Early Modern Poetics in Melville and Poe


Book Description

Bringing to bear his expertise in the early modern emblem tradition, William E. Engel traces a series of self-reflective organizational schemes associated with baroque artifice in the work of Herman Melville and Edgar Allan Poe. While other scholars have remarked on the influence of seventeenth-century literature on Melville and Poe, this is the first book to explore how their close readings of early modern texts influenced their decisions about compositional practice, especially as it relates to public performance and the exigencies of publication. Engel's discussion of the narrative structure and emblematic aspects of Melville's Piazza Tales and Poe's "The Raven" serve as case studies that demonstrate the authors' debt to the past. Focusing principally on the overlapping rhetorical and iconic assumptions of the Art of Memory and its relation to chiasmus, Engel avoids engaging in a simple account of what these authors read and incorporated into their own writings. Instead, through an examination of their predisposition toward an earlier model of pattern recognition, he offers fresh insight into the writers' understandings of mourning and loss, their use of allegory, and what they gained from their use of pseudonyms.




Early Modern Poetics in Melville and Poe


Book Description

Bringing to bear his expertise in the early modern emblem tradition, William E. Engel traces a series of self-reflective organizational schemes associated with baroque artifice in the work of Herman Melville and Edgar Allan Poe. While other scholars have remarked on the influence of seventeenth-century literature on Melville and Poe, this is the first book to explore how their close readings of early modern texts influenced their decisions about compositional practice, especially as it relates to public performance and the exigencies of publication. Engel's discussion of the narrative structure and emblematic aspects of Melville's Piazza Tales and Poe's "The Raven" serve as case studies that demonstrate the authors' debt to the past. Focusing principally on the overlapping rhetorical and iconic assumptions of the Art of Memory and its relation to chiasmus, Engel avoids engaging in a simple account of what these authors read and incorporated into their own writings. Instead, through an examination of their predisposition toward an earlier model of pattern recognition, he offers fresh insight into the writers' understandings of mourning and loss, their use of allegory, and what they gained from their use of pseudonyms.




The New Cambridge Companion to Herman Melville


Book Description

This new collection offers timely, critical essays specially commissioned to provide a comprehensive overview of Melville's career.




The Oxford Handbook of Edgar Allan Poe


Book Description

This handbook is currently in development, with individual articles publishing online in advance of print publication. At this time, we cannot add information about unpublished articles in this handbook, however the table of contents will continue to grow as additional articles pass through the review process and are added to the site. Please note that the online publication date for this handbook is the date that the first article in the title was published online.




Tattoos in crime and detective narratives


Book Description

Examining representations of the tattoo and tattooing in literature, television, and film from two periods of tattoo renaissance (1851-1914, and 1955 to present), this study makes an original contribution to understandings of crime and detective genre and the ways in which tattoos act as a mimetic device that marks and remarks these narratives in complex ways.




Deciphering Poe


Book Description

Founder of the detective genre and author of works on cryptography, Edgar Allan Poe possessed what Shawn Rosenheim called a “cryptographic imagination.” Not only was Poe’s work influenced by secret writing, it inspired future critics to search his texts for secret clues and that fostered new modes of reading. Poe’s acclaimed complexity owes as much to a long and sophisticated tradition of his interpretative reading as it does to the “undercurrent of meaning” ciphered in his texts. Grounded in previous scholarly work, Deciphering Poe: Contexts, Subtexts, Subversive Meanings explores the hoaxing and subversive nature of Poe’s art and expands this contextual framework. Contributors to the volume offer a highly nuanced picture of Poe’s engagement in the major discourses of the time—religious, philosophical, social, and literary. Twelve essays of the collection discuss Poe’s debt to baroque tradition, his response to Catholicism, his tribute to philosophical idea of sublimity, his complex response to racial issues, and his controversial afterlife reception. The volume includes new readings of Poe’s texts explicitly using codes, secret writing or techniques of detection—“The Gold Bug,” The Narrative of Arthur Gordon Pym, and the Dupin tales. The essays in the collection were originally presented as talks at the Poe Studies Association’s Third International Edgar Allan Poe Conference: The Bicentennial in October 2009. The contributors are Poe scholars from the United States, France, Germany, and Canada: Amy C. Branam, Lauren Curtright, Daniel Fineman, William E. Engel, John C. Havard, Henri Justin, John Edward Martin, Sean Moreland, Philip E. Phillips, Stephanie Sommerfeld, and Timothy N. Towslee.




The Memory Arts in Renaissance England


Book Description

This is the first critical anthology of writings about memory in Renaissance England. Drawing together excerpts from more than seventy writers, poets, physicians, philosophers and preachers, and with over twenty illustrations, the anthology offers the reader a guided exploration of the arts of memory. The introduction outlines the context for the tradition of the memory arts from classical times to the Renaissance and is followed by extracts from writers on the art of memory in general, then by thematically arranged sections on rhetoric and poetry, education and science, history and philosophy, religion, and literature, featuring texts from canonical, non-canonical and little-known sources. Each excerpt is supported with notes about the author and about the text's relationship to the memory arts, and includes suggestions for further reading. The book will appeal to students of the memory arts, Renaissance literature, the history of ideas, book history and art history.




The Birth and Death of the Author


Book Description

The Birth and Death of the Author is a work about the changing nature of authorship as a concept. In eight specialist interventions by a diverse group of the finest international scholars it tells a history of print authorship in a set of author case studies from the fifteenth to the twenty-first century. The introduction surveys the prehistory of print authorship and sets the historical and theoretical framework that opens the discussion for the seven succeeding chapters. Engaging particularly with the history of the materials and technology of authorship it places this in conversation with the critical history of the author up to and beyond the crisis of Barthes' 'Death of the Author'. As a multi-authored history of authorship itself, each subsequent chapter takes a single author or work from every century since the advent of print and focuses in on the relationship between the author and the reader. Thus they explore the complexities of the concept of authorship in the works of Thomas Hoccleve and John Lydgate (Andrew Galloway, Cornell University), William Shakespeare and Christopher Marlowe (Rory Loughnane, University of Kent), John Taylor, "the Water Poet" (Edel Semple, University College Cork), Samuel Richardson (Natasha Simonova, University of Oxford), Herman Melville (and his reluctant scrivener ‘Bartleby’) (William E. Engel, Sewanee, The University of the South), James Joyce (Brad Tuggle, University of Alabama), and Grant Morrison (Darragh Greene, University College Dublin).




The Piazza Tales


Book Description

Herman Melville’s The Piazza Tales is the only collection of short fiction that he published in his lifetime, and it includes his two most famous short stories, “Bartleby, the Scrivener” and “Benito Cereno,” along with the less well-known but deeply engaging sketches of the Galapagos Islands that make up “The Encantadas,” as well as three more short stories: “The Piazza,” “The Bell-Tower,” and “The Lightning-Rod Man.” This new edition places these stories in the context of nineteenth-century debates over slavery, free will and determinism, science and technology, and the nature and value of literary artistry. The stories in The Piazza Tales demonstrate the global range of Melville’s cultural and aesthetic concerns, as Melville set his stories in locales ranging from rural western Massachusetts and Wall Street in the United States to the Pacific coast of South America and southern Europe. This edition is especially concerned with Melville’s engagement with both political questions related to slavery and imperialism and aesthetic questions germane to the short-story tradition as developed by his near-contemporaries Nathaniel Hawthorne and Edgar Allan Poe.




Benito Cereno


Book Description

“Benito Cereno,” a story of atmospheric Gothic horror and striking political resonance, represents Herman Melville’s most profound and unsettling engagement with the horrors of New World slavery. Narrating the story of a slave revolt using materials drawn from Amasa Delano’s non-fictional account of the Tryal Rebellion from earlier in the nineteenth century, Melville’s story probes the moral complexities of the antebellum United States and its position within the Americas. Melville explores the psychology of slavery and racism and the role of violence in both the resistance to, and the perpetuation of, slavery in the Americas. The appendices to this volume illustrate how Melville’s satirical treatment of racism and his ambivalent response to violent resistance to slavery connect with antislavery literature (poetry, fiction, and non-fiction alike) in the middle of the nineteenth century, and they also consider how “Benito Cereno” functions as a central piece in Melville’s contribution to the literature of the Americas.