. Kessinger Publishing, LLC, 2007.

Lathrop, Britomar. Britomar's Road Diaries. 1st Books Library, 2002.

"5. Spenser’s Britomart." In Incest and Agency in Elizabeth's England, 134–63. University of Pennsylvania Press, 2005. http://dx.doi.org/10.9783/9780812203301.134.

Berger, Harry. "Resisting Translation: Britomart in Book 3 of Spenser’s Faerie Queene." In Resisting Allegory, edited by David Lee Miller, 173–210. Fordham University Press, 2020. http://dx.doi.org/10.5422/fordham/9780823285631.003.0005.

Strain, Virginia Lee. "‘Perpetuall Reformation’ in Book V of Spenser’s Faerie Queene." In Legal Reform in English Renaissance Literature, 32–62. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474416290.003.0002.

Reid, Robert Lanier. "Hierarchic architecture in The Faerie Queene." In Renaissance Psychologies. Manchester University Press, 2017. http://dx.doi.org/10.7228/manchester/9781526109170.003.0006.

"Chapter 4. Resisting translation: britomart in book 3 of spenser’s faerie queene." In Resisting Allegory, 173–210. Fordham University Press, 2020. http://dx.doi.org/10.1515/9780823285655-006.

"Britomartis." In Who's Who in Classical Mythology, 114–16. Routledge, 2004. http://dx.doi.org/10.4324/9780203646243-45.

Celoria, Francis. "Britomartis." In The Metamorphoses of Antoninus Liberalis, 100. Routledge, 2018. http://dx.doi.org/10.4324/9781315812755-41.

Campana, Joseph. "Vulnerable Subjects: Amoret's Agony, Britomart's Battle for Chastity." In The Pain of Reformation, 163–203. Fordham University Press, 2012. http://dx.doi.org/10.5422/fordham/9780823239108.003.0006.

Christian, Margaret. "“Waues of weary wretchednesse”: Florimell and the sea." In Spenserian Allegory and Elizabethan Biblical Exegesis. Manchester University Press, 2016. http://dx.doi.org/10.7228/manchester/9780719083846.003.0006.

"involve either the rejection of sexual love or its abuse. love chastely but want sexual satisfaction now, for Although Guyon is the servant of the ‘heauenly example Timias at v 48. The lowest stair is occupied Mayd’ (II i 28.7), he never sees the one and only by those who pervert love, either through jealousy spies on the other before binding her and ravaging in loving a woman as an object (as Malbecco at ix 5) her bower. From the opening episode of Book III, it or in using force to satisfy their desire (as Busirane becomes evident that Guyon’s binding of Acrasia has at xi 11). Book III is aptly named ‘the book of sex’ initiated an action that requires the rest of the poem by M. Evans 1970:152, for Spenser’s anatomy of to resolve, namely, how to release women from male love extends outward to the natural order and the tyranny, and therefore release men from their desire cosmos, and to the political order in which the ‘Most to tyrannize women. Chastity is fulfilled when its famous fruites of matrimoniall bowre’ (iii 3.7) are patron, Britomart, frees Amoret from Busirane’s the progeny of English kings. tyranny; friendship is fulfilled when Florimell’s chaste To fashion the virtues of the first two books, love for Marinell leads to her being freed from Spenser uses the motif of the single quest: a knight is Proteus’s tyranny; and Artegall is able to fulfil the guided to his goal, one by Una and the other by the virtue of justice when his lover, Britomart, frees him Palmer, and on his way engages in chivalric action from Radigund’s tyranny to which he has submitted. usually in the open field. To fashion chastity, he uses By destroying Acrasia’s sterile bower of perpetual the romance device of entrelacement, the interweav-summer, Guyon frees Verdant, whose name invokes ing of separate love stories into a pattern of relation-spring with its cycle of regeneration. The temperate ships. (As the stories of the four squires in Books III body, seen in the Castle of Alma, ‘had not yet felt and IV form an interlaced narrative, see Dasenbrock Cupides wanton rage’ (II ix 18.2), but with the cycle 1991:52–69.) The variety of love’s pageants requires of the seasons, love enters the world: ‘all liuing multiple quests, and the action shifts to the forest, wights, soone as they see | The spring breake forth the seashore, and the sea (see ‘Places, allegorical’ and out of his lusty bowres, | They all doe learne to play ‘Sea’ in the SEnc). Thus Britomart, guided by ‘blind the Paramours’ (IV x 45). Once the temperate body loue’ (IV v 29.5), wanders not knowing where to has felt ‘Cupides wanton rage’ in Book III, knights find her lover. As she is a virgin, her love for Artegall lie wounded or helpless and their ladies are either in is treated in the Belphœbe–Timias story; as she seeks flight or imprisoned – all except Britomart, who, to fulfil her love in marriage, her relationship to though as sorely wounded by love as any, is armed Artegall is treated in the Scudamour–Amoret story; with chastity, which controls her desire as she follows and as her marriage has the apocalyptic import ‘the guydaunce of her blinded guest’ (III iv 6.8), prophesied by Merlin at III iii 22–23, its significance that is, her love for Artegall. in relation to nature is treated in the Marinell– Book III presents an anatomy of love, its motto Florimell story. Like Florimell, Britomart loves a being ‘Wonder it is to see, in diuerse mindes, | How knight faithfully; but, like Marinell (see iv 26.6), diuersly loue doth his pageaunts play, | And shewes Artegall scorns love (see IV vi 28.9), neither know-his powre in variable kindes’ (v 1). While there is ing that he is loved. Yet Florimell knows whom she only one Cupid, his pageants vary, then, according to loves while Britomart does not, having seen only his diverse human states. If only because the poem is image. In contrast to both, Amoret loves faithfully, dedicated to the Virgin Queen, virginity is accorded and is loved faithfully in return; and in contrast to all, ‘the highest stayre | Of th’honorable stage of Belphœbe does not know that she is loved by Timias womanhead’ (v 54.7–8), being represented in Book and does not love him. (To complete this scheme: at III by Belphœbe. She was ‘vpbrought in perfect III vii 54, Columbell knows that she is loved by the Maydenhed’ by Diana, while her twin (yet later Squire of Dames but withholds love for him.) The born) sister, Amoret, was ‘vpbrought in goodly pattern formed by these stories fashions the virtue of womanhed’ (vi 28.4, 7) by Venus. Accordingly, chastity of which Britomart is the patron. Amoret occupies the central stair of chaste love, for Since interlaced narratives take the place of the lin-she loves Scudamour faithfully and is rescued by ear quest, Spenser structures Book III by balancing Britomart, the virgin who loves Artegall faithfully. the opening and concluding cantos against the mid-Since both are chaste, their goal is marriage in which dle canto. Canto vi is the book’s centre as it treats." In Spenser: The Faerie Queene, 33. Routledge, 2014. http://dx.doi.org/10.4324/9781315834696-31.