Bringing together a group of established and emergent Jonson scholars, this volume reacts to major advances in thinking about the writer and his canon of works. The study is divided into two distinct parts: the first considers the Jonsonian career and output from biographical, critical, and performance-based angles; the second looks at cultural and historical contexts building on rich interdisciplinary work. Social historians work alongside literary critics to provide a diverse and varied account of Jonson. These are less standard surveys (...) of the field than vibrant interventions into current critical debates. The short-essay format of the collection seeks less to harmonize and homogenize than to raise awareness of new avenues of research on Jonson, including studies informed by book history, cultural geography, the law and legal discourse, the history of science and interests in material culture. (shrink)

Ben Jonson, writing before 1641 in Discoveries, observed that nature intends us no courtesies. The rivers carry our boats, the winds favour our sails, and the sunlight warms our bodies, by necessary motions that contain no kindliness. This represented, or expressed, though perhaps unwittingly and certainly without scientific precision, the mechanical version of physical nature that steadily prevailed during the seventeenth century.

But since the Greeks first wrote what they called tragedies and comedies, and Aristotle in The Poetics formulated some distinctions about them, writers have been conscious of the two modes as engaging them in different undertakings, involving them in different worlds, each with its own demands. They have gauged their predilections and capacities against the demands of each and have deliberately chosen one or the other, or some calculated mixture. They are often quite explicit about it. Shakespeare announced his plays (...) as "tragedies" or "comedies" or, when he chose, he mixed the forms with the recklessness of Polonius. Marlowe spoke his intention when in the Prologue to Tamburlaine he asked his audience to view his hero in "the tragic glass." Ben Jonson ventured into tragedy in his own scholarly, methodical way, boasting to have discharged all the crucial "offices of a Tragic writer," which he lists straight out of Aristotle. Milton's choice of the tragic form to express his final mood was of course deliberate and, especially in relation to the tragic undertones of his great epic, significant. Artists are free--but free to choose their own sort of bondage. It is they and not so much the critics who have worked to maintain the integrity of the forms. Their conscious, explicit choices show that in their eyes the forms are real, and different, and not merely an academic conspiracy. The phenomenon is a powerful example of the fruitful interaction of tradition and individual talent. (shrink)

This is the first collaborative volume to place Shakespeare's works within the landscape of early modern political thought. Until recently, literary scholars have not generally treated Shakespeare as a participant in the political thought of his time, unlike his contemporaries Ben Jonson, Edmund Spenser and Philip Sidney. At the same time, historians of political thought have rarely turned their attention to major works of poetry and drama. A distinguished international and interdisciplinary team of contributors examines the full range of Shakespeare's (...) writings in order to challenge conventional interpretations of plays central to the canon, such as Hamlet; open up novel perspectives on works rarely considered to be political, such as the Sonnets; and focus on those that have been largely neglected, such as The Merry Wives of Windsor. The result is a coherent and challenging portrait of Shakespeare's distinctive engagement with the characteristic questions of early modern political thought. (shrink)

Stel dat een inbreker bij jou thuis alleen de lijsten van de kunstwerken zou wegnemen, en niet de werken zelf. Wat zou er veranderen in je omgang met de kunst? Met dat gedachte-experiment opent de Franse filosoof Jacques Derrida het essay Parergon. Parergon betekent bijzaak in het Grieks. Zoals bijvoorbeeld de lijst van het schilderij, of het kader van een opgehangen foto. Ze behoren niet tot het kunstwerk. En toch zijn ze van groot belang voor hoe het werk bekeken wordt. (...) De belangwekkende tekst van Derrida uit 1974 geeft een centrale rol aan de bijzaak van het kader. Met filosofische acrobatie maneuvreert de denker tussen de grote klassiekers van de kunstfilosofie: Plato, Kant, Hegel en Heidegger. Hij gaat op een speelse manier met hun erfenis om. Woorden worden omgedraaid. Passages die op het eerste gezicht bijzaak lijken, maakt hij tot hoofdrolspelers van zijn betoog. Dit boek presenteert Derridas belangrijkste tekst over beeldende kunst voor de eerste keer in Nederlandse vertaling. Het boek is vormgegeven door de spraakmakende ontwerpster Ines Cox. Vertaler Ben Overlaet schreef een nawoord dat de tekst van de nodige filosofische en historische context voorziet. (shrink)

To stress the subjectivity of the analyst is to accept the centrality of countertransference in the analytic relationship. Psychoanalysts have long recognized the importance of transference in the analytic setting—that is, the analysand's way of relating to the analyst in terms of his strong, ambivalent unconscious feelings for earlier figures , a process whose successful resolution constitutes the psychoanalystic "cure." But, since the patient's transference is only experienced by the analyst through his countertransference responses, recent theorists have come to emphasize (...) the importance of countertransference in psychoanalysis. In what Otto Kernberg calls its "totalistic" definition, countertransference refers to "the total emotional reaction of the psychoanalyst to the patient in the treatment situation."1 It is, therefore, a source of both empathic understanding and defensive misunderstanding, of distortion and insight. Hans Loewald remarks: "Since a psychoanalytic investigation can be carried out only by a human mind, we cannot conceive of one in which the analyst's [counter] transference and resistance are not the warp and woof of his activity."2 · 1. Otto Kernberg, Borderline Conditions and Pathological Narcissism , p. 49. · 2. Hans Loewald, "Psychoanalytic Theory and the Psychoanalytic Process," The Psychoanalytic Study of the Child 25 : 56. Cf. Heinz Kohut, "Introspection, Empathy, and Psychoanalysis," Journal of the American Psychoanalytic Association 7 : 459-83. For a clear discussion of the background of the countertransference concept in Freud, see Humberto Nagera, et. al., Basic Psychoanalytic Concepts on Metapsychology, Conflicts, Anxiety and Other Subjects , pp. 200-206. Two surveys of the literature on the topic are particularly useful: Douglas Orr, "Transference and Countertransference: A Historical Survey," Journal of the American Psychoanalytic Association 2 : 621-70, and Kernberg, pp. 49-66. Arthur F. Marotti, associate professor of English at Wayne State University, has written a number of essays on Ben Jonson, John Donne, Thomas Middleton, and Edmund Spenser. He is completing a book-length social-historical and psychoanalytic study of Donne's poetry and a book on Jonson; some of the theoretical assumptions behind both projects are discussed in this article. See also: "Psychoanalysis and the Marionette Theater: Interpretation is Not Depreciation" in Vol. 5, No. 1. (shrink)

This article argues against the long-enduring practice of Josephan scholarship to treat the termsτύραννος(‘tyrant’) andλῃστής(‘brigand’) as a collocation, or as undistinguished terms of invective employed by Josephus against various Jewish antagonists in hisBellum Judaicum(=BJ). Towards this aim, the article first examines the frequency in which these two terms appear together throughout the text of theBJ, before turning to a critical examination of particular passages that feature the terms, in order to prove that they are, in fact, not used as undistinguished (...) terms of invective but as terms pertaining to two distinct classes of people: renegade aristocrats vying with their peers for absolute power (the ‘tyrants’) and their gangs of foot soldiers comprising men from the lower classes (the ‘brigands’). The article concludes that Josephus used these terms in this manner in order to convey to his readership, which largely consisted of Roman aristocrats, that the ringleaders of the Judaean revolt which raged betweena.d.66–73 were akin to renegades who periodically wreaked havoc on Rome's own aristocracy, often with devastating consequences for class and country alike. (shrink)

The formation and evolution of multiculturalism and hybridization belong today to the leading research priorities of social sciences. These developments assumedly forward a kind of new or next society features of which seemingly emerge and may be captured in processes taking place in given partial structures. We think especially of subsystems that, at the origin, concretized utopic orientations that were abandoned over time to leave room to new ambitions. One such subsystem consists of the kibbutz that was for long viewed (...) as one of the most successful utopia that was both rigorous and performing, and which illustrates today an appropriate example of next-society emergence. The general validity of this assumption resides in this setting’s multigenerational survival through far reaching structural, cultural and ideological changes. A model of communitarian collectivity at its start that now is best defined by the oxymoron of “individualistic community”. (shrink)

This is a new edition of "A Problem in Greek Ethics," originally published in London in 1901 for "private circulation." Part of the project Immortal Literature Series of classic literature, this is a new edition of the classic work published in 1901-not a facsimile reprint. Obvious typographical errors have been carefully corrected and the entire text has been reset and redesigned by Pen House Editions to enhance readability, while respecting the original edition."A Problem in Greek Ethics" is an account of (...) sexuality between men in all its forms, with Greek culture as a backdrop. Perhaps the best description of "A Problem in Greek Ethics" is this one in "Queer Religion" (Praeger, 2012, edited by Donald L. Boisvert and Jay Emerson Johnson, pp. 180-181): "Published at the turn of the century, 'A Problem in Greek Ethics' is a systematic and well-documented exposition of the role of homosexuality in the different historical periods of ancient Greek society. Throughout most of his work, Symonds prefers to use the term 'paiderastia' to 'homosexuality,' the latter a term he only uses in rare instances. Nevertheless, 'paiderastia,' in Symonds's work, amounts to a broad concept of homosexuality rather than to our current concept of pederasty. Whitman and his work are never mentioned by Symonds in 'A Problem in Greek Ethics,' but the conceptual connection had already been made explicit in Walt Whitman: 'A Study' eight years earlier. In the introductory lines to 'A Problem in Greek Ethics,' the reader is alerted that ancient Greece offers a unique example in history of 'a great and highly developed race not only tolerating homosexual passions, but deeming them of spiritual value, and attempting to use them for the benefit of society.' According to Symonds, while homosexual relations were not prominent in the so-called heroic age of Greece, it was nevertheless the love of Achilles for Patroclus, as narrated by Homer, that conferred in a later age of Greek history an almost religious sanction to the martial form of paiderastia. This episode in the Iliad inspired in later generations an ideal of manly love, which he describes as 'a powerful and masculine emotion, in which effeminacy had no part, and which by no means excluded the ordinary sexual feelings.' To which he adds that the tie created by these relationships was 'both more spiritual and more energetic [than] that which bound man to woman.' While Homer knew not about homosexuality, very early in Greek history paiderastia became a national institution giving rise, according to Symonds, to a distinction between a noble, spiritual, form of masculine passion, which he calls "heroic love," and a base and sensual one, which he identifies as 'vulgar love.'"About the Author: John Addington Symonds was born in Bristol, England, in 1840. He was an English poet, an author of several works, and a literary critic. In 1873 he wrote "A Problem in Greek Ethics," which discussed homosexuality between men. He printed ten copies in 1883, before effectively publishing the book in 1901. He was also known for his work on the Renaissance, as well as for his translations and biographies. He wrote "Our Life in the Swiss Highlands" (1891), biographies of Philip Sidney (1886), Ben Jonson (1886) and Michelangelo (1893), several volumes of poetry and essays, and a translation of the "Autobiography of Benvenuto Cellini" (1887). John Addington Symonds died in Rome in 1893. In 1896, Havelock Ellis published, in German, prepared with the collaboration of Dr. Hans Kurella, "Das konträre Geschlechtsgefühl" (Leipzig, by Georg H. Wigand's Verlag), later revised and published by Ellis as "Sexual Inversion"-the first medical text in English about homosexuality, which he had co-authored with Symonds, and which would become a part of Ellis's six-volume "Studies in the Psychology of Sex.". (shrink)

This essay traces out the context that allowed numerous early modern thinkers to deny that animals had faces. Using early- to mid-seventeenth-century writing by, among others, John Milton, John Bulwer and Ben Jonson, it shows that faces were understood to be sites of meaning, and were thus, like gestural language and the capacity to perform a dance, possessed by humans alone. Animals, this discourse argued, have no ability to communicate meaningfully because they have no bodily control, and as such they (...) are faceless beings without individuality and without a sense of self-consciousness. The ethical implications of such a reading of the human face are far reaching. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:diacritics 30.2 (2000) 88-112 [Access article in PDF] Milton's Aesthetics Of Eating Denise Gigante It is not a little curious that, with the exception of Ben Jonson (and he did not speak gravely about it so often), the poet in our own country who has written with the greatest gusto on the subject of eating is Milton. He omits none of the pleasures of the palate, great or small. (...) In his Latin poems, when young, he speaks of the pears and chestnuts which he used to roast at the fire with his friend Diodati. Junkets and other "country-messes" are not forgotten in his "Allegro." The simple Temptation in the Wilderness, "Command that these stones be made bread" (which was quite sufficient for a hunger that had fasted "forty days"), is turned, in Paradise Regained, with more poetry than propriety, into the set out of a great feast, containing every delicacy in and out of season. The very "names" of the viands, he says, were "exquisite." And in Paradise Lost, Eve is not only described as being skilful in paradisaical cookery ("tempering dulcet creams"), but the angel Raphael is invited to dinner, and helped by his entertainers to a series of tid-bits and contrasted relishes--Taste after taste, upheld with kindliest change. --Leigh Hunt, "Eating Songs" The title of an old play gives us a direct taste and surmise of its inwards, as the first lines of the Paradise Lost smack of the great Poem. --John Keats, "On 'Retribution, or the Chieftain's Daughter'" That Milton's Romantic readers should invoke the "taste" of his epic poetry suggests an awareness beyond the anecdotal. For as this essay will show, Milton complicates the category of physiological taste in such a manner as to form the ground for the possibility of aesthetic taste, which emerges as a distinct discourse in the early years of the eighteenth century. This is not to say that Milton is the only source for this dubious meaning-in-transition. But precisely how, prior to the interventions of Shaftesbury, Hutcheson, Hume, and the entire tradition of post-Miltonic theorists of taste, is one to read Adam's darkly sardonic postlapsarian remark: "Eve, now I see thou art exact of taste... And Palate call judicious" [PL IX.1017-20]? Critics have observed Milton's "ruthless and relentless pressure on 'taste,'" the fact that the word and its variants appear thirty times in Book IX of Paradise Lost alone [Ricks 69]. What I would like to suggest is that just as Milton is a seminal figure for the eighteenth-century aesthetic preoccupation with the sublime, 1 he is theoretically situated at the origins of the more generic thing called taste as well. [End Page 88]Of course Milton himself was aware of the epistemological implications of taste, whereby the Latin sapere can mean both "to taste" and "to know." 2 The fruit whose "mortal taste" was the source of all our woe did, after all, grow on the tree of knowledge, knowingly described by Satan as "precious of all Trees / In Paradise, of operation blest / To Sapience" [PL I.2, IX.795-97]. So too, when Adam calls Eve "exact of taste," he adds "of Sapience no small part" [PL IX.1018]. Throughout Paradise Lost and Paradise Regained, Milton plays with the epistemological connotation of taste, incorporating it even into the 1671 companion piece of the latter, Samson Agonistes, whose blind hero declares, "The way to know were not to see but taste" [1091]. At the time Milton was writing, however, taste was philosophically connected not only to knowledge and pleasure, but to morality as well. At the origins of the British empirical discourse of taste, Anthony Ashley Cooper, third Earl of Shaftesbury, inheriting this link between epistemology, aesthetics, and ethics, inquires: "Will it not be found... that what is beautiful is... true; and what is at once both beautiful and true is, of consequence, agreeable and good?" [2: 268-69]. For Milton as for Shaftesbury, the beautiful was the true was the good, and access to these ideals was bound up with the philosophic complexity... (shrink)

Offers many fresh insights that will give even longtime readers of Shakespeare a new appreciation of the great master. Scholars have long debated the extent of Shakespeare's education. Although his friend and admirer Ben Jonson said of him, "thou hadst small Latine and lesse Greek," Shakespeare's plays reveal a wide familiarity with literary and philosophical works from the Renaissance, the Middle Ages, and the classical age. Philosopher Farhang Zabeeh delves into this fascinating topic in this detailed study of the philosophical (...) influences evident in Shakespeare's plays and sonnets. Readers will be surprised and delighted to discover in Shakespeare unmistakable echoes of Plato, Aristotle, Cicero, Dante, Montaigne, and other famous thinkers. In one chapter, the author makes a convincing case that one of the bard's most famous comic characters, John Falstaff, is a parody of Socrates. In other chapters, he demonstrates indirect references to Plato in Shakespearean passages concerning appearance versus reality, as well as the influence of Aristotle's ethics. Other common philosophical themes evident in the plays concern the nature of time, subjectivity versus objectivity, and political and moral values. (shrink)

Renaissance plays and poetry in England were saturated with the formal rhetorical twists that Latin education made familiar to audiences and readers. Yet a formally educated man like Ben Jonson was unable to make these ornaments come to life in his two classical Roman plays. Garry Wills, focusing his attention on _Julius Caesar_, here demonstrates how Shakespeare so wonderfully made these ancient devices vivid, giving his characters their own personal styles of Roman speech. In four chapters, devoted to four of (...) the play’s main characters, Wills shows how Caesar, Brutus, Antony, and Cassius each has his own take on the rhetorical ornaments that Elizabethans learned in school. Shakespeare also makes Rome present and animate by casting his troupe of experienced players to make their strengths shine through the historical facts that Plutarch supplied him with. The result is that the Rome English-speaking people carry about in their minds is the Rome that Shakespeare created for them. And that is even true, Wills affirms, for today’s classical scholars with access to the original Roman sources. (shrink)

This book concerns the foundations and implications of a particular form of liberal political theory. Colburn argues that one should see liberalism as a political theory committed to the value of autonomy, understood as consisting in an agent deciding for oneself what is valuable and living life in accordance with that decision. Understanding liberalism this way offers solutions to various problems that beset liberal political theory, on various levels. On the theoretical level, Colburn claims that this position is the only (...) defensible theory of liberalism in current circulation, arguing that other more dominant theories are either self-contradictory or unattractive on closer inspection. And on the practical level, Colburn draws out the substantive commitments of this position in educational, economic, and social policy. Hence, the study provides a blueprint for a radical liberal political agenda which will be of interest to philosophers and to politicians alike. (shrink)

This article discusses approaches to the problem of the number of preference orderings that can be constructed from a given set of alternatives. After briefly reviewing the prevalent approach to this problem, which involves determining a partitioning of the alternatives and then a permutation of the partitions, this article explains a recursive approach and shows it to have certain advantages over the partitioning one.

Background Voluntary assisted dying became lawful in Victoria, the first Australian state to permit this practice, in 2019 via the Voluntary Assisted Dying Act 2017 (Vic). While conscientious objection by individual health professionals is protected by the Victorian legislation, objections by institutions are governed by policy. No research has been conducted in Victoria, and very little research conducted internationally, on how institutional objection is experienced by patients seeking assisted dying. Methods 28 semi-structured interviews were conducted with 32 family caregivers and (...) one patient about the experience of 28 patients who sought assisted dying. Participants were interviewed during August-November 2021. Data from the 17 interviews (all with family caregivers) which reported institutional objection were analysed thematically. Results Participants reported institutional objection affecting eligibility assessments, medication access, and taking the medication or having it administered. Institutional objection occurred across health settings and was sometimes communicated obliquely. These objections resulted in delays, transfers, and choices between progressing an assisted dying application and receiving palliative or other care. Participants also reported objections causing adverse emotional experiences and distrust of objecting institutions. Six mediating influences on institutional objections were identified: staff views within objecting institutions; support of external medical practitioners and pharmacists providing assisted dying services; nature of a patient’s illness; progression or state of a patient’s illness; patient’s geographical location; and the capability and assertiveness of a patient and/or caregiver. Conclusions Institutional objection to assisted dying is much-debated yet empirically understudied. This research found that in Victoria, objections were regularly reported by participants and adversely affected access to assisted dying and the wider end-of-life experience for patients and caregivers. This barrier arises in an assisted dying system that is already procedurally challenging, particularly given the limited window patients have to apply. Better regulation may be needed as Victoria’s existing policy approach appears to preference institutional positions over patient’s choice given existing power dynamics. (shrink)

A contemporary of William Shakespeare and Ben Jonson, Christopher Marlowe was one of the most influential early modern dramatists, whose life and mysterious death have long been the subject of critical and popular speculation. This collection sets Marlowe's plays and poems in their historical context, exploring his world and his wider cultural influence. Chapters by leading international scholars discuss both his major and lesser-known works. Divided into three sections, 'Marlowe's works', 'Marlowe's world', and 'Marlowe's reception', the book ranges from Marlowe's (...) relationship with his own audience through to adaptations of his plays for modern cinema. Other contexts for Marlowe include history and politics, religion and science. Discussions of Marlowe's critics and Marlowe's appeal today, in performance, literature and biography, show how and why his works continue to resonate; and a comprehensive further reading list provides helpful suggestions for those who want to find out more. (shrink)

The nineteenth century compared her to Shakespeare; in our own time, she has been likened most often to Henry James. Both comparisons reflect a basic difficulty in reconciling subject matter with treatment, in squaring Jane Austen's restricted world - "3 or 4 Families in a Country Village" - with her profound impact upon our imaginations. Over the years her admirers have tried to resolve this paradox in various ways, none quite successful, but throughout all the changes in critical method one (...) thing has remained constant: the high level of admiration. As Edmund Wilson once remarked, in various revolutions of taste which have occurred during the last century and a half, "perhaps only two reputations have never been affected by the shifts of fashion: Shakespeare's and Jane Austen's. We still agree with Scott about Jane Austen, just as we agree with Ben Jonson about Shakespeare." Even in the half-century after Jane Austen's death, when her reputation was limited in comparison with those of the great Victorians, the praise of discriminating critics was remarkably consistent; and it seems safe to predict, as we begin to celebrate the two-hundredth anniversary of her birth, that this high estimate will remain unchallenged. The bicentennial year will produce the usual tributes, conferences, and collections of essays, but the call for "revaluation" which is usually a ritual part of such occasions will scarcely be heard. The question will not be one of placing Jane Austen in some hierarchy of value, but of trying once again to explain her accepted excellences. A. Walton Litz has written The Art of James Joyce, Jane Austen: A Study of Her Artistic Development, Introspective Voyager: The Poetic Development of Wallace Stevens, and numerous articles. He is professor of English at Princeton University. (shrink)

This article discusses the use of some Tacitean key terms and techniques by Edward Hyde, Earl of Clarendon in his History of the Rebellion, on the English Civil War, and in his autobiographical account of his times, the Life. Tacitism is a broad term denoting sceptical and secular historical and political ideas, inspired by the works of Cornelius Tacitus. English Tacitism dates back to the last decades of the sixteenth century and gained special importance during the reign of Charles I, (...) when it became a recognisable element of political debate. Clarendon had been connected with one influential Tacitist group, i.e. Ben Jonson's circle. The paper explores the ways in which Clarendon used this intellectual background in presenting a conservative, royalist and idealistic worldview. I analyse the use of two Tacitean keywords connected with the discourse of reason of state, prudence and dissimulation, and their synonyms introduced by Clarendon, skilfulness, seasonableness, dexterity and uningenuity, and Clarendon's portrayal of Cromwell. Clarendon uses these terms and Tacitean narrative techniques precisely to present a religious and ‘counter-Tacitist’ vision of history, influenced by late-humanist ideas, but also demonstrating the importance and persuasive power of the Tacitean discourse in seventeenth-century England. (shrink)

Introduction -- Closed mindedness in movies -- Failed alternatives to optional thinking -- Optional thinking in movies -- Conclusion.

What is a veteran teacher, and how do veteran teachers contribute to schools and education? This international volume contributes to our understanding of veteran teachers with new conceptual studies and empirical research from different countries around the world. It is explores what we mean by a ‘veteran teacher’; the factors that encourage teachers to remain in the profession; the characteristics of a successful veteran teacher; and the values with which veteran teachers associate themselves. Rather than supporting stereotypes about teachers at (...) different stages in their professional lives, this book both scrutinises prevalent stereotypes and explores the great variety of veteranship in teaching, in different cultures and different subject matter domains. Teacher retention is an increasingly difficult issue and there are severe problems of high staff turnover and attrition in many countries - so recognition of the qualities of more experienced teachers is timely, as well as valuing the potential contributions of veteran teachers in schools. The book also addresses broader issues about teachers’ lives and identities, the vulnerability of different groups of teachers to the effects of change and reform, and the various forms of teacher knowledge and teacher development. This book was previously published as a Special Issue of _Teachers and Teaching_. (shrink)