Call for Papers by Joshua Reid
Please consider the following RSA seminar CFP and forward to interested parties. Seminar particip... more Please consider the following RSA seminar CFP and forward to interested parties. Seminar participants will be considered for an edited collection in development with The Manchester Spenser (https://www.manchesteruniversitypress.co.uk/series/the-manchester-spenser/) on Milton & Spenser.
RSA 2020 Seminar CFP: Revisiting Milton’s Spenser
The question of Milton’s relationship to Spenser remains a central concern for not only English literary history but also the thorny theoretical concept of intertextuality. When critics have engaged with this intriguing question, they have offered compelling answers that concern Paradise Lost and The Faerie Queene: Maureen Quilligan, Gordon Teskey, John King, and others have powerfully articulated the similarities and differences between Milton and his “original” regarding these authors’ two best known works. There are still productive areas to explore with “Milton’s Spenser,” however, particularly concerning Milton’s and Spenser's other works: lyric poetry, prose, translations, minor epics, and drama.
This proposed seminar seeks to explore the relationship between these two totemic poets of the English Renaissance by inviting papers that will address a variety of intersections between Milton and Spenser concerning religion, politics, race, gender, language, environment, and the literary enterprise.
Those intersections could include, but are not limited to, the following:
• the material practices and hermeneutic protocols of post-Reformation Christianity
• the poetics of empire and political resistance
• slavery, colonialism, and race
• the materiality of the body
• poetics of cognition
• historical development of genre and form
• translation and interlinguistic composition
• disability and disabled authorship
• strategies for representing the environment and the nonhuman
• canonicity, pedagogy, and curriculum
• re-readings of Paradise Lost and/or The Faerie Queene that result from exploring Milton’s engagement with Spenser in some other work
• the triangulated relationship between Spenser, Milton, and shared precursors or other writers of the English Renaissance
Please send any inquiries to Joshua Reid ([email protected]) and Jonathan Sircy ([email protected]). Interested seminar participants should send a 150-word abstract and a curriculum vitae (up to 5 pages) to the RSA submission portal by August 15th, 2019. If selected, seminar participants will send completed papers to the organizers by March 15th, 2020.
Questions about the submission process for RSA 2020 seminars may also be directed to [email protected] before the 15 August deadline. For information about the RSA seminar format, please see https://www.rsa.org/page/philadelphia2020seminars
If your paper is not selected for inclusion in a seminar, it will by default roll over into the general submissions pool, to be reviewed for inclusion in a standard panel session.
Sincerely,
Josh Reid and Jonathan Sircy
Book by Joshua Reid
Call for Survey Participants and Essay Contributors: Please participate in this MLA survey on tea... more Call for Survey Participants and Essay Contributors: Please participate in this MLA survey on teaching the sonnet to help with the development of a new MLA Approaches volume. The survey includes information on how to propose an essay for the volume: https://www.surveymonkey.com/r/L3NGNNS
http://www.mhra.org.uk/Publications/Books/tudor.html#reid
The Italian Romance Epic in English, ... more http://www.mhra.org.uk/Publications/Books/tudor.html#reid
The Italian Romance Epic in English, 1590-1600, will be published in 2018 by the Modern Humanities Research Association in their Tudor & Stuart Translation Series. This volume will be the most comprehensive scholarly edition ever printed of the full and partial English Renaissance translations of the Italian romance epics of Boiardo’s Orlando Innamorato, Ariosto’s Orlando Furioso, and Tasso’s Gerusalemme Liberata, making it an essential sourcebook for both scholarship and the classroom. The edition’s pairing of translators of the same source text—such as Robert Tofte’s and Sir John Harington’s versions of Ariosto and Richard Carew’s and Edward Fairfax’s versions of Tasso—in an innovative “dual translation” format (e.g., Harington on left-verso, Tofte on right-recto; Carew on left-verso, Fairfax on right-recto), allows scholars and students to analyze how different translators have approached the same source material, so that they can compare, for example, competing responses to gender and the foreign other.
Other features: Robert Tofte’s partial translations of Orlando Innamorato and Orlando Furioso will be printed for the first time since their original appearance. The edition will include generous excerpts from Harington’s Orlando Furioso and Fairfax’s Godfrey of Bulloigne, focusing on influential moments for English literature (e.g., Armida’s/Alcina's Bower, Erminia and the Shepherds, Ariosto’s tales of women, Orlando’s madness, Ariodante & Ginevra). The appendix will include a section on Harington’s use of bibliographic code (title page, commentary, mise-en-page) in his Orlando Furioso and a section on Spenser’s translation fragments from Ariosto and Tasso in his Faerie Queene. An introduction will focus on the romance epic’s impact point in the English literary polysystem.
Texts Included:
Translations of Ariosto and Tasso from Spenser’s Faerie Queene (1590 and 1596)
Sir John Harington’s Orlando Furioso in English Heroical Verse (1591)
Robert Tofte’s Two Tales Translated out of Ariosto (1597)
Robert Tofte’s Orlando Inamorato (1598)
Richard Carew’s Godfrey of Bulloigne (1594)
Edward Fairfax’s Godfrey of Bulloigne (1600)
Articles and Book Chapters by Joshua Reid
PMLA: Publications of the Modern Language Association, 2023
Forum for Modern Language Studies, 2022
IN OUR FIRST FORAYS into the complex landscape of early modern (English) mediated translation, we... more IN OUR FIRST FORAYS into the complex landscape of early modern (English) mediated translation, we have come to identify a number of challenges and obstacles to research in this area, from the difficulty of accessing textual or biographical information, to deeper epistemological and critical biases that seem significantly harder to remedy. What follows is a joint reflection on the main issues that we are currently facing and working to address, and the prospects that research on early modern translations involving multiple textual, linguistic and material mediations may open up for scholars of the Renaissance and beyond.
Forum for Modern Language Studies, 2022
In the existing scholarship on mediated translation, there is a significant gap in the field’s un... more In the existing scholarship on mediated translation, there is a significant gap in the field’s understanding and exploration of the shaping power of the material-textual. These elements include the paratexts accompanying the translation – such as title pages, prefatory and dedicatory materials, appendices, marginalia – and the design elements of the incarnated text – the overall mise-en-page – as well as bibliographic codes like typeface and ornamentation. In Maialen Marin-Lacarta’s important article on methodological possibilities for indirect translation research in a 2017 special issue of Translation Studies, she gives five reasons for the usefulness of studying paratexts, ranging from examining cultural attitudes towards indirect translation to information about translators’ views on translations. Marin-Lacarta’s emphasis, however, is predominately focused on the paratext’s documentary or informational purposes, when paratexts and bibliographic encoding are central for the expression of a text’s meaning, and can be studied as texts themselves. Translation does not exist in some ethereal state but is embedded in and consumed via specific material conditions. In this area, Translation Studies has much to gain from a group of early modern scholars, represented by members of this Talking Point, who have been part of a pioneering movement towards making the liminal central and the paratext, text.
Link for Book: https://rowman.com/ISBN/9781793617064/Global-Milton-and-Visual-Art
This essay pro... more Link for Book: https://rowman.com/ISBN/9781793617064/Global-Milton-and-Visual-Art
This essay provides a comprehensive analysis of Salvador Dalí’s understudied but significant dry-point etchings of Book IV of Paradise Lost, published in 1974 in two limited editions: a ten-illustration version accompanied by a blank verse French translation by Pierre Messiaen (Paradis Perdu, Les Bibliophiles De L’Automobile Club de France), and a larger folio-sized portfolio of nine illustrations with no text (Le Paradis Terrestre, Éditions d'Art de Francony). Utilizing a restrained color palette of charcoal, brown, blue, and gold—and one provocative instance of red—to render minimalist sketches of the figures of Adam, Eve, and Satan, Dalí strikingly visualizes some of the central themes of Milton’s Eden: ecology, gender, and desire.
While in some instances compositionally derivative from classic illustrators like William Blake (1805-9) and more recent illustrators like D. Galanis (1931), Dalí seems to be deliberately diverging from his bête noire of book illustration, Gustave Doré, much as he did with his unorthodox illustrations for another epic, Dante’s Divina Commedia. As a result, Dalí provides some of the most unique images in the history of Miltonic illustration and its visual tradition of what Joeseph Wittreich memorably called “nonverbal criticism” of the poem. Unlike virtually every other illustration of Milton’s Eden, the landscape barely appears. Instead, Dalí fuses the human and botanical worlds via Adam and Eve in one of the most radical testaments of human-environment bonds in all of Paradise Lost illustration. Also, like important female illustrators Carlotta Petrina (1936) and Mary Elizabeth Groom (1937), Dalí engages with the fraught gender tensions embedded in Paradise Lost, climaxing in a dramatic representation of Eve’s dream vision run through the Dalían filter of Freudian Surrealism, where we see an ecstatic and shockingly hermaphroditic Eve.
Renaissance and Reformation 43.2: 147-182, 2020
Sir John Harington’s Orlando Furioso in English Heroical Verse (1591) is a significant example of... more Sir John Harington’s Orlando Furioso in English Heroical Verse (1591) is a significant example of material-textual Englishing: under the direction of Harington, his book’s emblematic title page, copperplate engravings, typography, mise-en-page, and commentary apparatus are all transmutations of the preeminent Italian editions of the sixteenth century, most notably Francesco de Franceschi’s lavish 1584 edition. This article traces how Harington cannily deploys his bibliographic code in metatextual and metavisual ways to call attention to how the material-textual manipulates the reader’s experience. In what could be called an act of early postmodern deconstruction, Harington playfully dismantles the edifying structures of pragmatic humanism in the same way that romance dissolves epic.
https://jps.library.utoronto.ca/index.php/renref/article/view/34795
![Research paper thumbnail of [Forthcoming] "Gender, Nature, and Desire in Salvador Dalí’s 'Paradise Lost'" in Global Milton and Visual Art (Lexington Books, 2020), ed. Angelica Duran and Mario Murgia Elizalde](https://attachments.academia-assets.com/60635124/thumbnails/1.jpg)
Article Abstract: This essay provides a comprehensive analysis of Salvador Dalí’s understudied bu... more Article Abstract: This essay provides a comprehensive analysis of Salvador Dalí’s understudied but significant dry-point etchings of Book IV of Paradise Lost, published in 1974 in two limited editions: a ten-illustration version accompanied by a blank verse French translation by Pierre Messiaen (Paradis Perdu, Les Bibliophiles De L’Automobile Club de France), and a larger folio-sized portfolio of nine illustrations with no text (Le Paradis Terrestre, Éditions d'Art de Francony). Utilizing a restrained color palette of charcoal, brown, blue, and gold—and one provocative instance of red—to render minimalist sketches of the figures of Adam, Eve, and Satan, Dalí strikingly visualizes some of the central themes of Milton’s Eden: ecology, gender, and desire.
While in some instances compositionally derivative from classic illustrators like William Blake (1805-9) and more recent illustrators like D. Galanis (1931), Dalí seems to be deliberately diverging from his bête noire of book illustration, Gustave Doré, much as he did with his unorthodox illustrations for another epic, Dante’s Divina Commedia. As a result, Dalí provides some of the most unique images in the history of Miltonic illustration and its visual tradition of what Joeseph Wittreich memorably called “nonverbal criticism” of the poem. Unlike virtually every other illustration of Milton’s Eden, the landscape barely appears. Instead, Dalí fuses the human and botanical worlds via Adam and Eve in one of the most radical testaments of human-environment bonds in all of Paradise Lost illustration. Also, like important female illustrators Carlotta Petrina (1936) and Mary Elizabeth Groom (1937), Dalí engages with the fraught gender tensions embedded in Paradise Lost, climaxing in a dramatic representation of Eve’s dream vision run through the Dalían filter of Freudian Surrealism, where we see an ecstatic and shockingly hermaphroditic Eve.
About this Book: Global Milton and Visual Art advances the conversation about the presence, aesthetic appropriation, and re-interpretation of the early modern English poet and politician John Milton (1608-74), in the form of visual art: book illustrations, cinema, digital reworkings, painting, sculpture, stained glass, and word-art. It does so by innovating a diverse and inclusive appreciation of Milton's reach, discussing the role of intermediality in contemporary re-appropriations of early modern poetry and world literature in the context of globalization, demonstrating key instances of the intermedial translation and adaptation into visual art of Milton's literary art, and exploring Miltonic presence in global contemporary art via intertextual and intermedial relations. Each contributor in Global Milton and Visual Art possesses unique expertise in literary, artistic, and cultural studies, and thus makes significant contributions to exchanges about the Miltonic presence in world literature and visual art within today's globalized context. They represent stalwart and new voices in Milton Studies as well as specialists in the specific visual art forms or locales under discussion. The diversity of voices, media, time-periods, and regions, as well as the richness of the topics and methodologies of each chapter, reflect the variety of fields that lead to the central figure of Milton within the visual arts. ABOUT THE EDITORS Angelica Duran is professor of English, comparative literature, and religious studies at Purdue University. Mario Murgia Elizalde is professor of English literature at the National Autonomous University of Mexico. Cover art designed by Luis Bermejillo-Gamble and Mario Murgia Elizalde
Handbook of English Renaissance Literature, ed. Ingo Berensmeyer (De Gruyter), 2019
Translation occupied a central position among the literary and cultural forces that shaped the En... more Translation occupied a central position among the literary and cultural forces that shaped the English Renaissance. Translators served as cross-cultural mediators, transforming works of classical antiquity, religion, and continental vernaculars for English consumption. These translations catalyzed verbal, genre, and stylistic transformation of the literary system, and the translators’ creative reshaping of their source texts continues to challenge traditional distinctions between translation and authorship.
Published in Forum for Modern Language Studies 53.2 (2017): 235-65. DOI: https://doi.org/10.1093... more Published in Forum for Modern Language Studies 53.2 (2017): 235-65. DOI: https://doi.org/10.1093/fmls/cqx001
The translations of Tasso's Gerusalemme liberata by Richard Carew (1594) and Edward Fairfax (1600) import the hybrid genre of the Italian romance epic into the evolving literary polysystem of the English Renaissance. These two significant translations present an intriguing struggle between fidelity to the source text and freedom, which mirrors the friction between epic and romance at the heart of the Gerusalemme liberata. This friction takes shape most clearly in the treatment of the power dynamics of the crusaders visa -vis Godfrey and in the translation of the 'forma altera' of Armida. While Carew attempts an 'epic' translation conforming to the source text, creating a Gerusalemme conquistata-type of translation, Fairfax submits to the allure of Armida and to the romance of translator errancy. To translate this unique hybrid genre is to encounter translation's process double; in a fundamental sense, translation is romance, and the romance epic is translation.
Published in California Italian Studies, 6.1 (2016): 1-34.
Weblink: https://escholarship.org/uc... more Published in California Italian Studies, 6.1 (2016): 1-34.
Weblink: https://escholarship.org/uc/item/2519f0xw
Dante Alighieri, as we understand him and read his poetry, is a construct crafted from posthumous portraiture. Dante's famous profile appears at a pivotal transition point from icon to image, where the aura of saint is transferred to the poet. In this aesthetic creation of identity, portraits and visual representations of Dante are influenced by, and in turn influence, commentaries, translations, and biographies of the poet. This visual and textual synergy is called textual physiognomy, and it reaches an important juncture point in the 19th century, when Dante Gabriel Rossetti--as both artist, critic and translator of Dante--creates a new and influential alternative to the traditional Dantean identity. Rossetti challenges the Dante the 19th century had taken for granted as fact: the divine "poet saturnine," with "hatchet" profile, aquiline nose, austere face, and laurel crown. Through his iconoclastic approach to the Dantean portraiture tradition, Rossetti gives Dante a new life by emphasizing the human Dante, the pre-exile Dante before the Divine Comedy.
Reviews by Joshua Reid
Studies in Medieval and Renaissance Teaching (SMART) 29.1 (2022): 151-154
Book Review of Heidi Brayman Hackel and Ian Frederick Moulton's Teaching Early Modern English Lit... more Book Review of Heidi Brayman Hackel and Ian Frederick Moulton's Teaching Early Modern English Literature from the Archives (MLA Approaches to Teaching)
Early Modern Digital Review / Renaissance and Reformation, 2020
Uploads
Call for Papers by Joshua Reid
RSA 2020 Seminar CFP: Revisiting Milton’s Spenser
The question of Milton’s relationship to Spenser remains a central concern for not only English literary history but also the thorny theoretical concept of intertextuality. When critics have engaged with this intriguing question, they have offered compelling answers that concern Paradise Lost and The Faerie Queene: Maureen Quilligan, Gordon Teskey, John King, and others have powerfully articulated the similarities and differences between Milton and his “original” regarding these authors’ two best known works. There are still productive areas to explore with “Milton’s Spenser,” however, particularly concerning Milton’s and Spenser's other works: lyric poetry, prose, translations, minor epics, and drama.
This proposed seminar seeks to explore the relationship between these two totemic poets of the English Renaissance by inviting papers that will address a variety of intersections between Milton and Spenser concerning religion, politics, race, gender, language, environment, and the literary enterprise.
Those intersections could include, but are not limited to, the following:
• the material practices and hermeneutic protocols of post-Reformation Christianity
• the poetics of empire and political resistance
• slavery, colonialism, and race
• the materiality of the body
• poetics of cognition
• historical development of genre and form
• translation and interlinguistic composition
• disability and disabled authorship
• strategies for representing the environment and the nonhuman
• canonicity, pedagogy, and curriculum
• re-readings of Paradise Lost and/or The Faerie Queene that result from exploring Milton’s engagement with Spenser in some other work
• the triangulated relationship between Spenser, Milton, and shared precursors or other writers of the English Renaissance
Please send any inquiries to Joshua Reid ([email protected]) and Jonathan Sircy ([email protected]). Interested seminar participants should send a 150-word abstract and a curriculum vitae (up to 5 pages) to the RSA submission portal by August 15th, 2019. If selected, seminar participants will send completed papers to the organizers by March 15th, 2020.
Questions about the submission process for RSA 2020 seminars may also be directed to [email protected] before the 15 August deadline. For information about the RSA seminar format, please see https://www.rsa.org/page/philadelphia2020seminars
If your paper is not selected for inclusion in a seminar, it will by default roll over into the general submissions pool, to be reviewed for inclusion in a standard panel session.
Sincerely,
Josh Reid and Jonathan Sircy
Book by Joshua Reid
The Italian Romance Epic in English, 1590-1600, will be published in 2018 by the Modern Humanities Research Association in their Tudor & Stuart Translation Series. This volume will be the most comprehensive scholarly edition ever printed of the full and partial English Renaissance translations of the Italian romance epics of Boiardo’s Orlando Innamorato, Ariosto’s Orlando Furioso, and Tasso’s Gerusalemme Liberata, making it an essential sourcebook for both scholarship and the classroom. The edition’s pairing of translators of the same source text—such as Robert Tofte’s and Sir John Harington’s versions of Ariosto and Richard Carew’s and Edward Fairfax’s versions of Tasso—in an innovative “dual translation” format (e.g., Harington on left-verso, Tofte on right-recto; Carew on left-verso, Fairfax on right-recto), allows scholars and students to analyze how different translators have approached the same source material, so that they can compare, for example, competing responses to gender and the foreign other.
Other features: Robert Tofte’s partial translations of Orlando Innamorato and Orlando Furioso will be printed for the first time since their original appearance. The edition will include generous excerpts from Harington’s Orlando Furioso and Fairfax’s Godfrey of Bulloigne, focusing on influential moments for English literature (e.g., Armida’s/Alcina's Bower, Erminia and the Shepherds, Ariosto’s tales of women, Orlando’s madness, Ariodante & Ginevra). The appendix will include a section on Harington’s use of bibliographic code (title page, commentary, mise-en-page) in his Orlando Furioso and a section on Spenser’s translation fragments from Ariosto and Tasso in his Faerie Queene. An introduction will focus on the romance epic’s impact point in the English literary polysystem.
Texts Included:
Translations of Ariosto and Tasso from Spenser’s Faerie Queene (1590 and 1596)
Sir John Harington’s Orlando Furioso in English Heroical Verse (1591)
Robert Tofte’s Two Tales Translated out of Ariosto (1597)
Robert Tofte’s Orlando Inamorato (1598)
Richard Carew’s Godfrey of Bulloigne (1594)
Edward Fairfax’s Godfrey of Bulloigne (1600)
Articles and Book Chapters by Joshua Reid
This essay provides a comprehensive analysis of Salvador Dalí’s understudied but significant dry-point etchings of Book IV of Paradise Lost, published in 1974 in two limited editions: a ten-illustration version accompanied by a blank verse French translation by Pierre Messiaen (Paradis Perdu, Les Bibliophiles De L’Automobile Club de France), and a larger folio-sized portfolio of nine illustrations with no text (Le Paradis Terrestre, Éditions d'Art de Francony). Utilizing a restrained color palette of charcoal, brown, blue, and gold—and one provocative instance of red—to render minimalist sketches of the figures of Adam, Eve, and Satan, Dalí strikingly visualizes some of the central themes of Milton’s Eden: ecology, gender, and desire.
While in some instances compositionally derivative from classic illustrators like William Blake (1805-9) and more recent illustrators like D. Galanis (1931), Dalí seems to be deliberately diverging from his bête noire of book illustration, Gustave Doré, much as he did with his unorthodox illustrations for another epic, Dante’s Divina Commedia. As a result, Dalí provides some of the most unique images in the history of Miltonic illustration and its visual tradition of what Joeseph Wittreich memorably called “nonverbal criticism” of the poem. Unlike virtually every other illustration of Milton’s Eden, the landscape barely appears. Instead, Dalí fuses the human and botanical worlds via Adam and Eve in one of the most radical testaments of human-environment bonds in all of Paradise Lost illustration. Also, like important female illustrators Carlotta Petrina (1936) and Mary Elizabeth Groom (1937), Dalí engages with the fraught gender tensions embedded in Paradise Lost, climaxing in a dramatic representation of Eve’s dream vision run through the Dalían filter of Freudian Surrealism, where we see an ecstatic and shockingly hermaphroditic Eve.
https://jps.library.utoronto.ca/index.php/renref/article/view/34795
While in some instances compositionally derivative from classic illustrators like William Blake (1805-9) and more recent illustrators like D. Galanis (1931), Dalí seems to be deliberately diverging from his bête noire of book illustration, Gustave Doré, much as he did with his unorthodox illustrations for another epic, Dante’s Divina Commedia. As a result, Dalí provides some of the most unique images in the history of Miltonic illustration and its visual tradition of what Joeseph Wittreich memorably called “nonverbal criticism” of the poem. Unlike virtually every other illustration of Milton’s Eden, the landscape barely appears. Instead, Dalí fuses the human and botanical worlds via Adam and Eve in one of the most radical testaments of human-environment bonds in all of Paradise Lost illustration. Also, like important female illustrators Carlotta Petrina (1936) and Mary Elizabeth Groom (1937), Dalí engages with the fraught gender tensions embedded in Paradise Lost, climaxing in a dramatic representation of Eve’s dream vision run through the Dalían filter of Freudian Surrealism, where we see an ecstatic and shockingly hermaphroditic Eve.
About this Book: Global Milton and Visual Art advances the conversation about the presence, aesthetic appropriation, and re-interpretation of the early modern English poet and politician John Milton (1608-74), in the form of visual art: book illustrations, cinema, digital reworkings, painting, sculpture, stained glass, and word-art. It does so by innovating a diverse and inclusive appreciation of Milton's reach, discussing the role of intermediality in contemporary re-appropriations of early modern poetry and world literature in the context of globalization, demonstrating key instances of the intermedial translation and adaptation into visual art of Milton's literary art, and exploring Miltonic presence in global contemporary art via intertextual and intermedial relations. Each contributor in Global Milton and Visual Art possesses unique expertise in literary, artistic, and cultural studies, and thus makes significant contributions to exchanges about the Miltonic presence in world literature and visual art within today's globalized context. They represent stalwart and new voices in Milton Studies as well as specialists in the specific visual art forms or locales under discussion. The diversity of voices, media, time-periods, and regions, as well as the richness of the topics and methodologies of each chapter, reflect the variety of fields that lead to the central figure of Milton within the visual arts. ABOUT THE EDITORS Angelica Duran is professor of English, comparative literature, and religious studies at Purdue University. Mario Murgia Elizalde is professor of English literature at the National Autonomous University of Mexico. Cover art designed by Luis Bermejillo-Gamble and Mario Murgia Elizalde
The translations of Tasso's Gerusalemme liberata by Richard Carew (1594) and Edward Fairfax (1600) import the hybrid genre of the Italian romance epic into the evolving literary polysystem of the English Renaissance. These two significant translations present an intriguing struggle between fidelity to the source text and freedom, which mirrors the friction between epic and romance at the heart of the Gerusalemme liberata. This friction takes shape most clearly in the treatment of the power dynamics of the crusaders visa -vis Godfrey and in the translation of the 'forma altera' of Armida. While Carew attempts an 'epic' translation conforming to the source text, creating a Gerusalemme conquistata-type of translation, Fairfax submits to the allure of Armida and to the romance of translator errancy. To translate this unique hybrid genre is to encounter translation's process double; in a fundamental sense, translation is romance, and the romance epic is translation.
Weblink: https://escholarship.org/uc/item/2519f0xw
Dante Alighieri, as we understand him and read his poetry, is a construct crafted from posthumous portraiture. Dante's famous profile appears at a pivotal transition point from icon to image, where the aura of saint is transferred to the poet. In this aesthetic creation of identity, portraits and visual representations of Dante are influenced by, and in turn influence, commentaries, translations, and biographies of the poet. This visual and textual synergy is called textual physiognomy, and it reaches an important juncture point in the 19th century, when Dante Gabriel Rossetti--as both artist, critic and translator of Dante--creates a new and influential alternative to the traditional Dantean identity. Rossetti challenges the Dante the 19th century had taken for granted as fact: the divine "poet saturnine," with "hatchet" profile, aquiline nose, austere face, and laurel crown. Through his iconoclastic approach to the Dantean portraiture tradition, Rossetti gives Dante a new life by emphasizing the human Dante, the pre-exile Dante before the Divine Comedy.
http://www.english.cam.ac.uk/spenseronline/review/volume-44/441/translation-studies/translation-studies-and-the-english-renaissance/
Reviews by Joshua Reid
Appearing in The Spenser Review, 52.2.10 (Spring-Summer 2020)
https://www.english.cam.ac.uk/spenseronline/review/item/51.2.10/
https://www.dhi.ac.uk/rcc/
RSA 2020 Seminar CFP: Revisiting Milton’s Spenser
The question of Milton’s relationship to Spenser remains a central concern for not only English literary history but also the thorny theoretical concept of intertextuality. When critics have engaged with this intriguing question, they have offered compelling answers that concern Paradise Lost and The Faerie Queene: Maureen Quilligan, Gordon Teskey, John King, and others have powerfully articulated the similarities and differences between Milton and his “original” regarding these authors’ two best known works. There are still productive areas to explore with “Milton’s Spenser,” however, particularly concerning Milton’s and Spenser's other works: lyric poetry, prose, translations, minor epics, and drama.
This proposed seminar seeks to explore the relationship between these two totemic poets of the English Renaissance by inviting papers that will address a variety of intersections between Milton and Spenser concerning religion, politics, race, gender, language, environment, and the literary enterprise.
Those intersections could include, but are not limited to, the following:
• the material practices and hermeneutic protocols of post-Reformation Christianity
• the poetics of empire and political resistance
• slavery, colonialism, and race
• the materiality of the body
• poetics of cognition
• historical development of genre and form
• translation and interlinguistic composition
• disability and disabled authorship
• strategies for representing the environment and the nonhuman
• canonicity, pedagogy, and curriculum
• re-readings of Paradise Lost and/or The Faerie Queene that result from exploring Milton’s engagement with Spenser in some other work
• the triangulated relationship between Spenser, Milton, and shared precursors or other writers of the English Renaissance
Please send any inquiries to Joshua Reid ([email protected]) and Jonathan Sircy ([email protected]). Interested seminar participants should send a 150-word abstract and a curriculum vitae (up to 5 pages) to the RSA submission portal by August 15th, 2019. If selected, seminar participants will send completed papers to the organizers by March 15th, 2020.
Questions about the submission process for RSA 2020 seminars may also be directed to [email protected] before the 15 August deadline. For information about the RSA seminar format, please see https://www.rsa.org/page/philadelphia2020seminars
If your paper is not selected for inclusion in a seminar, it will by default roll over into the general submissions pool, to be reviewed for inclusion in a standard panel session.
Sincerely,
Josh Reid and Jonathan Sircy
The Italian Romance Epic in English, 1590-1600, will be published in 2018 by the Modern Humanities Research Association in their Tudor & Stuart Translation Series. This volume will be the most comprehensive scholarly edition ever printed of the full and partial English Renaissance translations of the Italian romance epics of Boiardo’s Orlando Innamorato, Ariosto’s Orlando Furioso, and Tasso’s Gerusalemme Liberata, making it an essential sourcebook for both scholarship and the classroom. The edition’s pairing of translators of the same source text—such as Robert Tofte’s and Sir John Harington’s versions of Ariosto and Richard Carew’s and Edward Fairfax’s versions of Tasso—in an innovative “dual translation” format (e.g., Harington on left-verso, Tofte on right-recto; Carew on left-verso, Fairfax on right-recto), allows scholars and students to analyze how different translators have approached the same source material, so that they can compare, for example, competing responses to gender and the foreign other.
Other features: Robert Tofte’s partial translations of Orlando Innamorato and Orlando Furioso will be printed for the first time since their original appearance. The edition will include generous excerpts from Harington’s Orlando Furioso and Fairfax’s Godfrey of Bulloigne, focusing on influential moments for English literature (e.g., Armida’s/Alcina's Bower, Erminia and the Shepherds, Ariosto’s tales of women, Orlando’s madness, Ariodante & Ginevra). The appendix will include a section on Harington’s use of bibliographic code (title page, commentary, mise-en-page) in his Orlando Furioso and a section on Spenser’s translation fragments from Ariosto and Tasso in his Faerie Queene. An introduction will focus on the romance epic’s impact point in the English literary polysystem.
Texts Included:
Translations of Ariosto and Tasso from Spenser’s Faerie Queene (1590 and 1596)
Sir John Harington’s Orlando Furioso in English Heroical Verse (1591)
Robert Tofte’s Two Tales Translated out of Ariosto (1597)
Robert Tofte’s Orlando Inamorato (1598)
Richard Carew’s Godfrey of Bulloigne (1594)
Edward Fairfax’s Godfrey of Bulloigne (1600)
This essay provides a comprehensive analysis of Salvador Dalí’s understudied but significant dry-point etchings of Book IV of Paradise Lost, published in 1974 in two limited editions: a ten-illustration version accompanied by a blank verse French translation by Pierre Messiaen (Paradis Perdu, Les Bibliophiles De L’Automobile Club de France), and a larger folio-sized portfolio of nine illustrations with no text (Le Paradis Terrestre, Éditions d'Art de Francony). Utilizing a restrained color palette of charcoal, brown, blue, and gold—and one provocative instance of red—to render minimalist sketches of the figures of Adam, Eve, and Satan, Dalí strikingly visualizes some of the central themes of Milton’s Eden: ecology, gender, and desire.
While in some instances compositionally derivative from classic illustrators like William Blake (1805-9) and more recent illustrators like D. Galanis (1931), Dalí seems to be deliberately diverging from his bête noire of book illustration, Gustave Doré, much as he did with his unorthodox illustrations for another epic, Dante’s Divina Commedia. As a result, Dalí provides some of the most unique images in the history of Miltonic illustration and its visual tradition of what Joeseph Wittreich memorably called “nonverbal criticism” of the poem. Unlike virtually every other illustration of Milton’s Eden, the landscape barely appears. Instead, Dalí fuses the human and botanical worlds via Adam and Eve in one of the most radical testaments of human-environment bonds in all of Paradise Lost illustration. Also, like important female illustrators Carlotta Petrina (1936) and Mary Elizabeth Groom (1937), Dalí engages with the fraught gender tensions embedded in Paradise Lost, climaxing in a dramatic representation of Eve’s dream vision run through the Dalían filter of Freudian Surrealism, where we see an ecstatic and shockingly hermaphroditic Eve.
https://jps.library.utoronto.ca/index.php/renref/article/view/34795
While in some instances compositionally derivative from classic illustrators like William Blake (1805-9) and more recent illustrators like D. Galanis (1931), Dalí seems to be deliberately diverging from his bête noire of book illustration, Gustave Doré, much as he did with his unorthodox illustrations for another epic, Dante’s Divina Commedia. As a result, Dalí provides some of the most unique images in the history of Miltonic illustration and its visual tradition of what Joeseph Wittreich memorably called “nonverbal criticism” of the poem. Unlike virtually every other illustration of Milton’s Eden, the landscape barely appears. Instead, Dalí fuses the human and botanical worlds via Adam and Eve in one of the most radical testaments of human-environment bonds in all of Paradise Lost illustration. Also, like important female illustrators Carlotta Petrina (1936) and Mary Elizabeth Groom (1937), Dalí engages with the fraught gender tensions embedded in Paradise Lost, climaxing in a dramatic representation of Eve’s dream vision run through the Dalían filter of Freudian Surrealism, where we see an ecstatic and shockingly hermaphroditic Eve.
About this Book: Global Milton and Visual Art advances the conversation about the presence, aesthetic appropriation, and re-interpretation of the early modern English poet and politician John Milton (1608-74), in the form of visual art: book illustrations, cinema, digital reworkings, painting, sculpture, stained glass, and word-art. It does so by innovating a diverse and inclusive appreciation of Milton's reach, discussing the role of intermediality in contemporary re-appropriations of early modern poetry and world literature in the context of globalization, demonstrating key instances of the intermedial translation and adaptation into visual art of Milton's literary art, and exploring Miltonic presence in global contemporary art via intertextual and intermedial relations. Each contributor in Global Milton and Visual Art possesses unique expertise in literary, artistic, and cultural studies, and thus makes significant contributions to exchanges about the Miltonic presence in world literature and visual art within today's globalized context. They represent stalwart and new voices in Milton Studies as well as specialists in the specific visual art forms or locales under discussion. The diversity of voices, media, time-periods, and regions, as well as the richness of the topics and methodologies of each chapter, reflect the variety of fields that lead to the central figure of Milton within the visual arts. ABOUT THE EDITORS Angelica Duran is professor of English, comparative literature, and religious studies at Purdue University. Mario Murgia Elizalde is professor of English literature at the National Autonomous University of Mexico. Cover art designed by Luis Bermejillo-Gamble and Mario Murgia Elizalde
The translations of Tasso's Gerusalemme liberata by Richard Carew (1594) and Edward Fairfax (1600) import the hybrid genre of the Italian romance epic into the evolving literary polysystem of the English Renaissance. These two significant translations present an intriguing struggle between fidelity to the source text and freedom, which mirrors the friction between epic and romance at the heart of the Gerusalemme liberata. This friction takes shape most clearly in the treatment of the power dynamics of the crusaders visa -vis Godfrey and in the translation of the 'forma altera' of Armida. While Carew attempts an 'epic' translation conforming to the source text, creating a Gerusalemme conquistata-type of translation, Fairfax submits to the allure of Armida and to the romance of translator errancy. To translate this unique hybrid genre is to encounter translation's process double; in a fundamental sense, translation is romance, and the romance epic is translation.
Weblink: https://escholarship.org/uc/item/2519f0xw
Dante Alighieri, as we understand him and read his poetry, is a construct crafted from posthumous portraiture. Dante's famous profile appears at a pivotal transition point from icon to image, where the aura of saint is transferred to the poet. In this aesthetic creation of identity, portraits and visual representations of Dante are influenced by, and in turn influence, commentaries, translations, and biographies of the poet. This visual and textual synergy is called textual physiognomy, and it reaches an important juncture point in the 19th century, when Dante Gabriel Rossetti--as both artist, critic and translator of Dante--creates a new and influential alternative to the traditional Dantean identity. Rossetti challenges the Dante the 19th century had taken for granted as fact: the divine "poet saturnine," with "hatchet" profile, aquiline nose, austere face, and laurel crown. Through his iconoclastic approach to the Dantean portraiture tradition, Rossetti gives Dante a new life by emphasizing the human Dante, the pre-exile Dante before the Divine Comedy.
http://www.english.cam.ac.uk/spenseronline/review/volume-44/441/translation-studies/translation-studies-and-the-english-renaissance/
Appearing in The Spenser Review, 52.2.10 (Spring-Summer 2020)
https://www.english.cam.ac.uk/spenseronline/review/item/51.2.10/
https://www.dhi.ac.uk/rcc/
http://www.english.cam.ac.uk/spenseronline/review/item/45.2.34/
DESCRIPTION
Brink's provocative biography shows that Spenser was not the would-be court poet whom Karl Marx's described as 'Elizabeth's arse-kissing poet'. In this readable and informative account, Spenser is depicted as the protégé of a circle of London clergymen, who expected him to take holy orders. Brink shows that the young Spenser was known to Alexander Nowell, author of Nowell's Catechism and Dean of St. Paul's. Significantly revising the received biography, Brink argues that that it was Harvey alone who orchestrated Familiar Letters (1580). He used this correspondence to further his career and invented the portrait of Spenser as his admiring disciple.
Contextualising Spenser's life by comparisons with Shakespeare and Sir Walter Ralegh, Brink shows that Spenser shared with Sir Philip Sidney an allegiance to the early modern chivalric code. His departure for Ireland was a high point, not an exile.
DESCRIPTION
This book is the first ever concordance to the rhymes of Spenser's epic. It gives the reader unparalleled access to the formal nuts and bolts of this massive poem: the rhymes which he used to structure its intricate stanzas.
As well as the main concordance to the rhymes, the volume features a wealth of ancillary materials, which will be of value to both professional Spenserians and students, including distribution lists and an alphabetical listing of all the words in The Faerie Queene. The volume breaks new ground by including two studies by Richard Danson Brown and J. B. Lethbridge, so that the reader is given provocative analyses alongside the raw data about Spenser as a rhymer. Brown considers the reception of rhyme, theoretical models and how Spenser's rhymes may be reading for meaning. Lethbridge in contrast discusses the formulaic and rhetorical character of the rhymes.
http://www.manchesteruniversitypress.co.uk/series/the-manchester-spenser/