Artigos de revistas: "Lanyer, Aemilia"

1

Boehrer, Bruce, Aemilia Lanyer e Susanne Woods. "The Poems of Aemilia Lanyer". South Atlantic Review 60, n.º 1 (janeiro de 1995): 144. http://dx.doi.org/10.2307/3200721.

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2

Woods, Susanne. "Aemilia Lanyer and Ben Jonson". Ben Jonson Journal 1, n.º 1 (janeiro de 1994): 15–30. http://dx.doi.org/10.3366/bjj.1994.1.1.3.

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Ng, Su Fang. "Aemilia Lanyer and the Politics of Praise". ELH 67, n.º 2 (2000): 433–51. http://dx.doi.org/10.1353/elh.2000.0019.

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4

Peterson, Brice. "Aemilia Lanyer, Edmund Spenser, and the Literary Hymn". Early Modern Women 15, n.º 2 (2021): 3–28. http://dx.doi.org/10.1353/emw.2021.0024.

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Mcbride, Kari Boyd, e Aemilia Lanyer. "Remembering Orpheus in the Poems of Aemilia Lanyer". Studies in English Literature, 1500-1900 38, n.º 1 (1998): 87. http://dx.doi.org/10.2307/451082.

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Peterson, Brice. ":Aemilia Lanyer as Shakespeare’s Co-author". Early Modern Women: An Interdisciplinary Journal 18, n.º 2 (1 de março de 2024): 356–59. http://dx.doi.org/10.1086/727454.

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7

Healy, Margaret. "Paracelsian Medicine and Female Creativity: Aemilia Lanyer's Salve Deus Rex Judaeorum". Renaissance and Reformation 36, n.º 2 (26 de outubro de 2013): 75–103. http://dx.doi.org/10.33137/rr.v36i2.20168.

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Par l’entremise du paradigme de la médecine alchimique introduit par Paracelse et sa transmission dans la culture anglaise du début du dix-septième siècle, cet article montre comment le recueil de poésie de Aemilia Lanyer, Salve Deus Rex Judaeorum (1611), exalte sa mécène, Lady Margaret Clifford, en tant que guérisseuse ayant regénéré son âme par l’alchimie spirituelle. On y montre comment Lanyer exploite adroitement les représentations positives de la médecine paracelsienne de la nature féminine par rapport à l’art masculin. Elle défend ainsi sérieusement la cause du potentiel féminin de créativité et construit sa propre persona de créatrice douée, mais socialement compromise, d’une poésie guérisseuse par la grâce spéciale de la nature et les puissances célestes de Dieu.

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Coch, Christine. "An arbor of one's own? Aemilia Lanyer and the early modern garden". Renaissance and Reformation 40, n.º 2 (1 de janeiro de 2004): 97–118. http://dx.doi.org/10.33137/rr.v40i2.9016.

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Le jardin d'agrément de la Renaissance offrait aux femmes un accès inaccoutumé à un espace produit de l'art et où elles pouvaient exercer une puissance créatrice. Le statut ambigu du jardin, à la fois comme extension de l'espace public de la résidence et comme lieu retiré et plus intime, procure un site tout à fait adapté à l'expression dramatique des difficultés de la femme écrivain, déchirée entre les contraintes sociales et la volonté d'expression personnelle artistique. Pour Aemilia Lanyer, le jardin joue ces deux rôles. En tant que sanctuaire pour elle et son mécène, le jardin de Cookham inspire la vision utopique d'un monde acceptant son travail en tant que poète. Or, ce même jardin, par sa perméabilité à l'ordre social extérieur, laisse apercevoir également les limites du jardin comme vision utopique. Ultimement, Lanyer réfute au jardin sa capacité de servir d'analogie à son art comme refus de soumission aux iniquités de l'ordre.

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9

Trill, Suzanne. "Feminism versus Religion: Towards a Re-Reading of Aemilia Lanyer’s Salve Deus Rex Judaeorum". Renaissance and Reformation 37, n.º 4 (1 de janeiro de 2001): 67–80. http://dx.doi.org/10.33137/rr.v37i4.8738.

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D’après la manière dominante d’aborder la poésie de Lanyer, ses croyances religieuses ne servaient qu’à lui fournir un discours socialement acceptable pour transmettre ses arguments proto-féministes. La plus grande attention prêtée à sa position sociale et raciale problématiques a mis l’accent sur le désaccord plutôt que sur l’unité dans son texte, mettant en cause à la fois son féminisme imputé, ainsi que son Protestantisme. Cet article souligne le besoin d’intégrer de la théorie féministe dans les études récentes de la religion pré-moderne afin d’apprécier pleinement la complexité de l’œuvre de Lanyer.

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Busfield, Lucy. "Gender and the spectacle of the Cross: Aemilia Lanyer in context". Reformation & Renaissance Review 17, n.º 2 (julho de 2015): 129–41. http://dx.doi.org/10.1179/1462245915z.00000000075.

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DASCĂL, REGHINA. "Appropriating A Female Voice: Nicholas Breton And The Countess Of Pembroke". Gender Studies 13, n.º 1 (1 de dezembro de 2014): 48–65. http://dx.doi.org/10.1515/genst-2015-0004.

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Abstract The sixteenth century author Nicholas Breton appropriates a female voice in many of his writings, among which Marie Magdalens Loue and The Pilgrimage to Paradise joyned with the Countesse of Penbrookes Loue feature prominently. The Countess of Pembroke, celebrated by Aemilia Lanyer in her Salve Deus Rex Judaeorum as a paragon of female religious devotion, is often associated in Breton's texts with Mary Magdalene. This paper will analyse some of the anxieties engendered by this appropriation of voice and of the Magdalene figure, anxieties that prove to be disruptive of Elizabethan gender hierarchies.

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Loughlin, Marie H. "“Fast ti'd unto them in a golden Chaine”: Typology, Apocalypse, and Woman's Genealogy in Aemilia Lanyer's Salve Deus Rex Judaeorum". Renaissance Quarterly 53, n.º 1 (2000): 133–79. http://dx.doi.org/10.2307/2901535.

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Aemilia Lanyer uses the genealogical model of promise, fulfillment, and supersedure implied by biblical typology and the vindication of the godly implied in scriptural apocalypse to accomplish several related aims: to represent her dedicatees as biblical types; to fashion Margaret, Countess of Cumberland, as the apotheosized Christian woman; to write women's literary history. Her fluid metaphors and biblical allusions, which require reading equally for their material and spiritual significance, acknowledge Margaret and her daughter's desire for the spiritual inheritance of the Kingdom and the worldly aristocratic inheritance willed away from their female line in favor of a male heir.

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13

Brownlee, Victoria. "Literal and Spiritual Births: Mary as Mother in Seventeenth-Century Women’s Writing". Renaissance Quarterly 68, n.º 4 (2015): 1297–326. http://dx.doi.org/10.1086/685127.

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AbstractMindful of the complex position of Christ’s mother, Mary, in post-Reformation Europe, this article examines how two women writers read Mary’s fleshly relationship with Christ. Reading the Bible typologically, Aemilia Lanyer and Dorothy Leigh determine that Mary’s material labor has spiritual consequences, because, in delivering Christ, she delivers God’s plan for salvation and inaugurates the new covenant. But, interpreting Marian maternity in this way, Lanyer’sSalve Deus Rex Judaeorumand Leigh’sThe Mothers Blessingalso suggest that the new covenant initiates a form of maternity that has sustained spiritual resonance for all women and has profound implications for the female writer.

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14

Lewalski, Barbara K. "Re-Writing Patriarchy and Patronage: Margaret Clifford, Anne Clifford, and Aemilia Lanyer". Yearbook of English Studies 21 (1991): 87. http://dx.doi.org/10.2307/3508481.

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15

Furey, Constance. "The Selfe Undone: Individualism and Relationality in John Donne and Aemilia Lanyer". Harvard Theological Review 99, n.º 4 (outubro de 2006): 469–86. http://dx.doi.org/10.1017/s0017816006001362.

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There is something right about the hoary old claim that Protestantism spawned individualism. It has been challengedfrom all sides: by those who argue the reverse, by historians of religion who point out that introspective piety was not unique to the early modern period, and by scholars who demonstrate that early Protestants were deeply invested in ecclesiology and communal rituals. Yet this claim—even though clunky and inadequate—remains important, not least because it highlights an enduring link between the way we interpret early Protestant texts and the way we understand individualism today. Consider John Donne's famous denial of isolation, written nearly four hundred years ago: “No man is an Iland, intire of it selfe.” This statement compels us because it refutes what often feels irrefutable: that each person is, essentially, a solitary being, and that, while this existential state may be ameliorated, it is an unavoidable fact of life.

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16

Coletti, Theresa. ""Did Women Have a Renaissance?" A Medievalist Reads Joan Kelly and Aemilia Lanyer". Early Modern Women: An Interdisciplinary Journal 8 (1 de setembro de 2013): 249–59. http://dx.doi.org/10.1086/emw23617853.

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RICHEY, ESTHER GILMAN. "“To Undoe the Booke”: Cornelius Agrippa, Aemilia Lanyer and the Subversion of Pauline Authority". English Literary Renaissance 27, n.º 1 (janeiro de 1997): 106–28. http://dx.doi.org/10.1111/j.1475-6757.1997.tb01102.x.

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18

Kuchar, Gary. "Aemilia Lanyer and the Virgin's Swoon: Theology and Iconography in Salve Deus Rex Judaeorum". English Literary Renaissance 37, n.º 1 (janeiro de 2007): 47–73. http://dx.doi.org/10.1111/j.1475-6757.2007.00093.x.

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19

Mascetti, Yaakov A. "Tokens of Love". Common Knowledge 27, n.º 1 (1 de janeiro de 2021): 1–39. http://dx.doi.org/10.1215/0961754x-8723023.

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Contextualist scholars working on the rhetoric of corporeal presence in seventeenth-century English religious lyrics have naturally focused their attention on sacramental discourse of the Reformation era. As part of the Common Knowledge symposium on the future of contextualism, this full-length monograph, serialized in installments, argues that the contextualist focus on a single and time-limited “epistemic field” has resulted in a less than adequately ramified understanding of the poetry of John Donne, George Herbert, Aemilia Lanyer, and John Milton. What the contextualist approach misses is that even the religious discourses of the period were tied to a long and in no way local epistemological debate about signs and their meaning, whose roots are to be found in Greek and Latin rhetorical theory. This first installment of “Tokens of Love” commences a discussion of the role of classical pagan sign-theory in the development of Reformation sacramental discourse.

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20

Netzley, Ryan. "Managed Catastrophe: Problem-Solving and Rhyming Couplets in the Seventeenth-Century Country House Poem". Journal of Medieval and Early Modern Studies 52, n.º 1 (1 de janeiro de 2022): 147–73. http://dx.doi.org/10.1215/10829636-9478524.

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In celebrating a poet-overseer who turns everything on an estate, even social opposition, to account, country house poems treat form itself as a managerial technique whose expansion regulates catastrophe. Ben Jonson's, Thomas Carew's, and Robert Herrick's procataleptic presentations of what's absent from the country house—a rude steward counting one's cups—repurpose resentment into a celebration of lordly generosity. Yet this solution to the problem of resentment is paradoxical insofar as the plenty underlying the lords’ generosity does not require management. Aemilia Lanyer and Andrew Marvell use the rhyming couplet, the genre's paratactic generative principle, to depict decision-making's growth as a botanical phenomenon. Together these formal features show how problem-solving stewardship grows mindlessly, impractically, and very much like a plant. In that respect, these poems hint that problem-solving can never avert a climate catastrophe, precisely because of managerial decision-making's impulse to produce ever more of itself.

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21

Schnell, L. ""So Great a Diffrence Is There in Degree": Aemilia Lanyer and the Aims of Feminist Criticism". Modern Language Quarterly 57, n.º 1 (1 de janeiro de 1996): 23–35. http://dx.doi.org/10.1215/00267929-57-1-23.

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22

김윤경. "Remembering Cynthia: The Legacy of Elizabeth I in the Poetry of Aemilia Lanyer and Diana Primrose". Medieval and Early Modern English Studies 15, n.º 1 (fevereiro de 2007): 101–38. http://dx.doi.org/10.17054/memes.2007.15.1.101.

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23

Tate, William. "Book Review: Refiguring the Sacred Feminine: The Poems of John Donne, Aemilia Lanyer, and John Milton". Christianity & Literature 59, n.º 1 (dezembro de 2009): 129–32. http://dx.doi.org/10.1177/014833310905900120.

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24

Hillier, Russell M. "Refiguring the Sacred Feminine: The Poems of John Donne, Aemilia Lanyer, and John Milton by Theresa M. DiPasquale". Modern Language Review 105, n.º 4 (2010): 1141–43. http://dx.doi.org/10.1353/mlr.2010.0024.

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25

Garrett, Cynthia E. "Susanne Woods, ed. The Poems of Aemilia Lanyer: Salve Deus Rex Judaeorum. (Women Writers in English 1350-1850.) New York and Oxford: Oxford University Press, 1993. li + 139 pp. $32.50 cloth; $12.95 paper." Renaissance Quarterly 49, n.º 3 (1996): 666–67. http://dx.doi.org/10.2307/2863402.

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Shami, Jeanne. "Theresa M. DiPasquale. Refiguring the Sacred Feminine: The Poems of John Donne, Aemilia Lanyer, and John Milton. Pittsburgh: Duquesne University Press, 2008. x + 392 pp. index. bibl. $60. ISBN: 978–0–8207–0405–0." Renaissance Quarterly 62, n.º 1 (2009): 324–26. http://dx.doi.org/10.1086/598470.

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27

Clare, Janet. "Desiring Women Writing: English Renaissance Examples by Jonathan Goldberg Aemilia Lanyer: Gender, Genre and the Canon by Marshall Grossman Writing, Gender and State in Early Modern England: Identity Formation and the Female Subject by Megan Matchinske (review)". Modern Language Review 96, n.º 3 (julho de 2001): 791–93. http://dx.doi.org/10.1353/mlr.2001.a828320.

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Ekmekçioğlu, Neslihan. "Aemilia Bassano Lanier’s New Perspective on Women in the Poem Salve Deus Rex Judaeorum". European Judaism 51, n.º 2 (1 de setembro de 2018): 22–29. http://dx.doi.org/10.3167/ej.2018.510205.

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Abstract Aemilia Bassano Lanier was partially of Jewish origin and came from a Venetian family of court musicians. She was brought up in the court and was educated by Countess Susan Bertie and the Duchess of Suffolk. Her work entitled Salve Deus Rex Judaeorum is a long narrative poem articulating a woman-centred account of the Bible. As a woman of partial Jewish descent, Aemilia, who has ‘a voice of her own’, deals with the maltreatment of women and compares them to Christ in their silent suffering. At her time, women were often expected to be silent within society, creating an absence rooted in their lack of voice. Both Christ and women sacrifice themselves for the betterment of mankind. This article will deal with Aemilia Lanier’s new perspective upon biblical women and the Passion of Christ as reflected in Salve Deus Rex Judaeorum.

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Ekmekçioğlu, Neslihan. "Aemilia Bassano Lanier’s New Perspective on Women in the Poem Salve Deus Rex Judaeorum". European Judaism 51, n.º 2 (1 de setembro de 2018): 22–29. http://dx.doi.org/10.3167/ej.2017.510205.

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Aemilia Bassano Lanier was partially of Jewish origin and came from a Venetian family of court musicians. She was brought up in the court and was educated by Countess Susan Bertie and the Duchess of Suffolk. Her work entitled Salve Deus Rex Judaeorum is a long narrative poem articulating a woman-centred account of the Bible. As a woman of partial Jewish descent, Aemilia, who has ‘a voice of her own’, deals with the maltreatment of women and compares them to Christ in their silent suffering. At her time, women were often expected to be silent within society, creating an absence rooted in their lack of voice. Both Christ and women sacrifice themselves for the betterment of mankind. This article will deal with Aemilia Lanier’s new perspective upon biblical women and the Passion of Christ as reflected in Salve Deus Rex Judaeorum.

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30

Levin, Carole. "Marshall Grossman, ed. Aemilia Lanyer: Gender, Genre and the Canon. Lexington: University of Kentucky Press, 1998. viii + 264 pp. $36.95. ISBN: 0-8131-2049-7. - Frances Teague. Bathsua Makin, Woman of Learning. Lewisburg: Bucknell University of Press, 1998. 196 pp. $36. ISBN: 0-8387-5341-8." Renaissance Quarterly 52, n.º 4 (1999): 1193–95. http://dx.doi.org/10.2307/2901865.

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31

Arshad, Yasmin. "Aemilia Lanyer and Shakespeare's Helena". Opticon1826, n.º 9 (1 de setembro de 2010). http://dx.doi.org/10.5334/opt.091002.

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32

"Aemilia Lanyer: gender, genre, and the canon". Choice Reviews Online 36, n.º 04 (1 de dezembro de 1998): 36–2018. http://dx.doi.org/10.5860/choice.36-2018.

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33

Diemer, Jocelyn. "Marrying Christ: Bernard of Clairvaux and the Song of Songs in Aemilia Lanyer’s "Salve Deus Rex Judaeorum"". Arbutus Review 13, n.º 1 (4 de novembro de 2022). http://dx.doi.org/10.18357/tar131202220679.

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In 1611, an Englishwoman named Aemilia Lanyer published a volume of poetry and prose titled Salve Deus Rex Judaeorum. Throughout the volume, which centres on an 1800-line retelling of Christ’s death and resurrection, Lanyer draws from the Song of Songs as well as other biblical texts to produce an image of Christ as a Bridegroom. In so doing, Lanyer inserts herself into a hermeneutical genealogy populated by both Protestant and Catholic writers. A key figure in this interpretive tradition is the twelfth-century abbot and mystic Bernard of Clairvaux, whose sermon cycle on the first part of the Song of Songs offers a detailed character study of the Bridegroom. This article examines the cross-confessional nature of the bridal-mystical tradition epitomized by Bernard before conducting a close reading of the images that Lanyer associates with Christ. Ultimately, this article suggests that Lanyer puts bridal theology to a new communal use by producing a devotional poetic space in which female readers can engage with each other through Christ and with Christ through each other.

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34

Kemp, Theresa D. "Women's Patronage-Seeking as Familial Enterprise: Aemilia Lanyer, Esther Inglis, and Mary Wroth". Literature Compass, 23 de janeiro de 2007, 070123035030005—??? http://dx.doi.org/10.1111/j.1741-4113.2007.00415.x.

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"Refiguring the sacred feminine: the poems of John Donne, Aemilia Lanyer, and John Milton". Choice Reviews Online 46, n.º 01 (1 de setembro de 2008): 46–0131. http://dx.doi.org/10.5860/choice.46-0131.

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36

Adkins, David. "The Harrowing of Hell in English Poetry from Spenser to Milton". Review of English Studies, 14 de março de 2023. http://dx.doi.org/10.1093/res/hgad021.

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Abstract By Spenser’s time, the doctrine of Christ’s literal descent to hell was controversial in the Church of England, and English harrowing poetry all but disappears in the following century. And yet we find a depiction of Christ’s descensus in Book 3 of Paradise Lost, as many critics have acknowledged. Why does the doctrine appear in a Puritan poem of the seventeenth century? This essay argues that the narrative tradition of Christ’s descent survived in the poetry of the seventeenth-century Spenserians. After introducing the Reformation controversy, the first section explores how Spenser and his followers—Giles and Phineas Fletcher, Aemilia Lanyer, and Joseph Beaumont—preserve the tradition, but also how they respond to contemporary theological debate. The second section examines, first, how mortalism offers Milton a theological rationale for a local descent (i.e., a literal visit to the place of the dead) in De Doctrina Christiana, and then how this theological recovery allows him to continue the tradition of harrowing poetry in Paradise Lost. The final section considers two additional poets and thinkers of the late seventeenth century, Henry More and Samuel Wesley, who attest to the doctrine’s imaginative power and hence offer insight into why it persisted long after it failed to meet the Reformation’s new standards of credibility.

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