Dissertations / Theses: 'Edmund Spenser'

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Mukherjee, Indraneel. "Edmund Spenser and the complaint." Thesis, University of Cambridge, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.621677.

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Shinn, Abigail Naomi. "Edmund Spenser and the popular press." Thesis, University of Sussex, 2010. http://sro.sussex.ac.uk/id/eprint/2386/.

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This thesis examines the relationship between the work of the sixteenth century English poet Edmund Spenser and the popular press. Previous critical debate has focused upon Spenser‟s debt to the classical traditions of epic, pastoral and georgic, and the work of Italian poets such as Ariosto, rather than considering the role played by more ephemeral and cheap English publications; my research helps to readdress this imbalance. By combining a close reading of Spenser‟s work with an analysis of widely available publications such as almanacs, books of husbandry, calendars, Elizabethan storybooks, the book of Raynarde the Foxe and the Golden Legend, I have endeavoured to open out Spenser‟s literary environment to include the popular. This has involved an analysis of popular publications in relation to theories of copia and encyclopaedic reading practices and demonstrates that Spenser was fascinated by the process of publication as well as the mental and physiological effects of reading. My research includes an analysis of the continuities between medieval and early modern texts, the body as text and the text as relic, the eye as a conduit for lust and iconographic creation, the problems of defining readership and reader response, the blurring of religious iconography across the boundaries of Protestant and Catholic expression, the mutability of time systems and the ramifications of counsel and censorship. This work contributes to studies concerned with the history of the book and the rise of print culture, while also adding to the critical body of Spenser studies. This thesis has an interdisciplinary focus and draws upon the work of historians such as Peter Burke, Tessa Watt and Elizabeth Eisenstein alongside works of literary criticism.

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Pugh, Syrithe. "Spenser and Ovid /." Aldershot : Ashgate, 2005. http://catalogue.bnf.fr/ark:/12148/cb40014701x.

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Pugh, Syrithe. "Spenser and Ovid." Thesis, University of Oxford, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.391064.

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Burlinson, Christopher Mark. "Edmund Spenser and early modern spatial production." Thesis, University of Cambridge, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.426613.

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Wilkinson, H. J. "Edmund Spenser and the eighteenth-century book." Thesis, University College London (University of London), 2014. http://discovery.ucl.ac.uk/1449454/.

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This thesis is a study of the eighteenth-century editions of the works of Edmund Spenser (1552–1599). Its five chapters are structured chronologically around the major editions of Spenser’s epic poem The Faerie Queene (1590–1596). These editions have never been studied, and the principal aim of this thesis is to use bibliographical analysis to establish information about their production. A bibliographical description of each edition is given in an appendix. Each chapter maps the relationships between printers, booksellers, editors, and illustrators, and examines their reasons for publishing Spenser. I trace who owned, or thought they owned, the Spenser copyright, and how they defended it. The issue of copyright was negotiated alongside broader questions of who owned Spenser culturally and politically. He was appropriated to conflicting ends: in the 1710s supporters of the Hanoverian succession used an edition of Spenser to confirm their sense of national identity, whilst in the 1730s the Patriot Opposition used his works in miscellanies, musical performances, illustrations, and landscape gardens to undermine George II’s ministry. These processes turned the literary past into a commodity, and books of Spenser’s poetry became fashionable luxury items. Editors stood to gain from competing to produce the most comprehensive historical biographies, prefaces, notes, and textual collations. Their strategies varied according to whether they considered Spenser’s works to be neoclassical, Gothic, or romantic; I situate their conclusions in the contexts of eighteenth-century literary editing, and show that some current assumptions about Spenser’s texts are founded on myths created by early editors. After 1774 editions of Spenser became more affordable following amendments to copyright law, and in the 1790s they were exported to America; far from creating consensus about how, or even if, he should be read, this only made him more malleable to interpretation, appropriation, and commodification.

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Steppat, Michael. "Chances of mischief : variations of fortune in Spenser /." Köln ; Wien : Böhlau Verl, 1990. http://catalogue.bnf.fr/ark:/12148/cb35567093p.

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Griffin, Tobias David. "Grey areas : Edmund Spenser's 'Faerie Queene' and the Irish colonial mindset /." view abstract or download file of text, 2003. http://wwwlib.umi.com/cr/uoregon/fullcit?p3095247.

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Thesis (Ph. D.)--University of Oregon, 2003.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 215-221). Also available for download via the World Wide Web; free to University of Oregon users.

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Maley, William Timothy. "Edmund Spenser and cultural identity in early modern Ireland." Thesis, University of Cambridge, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.292801.

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Van, Es Bart B. "Forms of history in the works of Edmund Spenser." Thesis, University of Cambridge, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.270993.

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Pope, Nancy Patricia. "National history in the heroic poem : a comparison of the "Aeneid" and the "Faerie Queene /." New York ; London : Garland, 1990. http://catalogue.bnf.fr/ark:/12148/cb35551861m.

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Tekin, Burcu. "The Portrayal Of Universal Harmony And Order In Edmund Spenser." Master's thesis, METU, 2010. http://etd.lib.metu.edu.tr/upload/12612468/index.pdf.

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This thesis analyses Edmund Spenser&rsquo
s Fowre Hymnes in light of the holistic Renaissance world view and poet&rsquo
s collection of various tradition of ideas. Spenser&rsquo
s treatment of love is explored as the cosmic principle of harmony. Universal order is examined with an emphasis on the position of man in the ontological hierarchy. Thus, this thesis investigates Spenser&rsquo
s own suggestions to imitate macrocosmic harmony and order in the microcosmic level.

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Galbraith, Steven K. "Edmund Spenser and the History of the Book, 1569-1679." The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1150074228.

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Da, Silva Eusebia. "Dramatic unity in Spenser's Amoretti, Anacreontics and Fowre Hymnes." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61905.

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Zurcher, Andrew Elder. "Legal diction and the law in the poetry of Edmund Spenser." Thesis, University of Cambridge, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.621258.

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Chishty-Mujahid, Nadya Qamar. ""Coloured with an historicall fiction" : the topical and moral import of characterization in Edmund Spenser's Faerie Queene." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38170.

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This dissertation focuses on how a series of major characters in Edmund Spenser's Faerie Queene (Prince Arthur, Britomart, Duessa, Artegall, and those characters that figure forth the poet's sovereign, Elizabeth I) enhance a reader's appreciation of the epic's complex topical allegory and its moral implications. By closely interpreting the respective functions and narratives of these characters, and additionally examining some of Spenser's main techniques of character development, I propose that the above figures both articulate and underscore central aspects of the poet's politically encomiastic and critical agendas. These specific techniques of character development include composition, fragmentation, and metamorphosis (both positive, as in the case of Britomart, as well as pejorative, such as in the case of the wicked enchantress Duessa). By thus investigating the topical import of The Faerie Queene 's allegory, I further demonstrate both how the epic's major characters illustrate contemporary Elizabethan moral and political ideals and, in certain cases, exemplify serious perceived threats to those ideals. The dissertation also indicates that the poet consistently and cautiously treads a fine line between allegorically depicting controversial historical issues and events (towards which at least some Elizabethans were ambivalent), and praising Elizabeth and her successful governing abilities. This crucial tension, reflected in the epic's diverse plots, invests the topical aspects of the poem with much of their complexity. Yet, given that Spenser's main aims included portraying his queen as a model monarch, while simultaneously enhancing concepts of English nationhood, his criticisms of her government and policies remain tentative. Loyalty to the Tudor sovereign and to the predominant Protestant faith in England are fundamental to the epic, for the poet assumes they provide his audience with an essential foundation for personal moral "self-fashioning." Eclectica

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Golden, Michelle. "The "roote of ciuil conuersation" redefining courtesy in book vi of The faerie queen /." unrestricted, 2006. http://etd.gsu.edu/theses/available/etd-02072007-111115/.

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Thesis (B.A. honors)--Georgia State University, 2006.
Dr. Robert Sattelmeyer, committee chair; Wayne Erickson, committee member. Electronic text (40 p.) : digital, PDF file. Description based on contents viewed May 7, 2007. Includes bibliographical references (p. 39-40).

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Segall, Kreg. ""I see the play so lies that I must bear a part" : metatext in Shakespeare and Spenser /." Thesis, Connect to Dissertations & Theses @ Tufts University, 2001.

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Thesis (Ph.D.)--Tufts University, 2001.
Adviser: Judith Haber. Submitted to the Dept. of English. Includes bibliographical references (leaves 206-212). Access restricted to members of the Tufts University community. Also available via the World Wide Web;

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Hadfield, Andrew David. "The English conception of Ireland, c.1540-c.1600, with special reference to the works of Edmund Spenser." Thesis, University of Ulster, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.329738.

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Atkin, Graham. "Rethinking friendship : sequence and structure in the Faerie Queene Book IV." Thesis, University of Liverpool, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.366392.

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Cartmell, D. "Edmund Spenser and the literary uses of architecture in the English Renaissance." Thesis, University of York, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.377294.

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Hall, Stephanie R. "The worst extremity, early modern jealousy in Edmund Spenser and Mary Wroth." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0026/MQ49713.pdf.

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Pal, Nandinee. "The warrior and the rose : Spenser's iconography of chastity in The faerie queene." Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=74055.

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Kim, Hoyoung. "Edmund Spenser as Protestant Thinker and Poet : A Study of Protestantism and Culture in The Faerie Queene." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc278683/.

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The study inquires into the dynamic relationship between Protestantism and culture in The Faerie Oueene. The American Protestant theologian Reinhold Niebuhr makes penetrating analyses of the relationship between man's cultural potentials and the insights of Protestant Christianity which greatly illuminate how Spenser searches for a comprehensive religious, ethical, political, and social vision for the Christian community of Protestant England. But Spenser maintains the tension between culture and Christianity to the end, refusing to offer a merely coherent system of principles based on the doctrine of Christianity.

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Baseotto, Paola. ""Disdeining life, desiring leaue to die" Spenser and the psychology of despair." Stuttgart Ibidem-Verl, 2003. http://d-nb.info/989622096/04.

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Darnill, Elizabeth Jane. ""Four-fold vision see" : allegory in the poetry of Edmund Spenser and William Blake." Thesis, University of Exeter, 2010. http://hdl.handle.net/10036/3156.

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This thesis examines the role of readerly engagement in the allegorical poetry of Edmund Spenser and William Blake. An analysis of their poetry reveals important affinities between the two poets. Not only was Blake aware of Spenser’s work, he can be seen to incorporate and build upon Spenser’s self-conscious poetic style in order to engage readers in the active process of interpretation. Meaning in their poetry can be shown to unfold gradually by way of complex interactions between the reader and the text, interactions fostered by the reader’s imagination and the (differently) visual quality of the two poets’ works. Blake promotes this way of seeing as being “four-fold,” the ability to perceive on several dimensions. The first chapter of this thesis looks at the definitions and attitudes towards allegory from the early sixteenth century onwards, showing how the mode has been constantly redefined. Chapter two investigates the self-conscious nature of allegory through an analysis of the placement of words, metaphors, unconventional language, and the way the poems may be read by readers. Both poets encourage a heightened awareness of the process of reading which may be termed allegorical. Blake owned his own printing press allowing him greater control over the words and design of his text. This enabled him to be more forceful in his communication of images and ideas than Spenser. Chapter three focuses upon the multiple (and contradictory) ways in which the text may be interpreted by the reader. Allegory is a means of communicating and simultaneously disguising criticism. Both poets can be seen to use it to voice resistance to forms of authority, even as they encourage readers to recognise these meanings within their texts. Spenser and Blake had to combat different forms of censorship with differing strategies. Whereas Spenser felt compelled to uphold the status quo, Blake sought to deconstruct rigid social conventions. Chapter four explores the relation between allegory and the imagination. Spenser uses allegory to inspire the imagination, whereas for Blake the imagination encourages allegory. The imagination is a means of pushing readers towards further learning and a deeper appreciation of allegorical meaning. Chapter five analyses Spenser and Blake’s verbal and imagistic visuality in relation to allegory. Blake’s illustrations promote further reader engagement, while Spenser’s illuminations are a part of his metaphorical and allegorical text. Both poets use the visual to trigger imaginative readerly interaction and to promote new ways of perceiving and relating to their poems.

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Rush, Joanne Nicola. "Thinking in images : visual syllepsis in the works of Philip Sidney and Edmund Spenser." Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609912.

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Moran, Benjamin Adam. "The Earthen Mirror: Spenser, Soil, and the Natures of Interpretation." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1594476712054021.

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Danker, Jennifer. "Spenser's revaluation of femininity in the Faerie Queene." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=56950.

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Renaissance patriarchy maintained very clear distinctions between what was appropriately "masculine" and "feminine." Modern feminist criticism and research have tried to dispel some of the old illusions, and so they offer a fresh approach to evaluating the personal and social implications of gender in the Renaissance. Such perspectives can be specifically applied for enhanced appreciation of Spenser's Faerie Queene, after an initial assessment of Renaissance patriarchy itself.
The Faerie Queene, we find, questions many important conventions of gender roles in Renaissance patriarchal society. Spenser crosses the familiar boundaries of appropriate or accepted female social status and options, and situates both males and females in roles which seemingly challenge the existing conventions by advancing the possibility of a new perspective. Spenser examines femininity from a specifically feminine point of view and invites a broadened understanding of the feminine. He portrays many different aspects of femininity and his titular heroine, Britomart, approximates the modern androgyne. The poem suggests a variety of alternative gender roles for both females and males, and also uses symbolic aspects of gender, so that characters ultimately cease to be gender-specific in their significance. That too tends to soften distinctions between males and females, by allegorically representing the self in such a way that it is seen to have both masculine and feminine aspects.
Spenser's attempt to broaden his readers' understanding and valuation of the feminine and his suggestions of alternative roles for both genders, helped open the door to new freedom and equality for women by inviting redefinition or revision of culturally received notions of gender and its personal and social implications.

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MCLEAN, GEORGE EDWARD. "SPENSER'S TERRITORIAL HISTORY: BOOK V OF THE "FAERIE QUEENE" AND "A VIEW OF THE PRESENT STATE OF IRELAND"." Diss., The University of Arizona, 1986. http://hdl.handle.net/10150/183825.

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History in Edmund Spenser's Faerie Queene Book V and his View of the Present State of Ireland reflects the basic assumptions and characteristics of Elizabethan territorial history, a form observed in the geographic basis of chorography, in the metaphoric expression of the British past, and in the contemporary English enthusiasm for state, county, and city histories. William Lambarde's A Perambulation of Kent, the earliest English model for Spenser's territorial history, employs the antiquary's tentative empirical methodology in a study of sources newly freed of myth, legend, and unreliable antiquity. Accepting the developmental historical perspective of the territorial historians, Spenser in his View discusses the susceptibility of certain positive laws to the ravages of time and circumstance and argues for a reformation of those laws and their administration in Ireland. Similarly, justice in book V is a virtue of reformation that requires a "physician" who diagnoses, cures, and prescribes a diet of new, well-ordered laws for the patient-state, the primary danger to "recural" existing in laws abrogated or perverted since their inception. While accepting the workings of divine and natural law in history, Spenser focuses on the justiciar's secular role in terms of political more than providential causation, legal more than moral justice, and practical more than theoretical law. As England's first justiciar Artegall presents a righteous response to original tyranny in a prelegal society and acquits himself on the charges of "unmanly guile" and "reproachful cruelty" by representing human justice based on laws responsive to season. In the historical domains of Book V Arthur's presence exemplifies providence in human justice, Artegall's actions man's secular control over responsive lawmaking and territorial rebellion, and Radigund's tale the imposition of natural law on justice. The legal and topical content of Book V's poetic journeys suggest the territorial historian's "perambulation" in which Spenser's heroes learn the history of each canto's territory before a reforming justice can operate. As feigned antique history merges with topical event, the Legend of Justice becomes an innovative, optimistic, and uniquely Elizabethan glimpse of new territory.

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Woodcock, Mathew. "Renaissance elf-fashioning : the rhetoric of fairy in Spenser's The Faerie Queene." Thesis, University of Oxford, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365457.

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Wesley, John. "Mulcaster's boys : Spenser, Andrewes, Kyd." Thesis, St Andrews, 2008. http://hdl.handle.net/10023/602.

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Fauré, Nathalie. "La représentation chez Spenser : le motif de l'arbre dans le livre III de The faerie Queene." Toulouse 2, 2001. http://www.theses.fr/2001TOU20024.

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Le livre III de The Faerie Queene, d'Edmund Spenser (1552-1598) est un livre charnière chez cet auteur qualifié de médiéviste par ses contemporains. Décrit et exposé aux strophes 22 et 23 du chant 3, il représente, dans l'iconographie élisabétaine, l'arbre généalogique, à la fois arbre dynastique et arbre christique. Il est cependant intéressant d'observer ses ramifications poétiques, véhiculant des concepts comme celui de l'enfantement perçu à travers le topos allégorique de l'arbre de vie et de mort, lui-même porteur d'autres allégories et mythes, en particulier ceux traitant des métamorphoses de l'humain en plantes ou en arbre. Le motif du livre III est dès lors appréhendé sous ses détails figuratifs, à savoir des icones, à l'origine du discours maniériste dans la poésie spenserienne. Ainsi, l'arbre comme motif devient le support d'une écriture qui est en soi une arborescence
The third book of The Faerie Queene written by Edmund Spenser (1552-1598) and made out public in 1593, is a book marking a turning point in this so-called medieval writer and poet. The tree is everywhere in Book III. Described and exposed in stanzas 22 and 23 of Canto 3, it represents, in the Elizabethan iconography, a genealogical tree, both a dynastic tree and a Christian motif. It is however worth pointing out its poetic branches, at the origins of such a concept as Birth, seen through the allegorical topos of the tree of life and death. The latter carries out other myths and allegories, in particular those dealing with metamorphoses – metamorphoses of human being in trees or in plants for instance. As a result, the tree of Book III can be read and seen through figurative details, called icons, giving birth to mannerist discourse in Spenser'poetry. Up to this point, the motif in itself branches out into a writing

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

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Mehssen, Achraf. "Le temps et le calendrier dans l'œuvre poétique d'Edmund Spenser." Paris 4, 2001. http://www.theses.fr/2001PA040017.

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L'œuvre poétique de Spenser démontre l'importance fondamentale du temps dans ses aspects de destruction et de régénération. La structure de sa poésie est parfois édifiée sur les divisions des calendriers de l'époque. En conséquence, la notion du temps est, pour le poète, conçue de deux manières: un temps historique qui semble suivre une progression linéaire et un temps religieux ou naturel qui suit un mouvement cyclique. La poésie de Spenser oscille constamment entre ces deux notions du temps, qui sont interdépendantes et qui s'appuient sur des références bibliques, historiques, mais également philosophiques et littéraires de l'antiquité et de la renaissance. L'intérêt de sa poésie réside dans la complexité d'un récit qui présente à la fois une trame classique et une narration qui introduit les incertitudes du temps, des anachronismes narratifs et une déformation de ces mêmes schémas narratifs. Spenser utilise avec originalité les concepts de son temps tout en sachant rester distant. Il en résulte une souplesse de pensée qui se fonde essentiellement sur la notion de temps cyclique, récurrent.

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Evans-Cockle, Matthew. "Humanist method and the prophetic office of English poetry in the works of Edmund Spenser and John Milton." Thesis, University of British Columbia, 2016. http://hdl.handle.net/2429/60298.

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Erasmus’s Renaissance humanist grammatical hermeneutics changed the way theology was conceived and practiced. The literary critical resources Erasmus brought to theology from the study of the classical poets, however, were not only powerful agents of change within Reformation theology. They were also retrieved for poetry by early modern authors. Key Erasmian concepts and perspectives relating to both bonae litterae and sacrae litterae as well as to secular pedagogy and rhetorical theology were assimilated by English culture and provided important foundational elements within the early modern prophetic poetics of Edmund Spenser and John Milton. Careful consideration of the manner in which these Erasmian concepts and perspectives were integrated into Spenser and Milton’s understandings of both poetry and the poetic vocation provides important insight into the complex theological dimensions of these poets’ work—particularly into the workings and significance of a number of Spenser and Milton’s most challenging religious figures and into the prophetic claims related to their mimetic production.
Arts, Faculty of
English, Department of
Graduate

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Upham, Arthur G. "Chastity, the Reformation context, and Spenser's Faerie Queene, book 3." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=40457.

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This study examines the sixteenth-century English Reformation background of Spenser's Faerie Queene, Book 3. Recovering this material is not simply a matter of opening a Bible, for various groups in the period, both Catholic and Reformer, interpreted its passages differently. The Book's four primary female characters, Belphoebe, Florimell, Britomart and Amoret, embody different aspects of the virtue, and these come into sharper focus in the light of this background. After a general survey of previous discussions of this topic, Chapter 1 examines the virgin Belphoebe and attitudes about celibacy and virginity current in sixteenth-century England, finding that neither Catholic nor Reformer disparaged this state, although in practice they differed dramatically. Chapter 2, considering the plight of Florimell, shows how her actions demonstrate that her chastity is, as these Reformation writers urge, a matter of the mind and soul, the springs from which virtue and its opposites flow. Her quality derives from such inner conviction. Next, Chapter 3, looking at Britomart, shows that Reformation writers generally do not speak of human love, even in marriage, in a way that comes close to Spenser's poem. However, when they deal with spiritual love, the love the soul is to have for God, they describe it in terms which sound very like those of passionate romantic love. The final chapter brings the insights of the preceding essay to bear on the closing cantos and Amoret's distress. Seen against this background, while she may appear helpless, her mind, like Florimell's, is constant and firm; she remains chaste. Indeed, she prefers imprisonment and even death, to surrendering to her captor. Like both Belphoebe and Britomart, what underlies her behaviour is her prior love for her beloved, which is the basis of her chastity, just as the Reformation writers understand it. The perspective on Spenser's poem provided by this Reformation material gives rise to new insights into the text

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Goodrich, Jean Nowakowski. "Emergent Discourses of Difference in Spenser's Faerie Queene." Diss., Tucson, Arizona : University of Arizona, 2005. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1119%5F1%5Fm.pdf&type=application/pdf.

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Golden, Michelle. "The "Root of Civil Conversion": Redefining Courtesy in Book VI of the Faerie Queene." Digital Archive @ GSU, 2007. http://digitalarchive.gsu.edu/english_hontheses/4.

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Book Six of The Faerie Queene deals with the complexities of courtesy in a socially changing world. Calidore, the protagonist of Book Six, sets out to defeat the Blatant Beast, the chief enemy of courtesy, but abandons his quest midway through the book in order to live the shepherds’ life. Despite the ethical ambiguity associated with Calidore’s abandoning his quest, this pastoral setting should enable him to deepen his understanding of the nature and practice of courtesy. However, Calidore is unable to grow, and the poet essentially gives up on his own poetic quest.

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Van, Zyl Liezel. "Alternative worlds in Spenser's The faerie queene." Thesis, Stellenbosch : Stellenbosch University, 2000. http://hdl.handle.net/10019.1/51574.

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Thesis (MA)-- Stellenbosch University, 2000.
ENGLISH ABSTRACT: Although The Faerie Queene was written in 1589 as a commentary on and criticism of issues which would concern many sixteenth-century Protestant subjects of Queen Elizabeth of England, Spenser creates in his text worlds which even a twentieth-century reader can find significant. Allegorical representations, mythical, historical and poetical figures and pastoral retreats, for example, not only reflect the harsh realities which sixteenth-century English society experienced, but also offer the possibility of escape to worlds of divine and charitable interaction. Spenser, drawing on Philip Sidney's An Apology for Poetry, constructs an ideal world where there is no strife, only peaceful interaction and stability, as opposed to the problems and fears of the "real" world of sixteenth-century England. The story of Faery Land is, therefore, about a magical world of wish fulfilment, but at the same time it also draws on the concrete reality of sixteenth-century England, which has relevance for a twentieth-century world still concerned with many of the same issues of crime, justice, religion, government, relationships and history. Discussion in this thesis focuses on the different "real" and ideal worlds and the devices used to represent these worlds in the narrative of The Faerie Queene. Chapter 1 deals with allegorical representation and distinguishes between two levels of representation: a "literal" or primary level of signification which reflects the everyday experiences of the sixteenth-century reader, and the allegorical level whereby these experiences and desires are personified. The allegory, in tum, communicates and reveals different doctrines or themes: this chapter shows how Redcrosse represents the struggle of the religious man who finally earns salvation by perseverance and dependence on the grace of God. In this allegorical world, Spenser shows the religious conflicts, doubts and victories of the sixteenth-century Protestant man. Chapter 2 explores a series of allegorical parallels in plot, theme and structure in Book 2 of The Faerie Queene which create the "real" and ideal worlds through which Guyon now runs his race. Here, the discussion focuses on the clues provided by the allegory which lead the reader to a redefinition of the categories of good and evil. The primary purpose of the allegory is, therefore, didactic and the sixteenth-century reader is taught how to interpret the signs and symbols of Spenser's allegorical, historical and mythical worlds. This chapter concludes with an examination of Spenser's mythical devices and an exploration of the historical significance of his fictional characters and plots - all of which help the reader to grasp the significance of Spenser's world of knights and fairies. Chapter 3 focuses on a discussion of Books 3 and 4, in which issues of love and friendship come to shape Spenser's ideal world. The analyses consider how sixteenth-century perceptions of marriage, love and power may have influenced his conceptionalization of such an ideal world. The chapter concludes with an exploration of sixteenth-century concerns with time and discord, and demonstrates how Spenser fmally resolves these issues in his vision of the Garden of Adonis. Chapter 4 deals with Book 5, where Artegall represents the just knight. Here the thesis examines Spenser's political aspirations, and shows how historical events are reflected in the actions of characters and how they may influence Spenser's vision of the ideal society with its just ruler. This discussion also focuses, among other things, on those factors which may have contributed to Spenser's disillusionment with sixteenth-century society. Chapter 5 concludes with Spenser's pastoral ideal of Book 6, which brings the promise of peace and prosperity, as opposed to a life of waste and thwarted ambition at Court. On Mount Acidale, Spenser's alternative worlds coincide, as Calidore, representing the fallen and "real" world of Faery Land, is allowed a glimpse of the poetic and divine worlds which the poet, Colin Clout, already shares with three Graces and his mistress. Chapter 5 examines the poet's autobiographical persona in the figure of Colin Clout and the relevance of his appearance on Mount Acidale in particular, and in the poem in general. It is the intention of this thesis to follow the route which Spenser has marked out, to read and interpret the signs and to finally share in this world of dream and thought, experience and vision.
AFRIKAANSE OPSOMMING: Ten spyte van die feit dat Spenser se Faerie Queene reeds in 1589 geskryfis as 'n kommentaar of kritiek op kwessies wat vir menige sestiende-eeuse Protestantse onderdaan van koningin Elizabeth van Engeland van belang sou wees, is daar in Spenser se teks wêrelde geskep wat selfs vir 'n twintigste eeuse leser waarde sou hê. Allegoriese voorstellings, mitologiese-, historiese-, en poëtiese figure, asook herderstoevlugte byvoorbeeld reflekteer nie net die harde realiteite waaraan 'n sestiende-eeuse Engelse gemeenskap blootgestel is nie, maar bied ook die moontlikheid van ontsnapping na wêrelde van goddelike en mensliewende interaksie. Spenser, wat gebruik maak van Sidney se An Apology for Poetry, konstrueer 'n ideale wêreld waar daar nie konflik of oorlog is nie, slegs vreedsame interaksie en stabiliteit; teenoor die probleme en vrese of "realiteite" wat 'n sestiende-eeuse Engeland gekenmerk het. Die Faerie Queene gaan dus oor 'n verbeeldingryke wêreld van wensvervulling, maar terselfdertyd verwys dit ook na die konkrete realiteit van 'n sestiende-eeuse Engeland wat relevansie het vir 'n twintigste-eeuse gemeenskap nog steeds gemoeid met baie van dieselfde kwessies rakende misdaad, geregtigheid, godsdiens, regering, verhoudings en geskiedenis. Bespreking in hierdie tesis fokus op die verskillende "werklike" en ideale wêrelde asook die tegnieke waarvan daar gebruik gemaak is om hierdie wêrelde in Spenser se gedig voor te stel. Hoofstuk 1 bespreek die allegoriese voorstelling en onderskei tussen twee vlakke van representasie: 'n "letterlike," of primêre vlak van aanduiding wat die alledaagse ervaringe van die sestiende-eeuse leser voorstel en die allegoriese vlak waar hierdie ervaringe en begeertes gepersonifieer word. Die allegorie, op sy beurt, kommunikeer en onthul verskillende leerstellings ofboodskappe: hierdie hoofstuk wys hoe Rederosse die stryd van die gelowige man verteenwoordig wat uiteindelik gered word as gevolg van volharding en erkenning van sy afhanklikheid van God. Hierdie wêreld beeld die konflik, onsekerheid en oorwinning van die sestiende-eeuse Protestant uit. Hoofstuk 2 ondersoek 'n reeks allegoriese paralleie in plot, tema en struktuur in Boek 2 van The Faerie Queene wat die "werklike" en ideale wêrelde skep waardeur Guyon nou sy wedren hardloop. Hier fokus die bespreking op die leidrade wat deur die allegorie voorsien word en waardeur die leser gelei word tot 'n herdefinieering van die kategorieë van goed en sleg. Die primêre doel van die allegorie is dus didakties en die sestiende-eeuse leser word geleer hoe om die tekens en simbole van Spenser se allegoriese, historiese en mitologiese wêrelde te interpreteer. Hierdie hoofstuk sluit af met 'n ondersoek na Spenser se mitologiese tegnieke en die geskiedkundige relevansie van sy fiktiewe karakters en plot - waarvan laasgenoemde die leser help om Spenser se wêreld met sy ridders en feë te kan interpreteer. Hoofstuk 3 fokus op 'n bespreking van Spenser se Boeke 3 en 4 waar liefde en vriendskap bydra tot die skep van Spenser se ideale wêreld. Die hoofstuk ondersoek hoe sestiende-eeuse persepsies van die huwelik, liefde en mag Spenser se konsep van so 'n ideale wêreld kon beïnvloed. Die hoofstuk sluit af met 'n ondersoek na sestiende-eeuse bemoeienis met tyd en wanorde en demonstreer hoe Spenser uiteindelik 'n oplossing vind in sy visie van die Tuin van Adonis. Hoofstuk 4 bespreek Boek 4 waar Artegall die ridder van reg en geregtigheid is. Hier ondersoek die tesis Spenser se politiese aspirasies en wys hoe geskiedkundige gebeure eerstens in die optrede van karakters gereflekteer word en tweedens ook Spenser se visie van die ideale gemeenskap met sy regverdige leier kon beïnvloed. Die bespreking fokus ook onder andere op daardie faktore wat kon bydra tot Spenser se ontnugtering met 'n sestiendeeeuse gemeenskap. Hoofstuk 5 sluit af met Spenser se herders-ideaal in Boek 6 wat die belofte bring van vrede en voorspoed, teenoor 'n lewe van verspeelde en verlore geleenthede of misplaaste ambisie in Elizabeth se hof. Dit is op Mount Acidale dat Spenser se verskillende wêrelde saamkom wanneer Calidore, wat die sondige en "werklike" wêreld verteenwoordig, 'n vlugtige blik in die poëtiese en goddelike wêrelde gegun word. 'n Wêreld waarin die digter, Colin Clout en die drie "Graces" saam met sy geliefde, reeds deel. Hoofstuk 5 ondersoek die digter se outobiografiese persoon in die figuur Colin Clout en die relevansie van sy spesifieke verskyning op Mount Acidale en sy algemene verskyning in die gedig. Dit is die doel van hierdie tesis om die roete te volg wat Spenser uitgelê het, om die tekens te lees en te interpreteer en om ten slotte te deel in hierdie wêreld van droom en gedagtes, ervaring en vISIe.

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Lee, Joshua Seth. "WHITHERSOEVER THOU GOEST: THE DISCOURSES OF EXILE IN EARLY MODERN LITERATURE." UKnowledge, 2014. http://uknowledge.uky.edu/english_etds/15.

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Exile is, as Edward Said so eloquently put it, “the perilous territory of not-belonging.” Exiled peoples operate on the margins of their native culture: part of it, but excluded from it permanently or temporarily. Broadly speaking, my project explores the impact of exile on English literature of the late 15th and early 16th centuries. English exiles appear frequently in literary studies of the period, but little attention has thus far been focused on the effect of exile itself on late medieval and early modern authors. Historical studies on exile have been more prevalent and engaging. My project builds on this work and contributes new and groundbreaking investigations into the literary reflections of these important topics, mapping the influence of exile on trans-Reformation English literature. My dissertation identifies and defines a new, critical lens focusing on later medieval and early modern literature. I call this lens the “mind of exile,” a cognitive phenomenon that influences textual structure, and metaphorical usage, as well as shapes individual and national identities. It contributes new theories regarding the development of polemic as a genre and their contribution to the development of the “nation-state” idea that occurred in the sixteenth century. It identifies a new genre I call polemic chronicle, which adopts and deploys the conventions of chronicle in order to declare a personal and/or national identity. Lastly, it contributes new scholarship to Spenser studies by building on established scholarship exploring the hybrid identity of Edmund Spenser. To these studies, I add fresh critical readings of A View of the State of Ireland and Colin Clouts Comes Home Againe. Both texts represent, I argue, proto-colonial literature influenced by Spenser’s mind of exile that explore England’s new position at the end of the sixteenth century as a burgeoning imperial power.

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Major, Julia. "Purity, translation and dialectical rhetoric in Spenser's "Well of English Undefyled" /." view abstract or download file of text, 2002. http://wwwlib.umi.com/cr/uoregon/fullcit?p3061957.

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Thesis (Ph. D.)--University of Oregon, 2002.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 480-510). Also available for download via the World Wide Web; free to University of Oregon users.

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Sansonetti, Laetitia. "Représentations du désir dans la poésie narrative élisabéthaine [Venus and Adonis, Hero and Leander, The Faerie Queene II et III] : de la figure à la fiction." Thesis, Paris 3, 2011. http://www.theses.fr/2011PA030116.

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À partir de définitions empruntées à la philosophie antique (Platon, Aristote), à la littérature païenne (Ovide), à la théologie chrétienne (Augustin, Thomas d’Aquin), ou encore à la médecine (de Galien à Robert Burton), cette thèse étudie les représentations du désir dans la poésie narrative élisabéthaine des années 1590, en particulier chez Shakespeare (Venus and Adonis), Marlowe et Chapman (Hero and Leander) et Spenser (The Faerie Queene, II et III). Le postulat de départ est que le désir détermine les conditions de sa représentation : il est ainsi à la fois objet poétique et principe de création littéraire. L’approche rhétorique cible les figures de style associées au mouvement : la métaphore et la métonymie, mais aussi les figures de construction qui jouent sur l’ordre des mots et les figures de pensée qui se dévoilent progressivement, comme l’allégorie. Si le désir fonctionne comme un lieu commun dans les textes de la Renaissance anglaise, le recours à une rhétorique commune et le partage d’un même lieu physique ne garantissent pas nécessairement le rapprochement des corps. C’est face à face que sont envisagés le corps désiré, caractérisé par sa fermeture et considéré comme une œuvre d’art intouchable, et le corps désirant, organisme vivant exposé à la contamination. La perméabilité gagne le poème lui-même, dans son rapport à son environnement politique et social, dans son utilisation de ses sources et dans sa composition. Parce qu’il joue un rôle en tant que mécanisme de progression du récit, notamment dans la relation entre description et narration, le désir invite à envisager la mimésis comme un processus réversible
Starting from definitions of desire borrowed from ancient philosophers (Plato, Aristotle), classical poets (Ovid), Christian theologians (Augustine, Thomas Aquinas), and physicians (from Galen to Robert Burton), this dissertation studies the representations of desire in Elizabethan narrative poetry from the 1590s, and more particularly in Shakespeare’s Venus and Adonis, Marlowe and Chapman’s Hero and Leander, and Spenser’s Faerie Queene (II and III). The guiding hypothesis is that desire determines the terms and images in which it is represented; it is therefore both a poetical object and a principle of literary creation. Using a rhetorical approach, I focus on stylistic devices linked with motion: metaphor and metonymy, but also figures of construction which play on word order, and figures such as allegory, which progressively unravel thought. Although desire does act as a commonplace in Early Modern texts, sharing the same language and the same locus does not necessarily entail physical communion for the bodies involved. The body of the beloved, enclosed upon itself and depicted as an untouchable work of art, is pitted against the lover’s organism, alive and exposed to contamination. The poem itself becomes permeable in relation to its social and political environment, in its use of sources, and in its compositional procedures. Desire articulates description and narration, leading the narrative forward but also backward, which suggests that mimesis can be a reversible process

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Stanfill, Emily Marie. "Erring Knights of Desire: The Romance in Santa Teresa's Libro de la vida and Edmund Spenser's The Faerie Queene." Diss., CLICK HERE for online access, 2007. http://contentdm.lib.byu.edu/ETD/image/etd2091.pdf.

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Newall, LeVasseur Alison 1959. "René Girard's theory of mimetic desire and Books III and IV of The Faerie Queene." Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=66259.

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Brooks, Scott A. "To move, to please, and to teach : the new poetry and the new music, and the works of Edmund Spenser and John Milton, 1579-1674." Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/5034.

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By examining Renaissance criticism both literary and musical, framed in the context of the contemporaneous obsession with the works of Plato, Aristotle, and Horace, among others, this thesis identifies the parallels in poetic and musical practices of the time that coalesce to form a unified idea about the poet-as-singer, and his role in society. Edmund Spenser and John Milton, who both, in various ways, lived in periods of upheaval, identified themselves as the poet-singer, and comprehending their poetry in the context of this idea is essential to a fuller appreciation thereof. The first chapter addresses the role that the study of rhetoric and the power of oratory played in shaping attitudes about poetry, and how the importance of sound, of an innate musicality to poetry, was pivotal in the turn from quantitative to accentual-syllabic verse. In addition, the philosophical idea of music, inherited from antiquity, is explained in order elucidate the significance of “artifice” and “proportion”. With this as a backdrop, the chapters following examine first the work of Spenser, and then of Milton, demonstrating the central role that music played in the composition of their verse. Also significant, in the case of Milton, is the revolution undertaken by the Florentine Camerata around the turn of the seventeenth century, which culminated in the birth of opera. The sources employed by this group of scholars and artists are identical to those which shaped the idea of the poet-as-singer, and analysing their works in tandem yields new insights into those poems which are considered among the finest achievements in English literature.

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Berg, Jaime. ""And the trees of the field shall clap their hands" ecologies of nature and spirituality in the poems of Spenser, Marvell, Lanyer, and Jonson /." Click here for download, 2009. http://proquest.umi.com.ps2.villanova.edu/pqdweb?did=1950563961&sid=1&Fmt=2&clientId=3260&RQT=309&VName=PQD.

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Hubbard, Gillian Chell. ""Acquire and beget a temperance" : the virtue of temperance in The faerie queene book II and Hamlet : a thesis submitted to the Victoria University of Wellington in fulfilment of the requirements for the degree of Doctor of Philosophy in English Literature /." ResearchArchive@Victoria e-thesis, 2010. http://hdl.handle.net/10063/1261.

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Brown, Molly Anne. "Spenser's Colin Clout : an introductory study." Thesis, Rhodes University, 1985. http://hdl.handle.net/10962/d1001831.

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From introduction: In the sixth book of The Faerie Qveene, the reader is presented with a vision of the Graces and their attendants dancing on Mount Acidale to the piping of a simple shepherd. Spenser identifies this favoured musician as Colin Clout and then goes on to pose a seemingly inconsequential rhetorical question. "Who knowes not Colin Cloute?” he asks. The note of confident pride which can be discerned in the query clearly reveals Spenser's peculiar interest in one of his most intriguing creations. It is almost impossible to read a representative selection of Spenser's poetical works without noticing the hauntingly frequent appearances of his "Southerne shepheardes boye". Colin appears or is named in no fewer than six of Spenser's poems.

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Ackerman, Heather. "Where babies come from in Spenser's Faerie Queene and Shakespeare's Measure for measure." Laramie, Wyo. : University of Wyoming, 2007. http://proquest.umi.com/pqdweb?did=1417810021&sid=1&Fmt=2&clientId=18949&RQT=309&VName=PQD.

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Dissertations / Theses on the topic 'Edmund Spenser'

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