During the sixteenth century, a little before the novel took shape in Western Europe, a very similar form of prose fiction was being developed in China. According to Andrew Plaks, “The significant areas of convergence between what we customarily call the classical novel in China and its . . . . Continue Reading »
Greek novels appear in the late Hellenistic period. One scholar suggests the “typical” Greek novel followed something like the following story-line: “These are novels of travel, adventure, and romantic love, taking place in a vaguely realistic Mediterranean or Near Eastern . . . . Continue Reading »
Goody asks why it took so long for the novel form to develop in Europe. If it’s simply a matter of a shift from oral to written, or the technology of printing, that was all in place centuries before the novel took recognizable form. He argues that the main obstacle to its earlier rise had to . . . . Continue Reading »
Epic poetry is often seen as characteristic of orally based cultures, but Jack Goody argues that epic more normally appears at the beginning of literate cultures rather than in purely oral cultures. Referring to the research of Parry and Lord on Yugoslav oral poets, he comments “Yugoslavia . . . . Continue Reading »
Zbigniew Herbert writes in a poem entitled “Mr Cogito and Pop” of a visit to a concert. “Mr Cogito,” a recurring character in Herbert’s poems, reflects on the “aesthetics of noise” and offers some penetrating observations on the character of contemporary . . . . Continue Reading »
A couple of selections from Eric Partridge’s book on the bawdy in Shakespeare. “Flatulence was, in Shakespeare’s day, the source and the target of humour and wit among all classes: nowadays, its popularity as a subject is, in the main, confined to the lower and lower-middle . . . . Continue Reading »
Much of the moral and political import of Shakespeare’s Henry V is left to the audience’s or reader’s judgment. Is Henry a “pig” or is he the mirror of Christian kings? Is his invasion of France fair or foul? Shakespeare doesn’t show his hand, or not much; and . . . . Continue Reading »
George Barnam notes the careful structure of Act 5 of Shakespeare’s Coriolanus: “Shakespeare had used this scene structurally to build the tension toward the climactic moment when Volumnia should appeal to her son and prevail. Three appeals are made to Marcius, and Shakespeare’s . . . . Continue Reading »
In their “cultural history” of English drama, Simon Shepherd and Peter Womack summarize the argument of Glynne Wickham concerning the divorce of stage and sacred: “The English stage - so the argument runs - was predominantly a religious one until Elizabethan Protestantism forced a . . . . Continue Reading »
Foucault argued in his essay on the development of the “author-function” that the modern conception of authorship evolved as authors came to be figured as sacred figures, holders of legal ownership of texts and words, which in turn conveyed “privilege or sanctity” to the . . . . Continue Reading »
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