Academic literature on the topic 'Jonson, Ben, Humanism in literature'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Jonson, Ben, Humanism in literature.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Jonson, Ben, Humanism in literature"
1
Mansky, Joseph. "“Look No More”: Jonson's Catiline and the Politics of Enargeia." PMLA/Publications of the Modern Language Association of America 134, no. 2 (March 2019): 332–50. http://dx.doi.org/10.1632/pmla.2019.134.2.332.
Full textAbstract:
In his play Catiline His Conspiracy, Ben Jonson allegorizes Cicero's fight to save the Roman Republic as a battle against the kind of spectacular drama that, Jonson claimed, his audiences so enjoyed. This metatheatrical polemic hinges on the rhetorical technique of enargeia: the power of language to conjure an image. For the early moderns, enargeia resolved the “paradox of representation”—the contradiction between “making present” and “standing for”—by subordinating visual presence to verbal illusionism. Jonson, aligning neoclassical poetics with humanist historiography, dramatizes this hierarchy of representation. In Catiline, Cicero's rhetoric puts visions of violence before his audience's eyes only to prevent their realization onstage. The play thus seeks to exorcise the specter of political violence that haunted early modern England and the Roman Republic alike. Yet the rhetoric of Jonson's Cicero proves just as coercive as the spectacular violence that it has replaced. From Jonson's time to ours, separating rhetoric from violence has remained the challenge of republicanism.
2
Im, Yeeyon. "Beyond the Gender Divide: Looking for Shakespeare in Han Tae-Sook’s Lady Macbeth." New Theatre Quarterly 32, no. 1 (January 7, 2016): 19–30. http://dx.doi.org/10.1017/s0266464x15000834.
Full textAbstract:
Han Tae-Sook’s Lady Macbeth, a theatre adaptation by a leading woman director in Korea, has been interpreted largely from a feminist and intercultural perspective. In this article Yeeyon Im examines a body of criticism on Han’s production to raise awareness of the danger of totalization in current critical geography in Korea, which may marginalize non-ideological views. The humanist issues of evil, desire, and guilt, which are explicit themes of Lady Macbeth, have been neglected by critics in favour of discourses of difference. Yeeyon Im asks if ‘the subaltern can speak’ of universality, and calls for a new literary humanism that allows reflection on how to live through the help of literature. Yeeyon Im is Associate Professor of English at Yeungnam University in South Korea, where she teaches Shakespeare and drama. She has published widely on Shakespeare and modern drama. Her articles on intercultural Shakespeare productions of Lee Yountaek and Ninagawa Yukio have appeared in Theatre Journal, Shakespeare, and Shakespeare Bulletin. She has also translated into Korean plays by Ben Jonson (Volpone and The Alchemist) and Christopher Marlowe (Dido, Queen of Carthage).
3
Ha, Sha. "Plague and Literature in Western Europe, from Giovanni Boccaccio to Albert Camus." International Journal of Comparative Literature and Translation Studies 9, no. 3 (August 25, 2021): 1. http://dx.doi.org/10.7575/aiac.ijclts.v.9n.3p.1.
Full textAbstract:
In medieval times the plague hit Europe between 1330 and 1350. The Italian novelist Giovanni Boccaccio, one of the exponents of the cultural movement of Humanism, in the introduction (proem) of his “Decameron” described the devastating effects of the ‘black plague’ on the inhabitants of the city of Florence. The pestilence returned to Western Europe in several waves, between the 16th and 17th centuries. William Shakespeare in “Romeo and Juliet” and other tragedies, and Ben Jonson in “The Alchemist” made several references to the plague, but they did not offer any realistic description of that infective disease. Some decennials later Daniel Defoe, in his “A Journal of the Plague Year” (1719), gave a detailed report about the ‘Great Plague’ which hit England in 1660, based on documents of the epoch. In more recent times, Thomas S. Eliot, composing his poem “The Waste Land” was undoubtedly influenced by the spreading of another infective disease, the so-called “Spanish flu”, which affected him and his wife in December 1918. Some decennials later, the French writer and philosopher Albert Camus, in his novel “The Plague”, symbolized with a plague epidemic the war which devastated Europe, North Africa and the Far East from 1937 to 1945, extolling a death toll of over 50 million victims. Those literary works offered a sort of solace to the lovers of literature. To recall them is the purpose of the present paper, in these years afflicted by the spreading of the Covid-19 Pandemic.
4
Bednarz, James P. "“Of things as yet unborne”: The Poetics of Fantasy in John Marston's What You Will." Ben Jonson Journal 25, no. 1 (May 2018): 119–32. http://dx.doi.org/10.3366/bjj.2018.0213.
Full textAbstract:
The Romantic period has been identified as the paradigmatic moment of transformation in western culture when the mimetic and didactic theories of literature typically favored by classical and Renaissance theoreticians were decisively challenged for preeminence by emotive and expressive models of creativity. But as M.H. Abrams observes in The Mirror and the Lamp, this intellectual revolution, through which psychology displaced rhetoric as the predominant mode of critical evaluation was not unprecedented. This essay examines an early modern example of this phenomenon in John Marston's What You Will, a play, probably written in 1601 for the Children of Paul's, which represents a kind of Renaissance romanticism insofar as it displaces what Marston calls the “rules of Art” with an extra-rational source of human creativity, the psychological faculty of “fantasy” or “imagination.” Here, Marston proposes an explicitly physiological framework for understanding the psychology of creativity that rejects the principal tenets of conventional humanist theory advocated by Ben Jonson in Cynthia's Revels. In What You Will, at the height of the Poets' War, in a radical shift of perspective, Marston unexpectedly extols the pleasure of imagination's spontaneous generative power. This is, in a parallel previously unnoticed by scholars, the same power of “Phantasie” that he invokes in supplementing the “metaphysical” wit of William Shakespeare's mysterious elegy “The Phoenix and Turtle” in the contemporaneous Diverse Poetical Essays of Love's Martyr.
5
Hoenselaars, Ton. "Ben Jonson." Ben Jonson Journal 2, no. 1 (January 1995): 233–37. http://dx.doi.org/10.3366/bjj.1995.2.1.14.
Full text
6
Kay, W. David, and Ian Donaldson. "Ben Jonson." Modern Language Review 83, no. 4 (October 1988): 950. http://dx.doi.org/10.2307/3730921.
Full text
7
Barish, Jonas, and Anne Barton. "Ben Jonson, Dramatist." Shakespeare Quarterly 37, no. 4 (1986): 522. http://dx.doi.org/10.2307/2870691.
Full text
8
Brady, Jennifer. "Ben Jonson, Revisited." Renaissance Quarterly 55, no. 1 (2002): 272–86. http://dx.doi.org/10.2307/1512538.
Full text
9
Holyoke, T. C., and David Riggs. "Ben Jonson: A Life." Antioch Review 47, no. 2 (1989): 243. http://dx.doi.org/10.2307/4612050.
Full text
10
Koslow, Julian. "Humanist Schooling and Ben Jonson's Poetaster." ELH 73, no. 1 (2006): 119–59. http://dx.doi.org/10.1353/elh.2006.0005.
Full textDissertations / Theses on the topic "Jonson, Ben, Humanism in literature"
1
Shimizu, Akihiko. "Ben Jonson and character." Thesis, University of St Andrews, 2015. http://hdl.handle.net/10023/11906.
Full textAbstract:
This thesis discusses Ben Jonson's innovative concept of character as an effect of interactions in dramatic, political and literary spheres. The Introduction observes how the early modern understanding of ‘character' was built on classical rhetorical theory, and argues its relevance to Jonson's rhetorical and performative representations of characters. Chapter 1 looks into the bridge between epigrams and character writing, and examines the rhetorical influence of the grammar-school exercises of Progymnasmata on Jonson's representation of characters in his Epigrams. Chapter 2 examines character as legal ethos in Catiline, analysing the discourse of law that constitutes Cicero's struggle to issue senatus consultum ultimum and examining the way Catiline represents character and mischief to address the problematic issues of power and authority in King James' monarchical republic. Chapter 3 explores Jonson's challenge in his integration of the emblematic characters of Opinion and Truth in Hymenaei, and argues that the underlining contemporary medico-legal discourses help the masque to accommodate conflicting characters. Chapter 4 discusses the problematic characterization of news and rumours in Volpone, The Staple of News and the later masques, and considers the way Jonsonian characters strive to find trustworthy and legible signs of others in their exchanges of information. In Conclusion, the thesis confirms the need to re-acknowledge Jonson's writings in terms of character as rhetorical effect of these imagined interactions.
2
Sanders, Julie. "Feigning commonwealths? : Ben Jonson and republicanism." Thesis, University of Warwick, 1994. http://wrap.warwick.ac.uk/66930/.
Full textAbstract:
This thesis examines the various operations of notions of republicanism in the Jonsonian canon, in particular within his dramatic compositions. Taking "republicanism" as a term to refer to groups of often contrasting and conflicting ideologies, it examines the direct influence of Renaissance Humanism's interest in republican history and constitutions upon Ben Jonson's work, looking at the role of Ancient Rome (in its incarnation both as Empire and Republic) and early modern Venice and Florence in a number of his plays. It also considers the influence of republicanism as a linguistic programme, deriving often from a number of European conflicts against the dominant authorities, and disseminated through the potentially democratizing print culture that was emerging in the early seventeenth century. Republicanism is seen to shade into notions of community and the communal, and also to disperse and displace comfortable concepts of the same. This is seen to carry a special valency in Jonson's later plays, although it is an issue that also figures in the texts that precede them. In placing a particular focus on Jonson's less-discussed drama, the thesis seeks to reassess his canon, avoiding any simplistic developmental reading of his career and, in subverting a strictly chronological approach, reclaiming individual texts for more precise and contextualized understandings - on a political, sociological, and gendered level. The interest In the local in Jonsonian drama requests a Similarly localized reading of the play-texts. By concentrating upon Jonson's plays, the thesis also uncovers a registration within them of the inherent republicanism of the dramatic genre. Jonson recognizes this in his continued interest in the role of audiences in the production of meanings. He examines both the operations and the breakdowns of contractual agreements in society at large and in the theatrical situation, confirming that the authority of the author or monarch can never be absolute.
3
Silver, Jeremy. "Language, power and identity in the drama of Ben Jonson." Thesis, Royal Holloway, University of London, 1986. http://repository.royalholloway.ac.uk/items/afe5e26d-221e-437c-bffd-ead6585af447/1/.
Full textAbstract:
The thesis explores the relationships between language, power and identity in the drama of Ben Jonson. The approach is primarily through linguistic analyses of the plays, but frequent reference is made to other texts which illuminate the social, and cultural conditions out of which the drama emerges. The first three chapters deal, respectively, with Jonson's Humour plays, Poetaster, and both tragedies. Four subsequent chapters deal individually with Volpone, Epicoene, The Alchemist, and Bartholomew Fair. Two final chapters deal with Jonson's late plays. The thesis analyses the way in which characters reflect on each other's' uses of language and make artificial use of language themselves in order to acquire power over others, raise their social status, and confirm, deny or alter their identities. This involves the analysis of the numerous discourses which are contained in the plays (e.g. those characterized by origins in the Classics, in English Morality plays, or in contemporary sources such as the literature of duelling, or the idiom of the Court). The playwright's self-conscious use of language games, plays-within-plays, disguises, and deceptions is studied with close attention to the self-reflexive effects of these dramatic techniques. Jonson's plays, by using mixed modes of drama, set off dramatic conventions against one another in ways which often undermine the artifice. The moral views in the plays, inconsequence, fail to find any single basis and are also set in conflict with one another. Thus, it is argued, the plays, contrary to certain orthodox views, do not offer simple moral positions for the audience, but demand of the spectators a re-examination of their own frames of moral reference. It is suggested that the view of the world implicit in the earlier plays is one where language seems to offer the possibility of access to an ultimate truth, whereas in the later plays, language increasingly constructs its own truths.
4
Craig, Jennifer J. "Inventing 'living emblems' : emblem tradition in the masques of Ben Jonson, 1605-1618." Thesis, University of Glasgow, 2009. http://theses.gla.ac.uk/1307/.
Full textAbstract:
While it is widely held that Ben Jonson uses emblem tradition in the development of imagery in his court masques and entertainments, how or why Jonson employs this genre of word-image combinations is rarely addressed. This thesis offers an explanation for what is often assumed in studies of Jonson’s masques and entertainments. Rather than identifying particularly emblematic scenes or characters and analysing their construction, however, this investigation of the emblematic in Jonson begins with analysis of his theory of masque creation. The evidence he leaves in the introductions to masque publications and his notes in Discoveries (1641) points to a conscious decision to incorporate not emblems themselves but an emblematic method in his new literary masque form, especially between 1605 and 1618. Once Jonson’s familiarity with emblematic methods is realized, what is considered ‘emblematic’ in his imagery can be reassessed. The reason why Jonson’s masques appear to retain emblematic qualities but contain few true emblems can thus be explained. In order to explicate Jonson’s use of emblem tradition in his creation of masque imagery, this thesis is divided into three parts. The first part outlines Jonson’s theory of masque writing within three contexts. It initially looks at how Jonson’s literary methods compare to contemporary emblem and symbol theories, and thus works out a methodology for analysing the emblematic in his masques. Then, it considers the awareness of emblems in the early modern British court, both in material and intellectual culture. In so doing, these two sections on emblems in sixteenth- and seventeenth-century British culture highlight the prevalence of the emblematic mindset in Jonson and his aristocratic audience. This argues for the relevance of Jonson’s emblematic development of imagery for performances in the Stuart court. The second and third parts of this thesis then turn to the masques and entertainments themselves. Part II looks at how Jonson uses emblematic techniques to design characters. Recognizing Jonson’s different approaches to abstract personifications and mythological figures, it is split into two sections. The first section looks at key personifications in The Masque of Beautie (1608) and The Masque of Queenes (1609). It considers how Jonson changes the characters Januarius and Fama bona from personifications in Ripa’s Iconologia to emblematically-rendered figures. The second section then analyses Jonson’s reinvention of stock characters Cupid and Hercules. Discussion covers Cupid’s appearance in many of Jonson’s entertainments, and then concentrates on his appearance with Anteros in A Challenge at Tilt (1613) and Loves Welcome at Bolsover (1634). Hercules’ pointedly emblematic role in Pleasure reconcild to Vertue (1618) finally crowns study of Jonson’s characters. Part III extends investigation into Jonson’s development of themes and arguments in the masques. By identifying Jonson’s processes in the expression of certain themes, this part gives a full picture of Jonson’s use of emblematic techniques and material. The first section realizes their use in the moulding of Platonic themes of love into celebration of King and State. The second section then scrutinizes the invention of the Masques of Blacknesse (1605) and Beautie, Love Freed (1611), and The Golden Age Restor’d (1615). This is followed by analysis of the changes Jonson makes to emblematic constructions between Pleasure reconcild and its rewrite For the Honour of Wales (1618). The alterations highlight Jonson’s reliance on emblematic interpretation of his entertainments. At the same time, it marks his decision to subvert his techniques after 1618 in order to cater to court tastes following the failure of Pleasure reconcild. A conclusion to this thesis is thus derived from the comparison, which illustrates Jonson’s methods up to 1618.
5
Sutton, Peter David. "'The trade of application' : political and social appropriations of Ben Jonson, 1660-1776." Thesis, University of St Andrews, 2018. http://hdl.handle.net/10023/16547.
Full textAbstract:
This thesis is an analysis of the manner in which the persona and works of Ben Jonson were appropriated – between the Restoration, in 1660, and the retirement of David Garrick, in 1776 – to reflect the political and social concerns of the age. Unlike previous studies, rather than primarily focusing on the stage history of Jonson, I analyse a wide range of sources – produced both within and outwith the theatre – in order to explore, across a variety of media, a breadth of material which appropriates the playwright and his works. I shall consider in my first main chapter the appropriations of Jonson within the Restoration court, in particular noting the assimilation of the playwright's work to what might be styled a proto-Tory ideology, as well as the way in which his plays could mirror the destabilising effects of the king's romantic liaisons. In my second chapter, I explore the moral reformation at the turn of the eighteenth century, in which we can see appropriations of Jonson which cast his works as being primarily didactic. The third chapter moves the narrative of the thesis into the years of the premiership of Sir Robert Walpole. I shall consider the way in which the playwright's works – especially The Alchemist and Eastward Ho! – were seen as being especially relevant to an age of speculation and mercantile endeavour, as well as examining the manner in which the figures of Sejanus and Volpone were appropriated to mock the increasingly unpopular premier. In the final chapter, I shall offer an analysis of Garrick's seminal portrayal of Drugger in the contexts of the political philosophy of the mid-eighteenth century, considering the manner in which it was interpreted alongside the character's further appropriations by Francis Gentleman. The thesis concludes by exploring political appropriations of Jonson up to the present day.
6
Bulman, Helen Lois. "Concepts of folly in English Renaissance literature : with particular reference to Shakespeare and Jonson." Thesis, University of St Andrews, 1991. http://hdl.handle.net/10023/3475.
Full textAbstract:
Chapter 1 considers Barclay's 'Ship of Fools' in relation to other folly literature in English, particularly Lydgate's 'Order of Fools', Skelton's 'Bowge of Courte', and 'Cocke Lorrel's Bote'. Motifs, allegories and the woodcuts of the text are discussed and some are included in an Illustrations section. Chapter 2 discusses Erasmian folly looking back to the Neoplatonic writings of Nicholas of Cusa, and to the debt Erasmian exegeses owe to Origen. Erasmus' own philosophical and theological views are examined, particularly as they are found in his 'Enchiridion', and in the influence of Thomas à Kempis' 'Imitation of Christ'. A close textual analysis of the 'Moriae Encomium' is undertaken in this light. Chapter 3 defines the lateral boundaries of folly, where it blends into madness. In the context of Renaissance psychology sixteenth century medical works are analysed, including Boorde's 'Breviary of Healthe', Barrough's 'Method of Physicke' and Elyot's 'Castel of Helth'. Blurring between madness and sin, the negative judgments on the mad as demon-possessed, and the biblical models from which such judgments largely arose give alternative perspectives on madness and its relation to folly. Chapters 4-6 look at three Shakespearean comedies showing the development of a primarily Erasmian view of folly. This moves from overt references in 'Love's Labour's Lost' to natural folly, the folly of love and theological folly, through carnivalesque aspects of folly and madness in 'Twelfth Night', to an embedded notion of folly which influences and affects the darker comedy of 'Measure for Measure'. Chapter 7 considers satires of Hall, Marston and Guilpin, and looks at Jonson's Humour plays in this context. 'Volpone' and 'Epicoene', and 'The Alchemist' and 'Bartholomew Fair' are discussed in pairs, showing the softening of Jonson's attitude to folly, and his increasing representation of Erasmian folly reaching its full expression in 'Bartholomew Fair'.
7
Kotzur, Julia. "'When we have stuffed these pipes and these conveyances of our blood with wine and feeding' : sacramental eating and Galenic humourism in the drama of William Shakespeare and Ben Jonson." Thesis, University of Aberdeen, 2016. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=231864.
Full textAbstract:
This thesis explores the interconnection of sacramental eating and humoural curing in selected plays by William Shakespeare and Ben Jonson. It contends that the drama actively participated in the medico-religious debates of post-Reformation England. Investigating the health benefits attributed to the Eucharistic meal in its pre- and post-Reformation forms, this thesis shows that early modern religious debates occupy an important place in contemporaneous drama, proposing that aspects of religion, particularly the Eucharist, were explored by Shakespeare and Jonson with regards to the Sacrament's medicinal efficacy. The thesis suggests that the drama identifies religious anxiety as medico-spiritual trauma, and offers performative sacramento-humoural therapy. In tracing intersections of sacramentality, cannibalism, and Galenic humourism in six plays, the thesis analyses early modern concepts of the body, blood, food, medicinal practices, the Eucharist, and morality, showing that drama was used as a medical and didactic tool. Chapter 1 explores issues of corporeality and community in Coriolanus, unearthing interconnected concepts of humoural eating and changing religious communities. Chapter 2 investigates early modern medical practices in Titus Andronicus, placing medicinal cannibalism at the nexus of martyrdom, sacramentality, and humoural disease. Chapter 3 develops notions of sacramentality by analysing the philosophy of neo-stoicism in Julius Caesar and linking it with acts of penance. Chapter 4 discusses the portrayal of these themes in Bartholomew Fair, examining Jonson's investigative approach to dramatic portrayals of medico-religious debates. Chapter 5 compares Every Man In His Humour and Every Man Out of His Humour, identifying themes of the medieval morality play, and showing that they were employed for didactic and medicinal purposes. This thesis concludes that interconnected discourses of sacramental eating and humoural curing constitute dramatic commentary on contemporaneous medico-religious issues, and offer temporary, performative salvation for a religiously troubled nation.
8
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.
Full text
9
Criswell, Christopher C. "Networks of Social Debt in Early Modern Literature and Culture." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc799514/.
Full textAbstract:
This thesis argues that social debt profoundly transformed the environment in which literature was produced and experienced in the early modern period. In each chapter, I examine the various ways in which social debt affected Renaissance writers and the literature they produced. While considering the cultural changes regarding patronage, love, friendship, and debt, I will analyze the poetry and drama of Ben Jonson, Lady Mary Wroth, William Shakespeare, and Thomas Middleton. Each of these writers experiences social debt in a unique and revealing way. Ben Jonson's participation in networks of social debt via poetry allowed him to secure both a livelihood and a place in the Jacobean court through exchanges of poetry and patronage. The issue of social debt pervades both Wroth's life and her writing. Love and debt are intertwined in the actions of her father, the death of her husband, and the themes of her sonnets and pastoral tragicomedy. In Shakespeare’s The Merchant of Venice (c. 1596), Antonio and Bassanio’s friendship is tested by a burdensome interpersonal debt, which can only be alleviated by an outsider. This indicated the transition from honor-based credit system to an impersonal system of commercial exchange. Middleton’s A Trick to Catch the Old One (1608) examines how those heavily in debt dealt with both the social and legal consequences of defaulting on loans.
10
Harris, Candice R. (Candice Rae). "The Decline of the Country-House Poem in England: A Study in the History of Ideas." Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc331572/.
Full textAbstract:
This study discusses the evolution of the English country-house poem from its inception by Ben Jonson in "To Penshurst" to the present. It shows that in addition to stylistic and thematic borrowings primarily from Horace and Martial, traditional English values associated with the great hall and comitatus ideal helped define features of the English country-house poem, to which Jonson added the metonymical use of architecture.
In the Jonsonian country-house poem, the country estate, exemplified by Penshurst, is a microcosm of the ideal English social organization characterized by interdependence, simplicity, service, hospitality, and balance between the active and contemplative life. Those poems which depart from the Jonsonian ideal are characterized by disequilibrium between the active and contemplative life, resulting in the predominance of artifice, subordination of nature, and isolation of art from the community, as exemplified by Thomas Carew's "To Saxham" and Richard Lovelace's "Amyntor's Grove."
Architectural features of the English country house are examined to explain the absence of the Jonsonian country-house poem in the eighteenth century. The building tradition praised by Jonson gradually gave way to aesthetic considerations fostered by the professional architect and Palladian architecture, architectural patronage by the middle class, and change in identity of the country house as center of an interdependent community.
The country-house poem was revived by W. B. Yeats in his poems in praise of Coole Park. In them Yeats reaffirms Jonsonian values. In contrast to the poems of Yeats, the country-house poems of Sacheverell Sitwell and John Hollander convey a sense of irretrievable loss of the Jonsonian ideal and isolation of the poet.
Changing social patterns, ethical values, and aesthetics threaten the survival of the country-house poem, although the ideal continues to reflect a basic longing of humanity for a pastoral retreat where life is simple and innocent.
Books on the topic "Jonson, Ben, Humanism in literature"
1
Preuschen, Karl Adalbert. Ben Jonson als humanistischer Dramatiker: Studien zu den Bühnenwerken der Folio von 1616. Frankfurt am Main: P. Lang, 1989.
Find full text
2
Ben Jonson, authority, criticism. Houndmills, Basingstoke, Hampshire: Macmillan Press, 1996.
Find full text
3
McCanless, Michael. Jonsonian discriminations: The humanist poet and the praise of true nobility. Toronto: University of Toronto Press, 1991.
Find full text
4
McCanles, Michael. Jonsonian discriminations: The humanist poet and the praise of true nobility. Toronto: University of Toronto Press, 1992.
Find full text
8
Ben Jonson and possessive authorship. Cambridge, UK: Cambridge University Press, 2002.
Find full text
9
Slights, William W. E. Ben Jonson and the art of secrecy. Toronto: University of Toronto Press, 1994.
Find full text
10
Dutton, Richard. Ben Jonson, Volpone, and the Gunpowder Plot. Cambridge: Cambridge University Press, 2008.
Find full textBook chapters on the topic "Jonson, Ben, Humanism in literature"
1
Yearling, Rebecca. "23. Ben Jonson, The Alchemist (1610)." In Handbook of English Renaissance Literature, edited by Ingo Berensmeyer, 464–77. Berlin, Boston: De Gruyter, 2019. http://dx.doi.org/10.1515/9783110444889-024.
Full text
2
Smith, Peter J. "Tales of the City: The Comedies of Ben Jonson and Thomas Middleton." In A Companion to English Renaissance Literature and Culture, 513–24. Malden, MA, USA: Blackwell Publishers Ltd, 2007. http://dx.doi.org/10.1002/9780470998731.ch43.
Full text
3
Smith, Peter J. "Tales of the City: The Plays of Ben Jonson and Thomas Middleton." In A New Companion to English Renaissance Literature and Culture, 352–66. Oxford, UK: Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444319019.ch24.
Full text
4
Giles, Paul. "Medieval American Literature: Antebellum Narratives and the “Map of the Infinite”." In The Global Remapping of American Literature. Princeton University Press, 2011. http://dx.doi.org/10.23943/princeton/9780691136134.003.0003.
Full textAbstract:
This chapter examines how the notion of medieval American literature not only makes a paradoxical kind of sense but might be seen as integral to the construction of the subject more generally. It argues that antebellum narratives situate native soil on a highly charged and fraught boundary between past and present, circumference and displacement. In itself, the idea of medieval American literature is hardly more peculiar than F. O. Matthiessen's conception of an “American Renaissance.” Matthiessen sought to justify his subject by aligning nineteenth-century American writers such as Ralph Waldo Emerson and Nathaniel Hawthorne with seventeenth-century English forerunners such as William Shakespeare and Ben Jonson. The chapter considers resonances of medievalism within nineteenth-century American culture and how many antebellum writers consciously foreground within their texts the shifting, permeable boundaries of time and space, suggesting how fiction and cartography, the writing of history and the writing of geography, are commensurate with each other.
5
Hentschell, Roze. "Paul’s Nave." In St Paul's Cathedral Precinct in Early Modern Literature and Culture, 23–67. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198848813.003.0002.
Full textAbstract:
This chapter provides an overview of the architectural features, uses, and users of the nave, with discussion of its physical condition. It also discusses the occupations of the nave—the various church-related and secular practices and professions that were carried out in the interior, and emphasizes the commercial activities, including those of labourers, lawyers, clergy, serving men, and criminals. The chapter looks at the newsmongers and walkers of Paul’s, including John Chamberlain, and attempts to reframe the rituals of their ‘walk’ as purposeful rather than idle. Several literary texts, including those by Thomas Middleton, Ben Jonson, and Thomas Dekker, are discussed. Further, consideration is given to how the nave’s architecture and material features, principally the tombs and monuments influenced the practices by both restricting and affording human agency, all the while affirming the importance of the dead to the living in Paul’s.
6
Patterson, Jonathan. "Old Panurgos and Beaten Foxes." In Villainy in France (1463-1610), 157–68. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198840015.003.0011.
Full textAbstract:
This chapter investigates how Rabelaisian villainy flowed from France into English literature at the turn of the seventeenth century. Villainy à la Panurge was popular with university ‘men of wit’; it resurfaces in John Marston’s The Scourge of Villanie (1598) and especially in various works by Ben Jonson (c.1572–1637). Legal-literary readings of Jonson’s The Case is Altered (c.1597–8) and Volpone (1607) attest to the author’s idiosyncratic villainous style. Volpone’s enduring popularity (academic criticism notwithstanding) suggests not only Jonson’s ‘recurrent lapses from respectability’, but also his interest in revisiting and revising themes of panourgia through and beyond the Rabelaisian canon.
7
Shears, Jonathon. "‘The Nausea of Sin’: The Early Modern Hangover." In The Hangover, 33–68. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789621198.003.0003.
Full textAbstract:
The chapter pursues the representation of the hangover in poetry and drama, religious and political writing and in the culture wars of the seventeenth century in England. It begins by exploring why the hangover has been obscured in writing about early modern depictions of drunkenness through a study of Anacreontic verse by Ben Jonson, Robert Herrick and Richard Lovelace. Hangovers, it contends, are more prominent in other forms of literature such as Protestant tracts and sermons and in bawdy verse and drama of the Restoration. They also feature regularly in what the chapter terms ‘anti-symposiastic’ verse written by Whigs in the 1690s. The chapter argues throughout that the hangover – whether leading to feelings of guilt and shame or defiance – takes us beyond studies of male fellowship and tavern culture, increasing our understanding of the way that the body becomes a route to discuss moral and spiritual failings in this period. It also gives examples of the way Withdrawal-Relief recovery methods – sometimes known as the hair of the dog – became associated with defiance.
8
Hyman, Wendy Beth. "Seizing the “Point Imaginary”." In Impossible Desire and the Limits of Knowledge in Renaissance Poetry, 111–40. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198837510.003.0004.
Full textAbstract:
“Seizing the ‘Point Imaginary’ ” follows erotic poets as they grapple with the elusive concept of nothingness. The pervasive quips about a woman’s “nothing” within Renaissance literature belie the fact that virginity is in several respects a genuine paradox. Although countless attempts upon the “point imaginary” were merely sexual in nature, others make of the hymen the ultimate sign of mystery and impossibility: a tympan between materiality and immateriality, the cusp between the known and unknown. The hymen, like the Lucretian atom or the draftsman’s mathematical horizon of sight, sometimes functions as the poet’s conceptual limit point. Worth pursuing for its own sake, this vanishing point of the female body further beckons the poet with the tantalizing threshold of knowledge that it emblematizes. A seemingly trivial seduction narrative such as Christopher Marlowe’s Hero and Leander thereby re-emerges as a site for wrestling with the epistemological and ontological problems that this paradoxical bit of material represents. This chapter traces these operations in the works of several authors, including Shakespeare, Richard Crashaw, Abraham Cowley, Ben Jonson, John Davies, and Thomas Wyatt. “Nothing,” for these poets, may initially refer to the woman and her questionable virginity, but also becomes attached to more portentous unknowables and supersigns. Such “impossible” thoughts were not wholly containable within the airy realm of paradox. They had implications for how early moderns understood the limits of knowledge in relation to both bodily and poetic form.