Boldly investigates the relationship between the sublime as an aesthetic category and the emergence of skepticism as a philosophical problem

An interdisciplinary study of the forms and uses of uncertainty in important works of literature and philosophy in antiquity and the Renaissance.

Honorable Mention, 2018 MLA Prize for a First Book Against the defensive backdrop of countless apologetic justifications for the value of literature and the humanities, Futile Pleasures reframes the current conversation by returning to the literary culture of early modern England, a culture whose defensive posture toward literature rivals and shapes our own. During the Renaissance, poets justified the value of their work on the basis of the notion that the purpose of poetry is to please and instruct, that it must be both delightful and useful. At the same time, many of these writers faced the possibility that the pleasures of literature may be in conflict with the demand to be useful and valuable. Analyzing the rhetoric of pleasure and the pleasure of rhetoric in texts by William Shakespeare, Roger Ascham, Thomas Nashe, Edmund Spenser, and John Milton, McEleney explores the ambivalence these writers display toward literature’s potential for useless, frivolous vanity. Tracing that ambivalence forward to the modern era, this book also shows how contemporary critics have recapitulated Renaissance humanist ideals about aesthetic value. Against a longstanding tradition that defensively advocates for the redemptive utility of literature, Futile Pleasures both theorizes and performs the queer pleasures of futility. Without ever losing sight of the costs of those pleasures, McEleney argues that playing with futility may be one way of moving beyond the impasses that modern humanists, like their early modern counterparts, have always faced.

Milton, the Sublime and Dramas of Choice challenges readers and scholars to rethink Milton’s relationship to the sublime in terms of ethics. The book demonstrates that Milton’s sublimity merges the early modern reception of Longinus with classical, medieval, and Renaissance categories of magnanimity, wonder, and inspiration to investigate the relations between human and divine agency. Under the influence of early modern models of sublimity, including Spenser and Shakespeare, Milton speaks through his fictional characters about the making of heroic and literary virtue. In turn, the work also sheds light on the importance of tragedy as an additional source to the formation of the Renaissance sublime. Milton’s tragic plots illustrate how the character’s virtue is tested, strengthened, and eventually transformed into an experience of elevation. The study explores the heroic path from dramatic choice to self-realisation, offering extensive treatments of Milton’s dramas – A Maske and Samson Agonistes. The redefinition of the pairing “Milton and the sublime” in this work aims to relocate the poet within the English literary history as the climax of earlier traditions and receptions of the sublime, but also as the starting point of modern sublimity

No author in the English canon seems more deserving of the epithet sublime than John Milton. Yet Milton's sublimity has long been dismissed as an invention of eighteenth-century criticism. The poet himself, the story goes, could hardly have had any notion of the sublime, a concept that only took shape in the decades after his death with the advent of philosophical aesthetics. Such a narrative, however, fails to account for the fact that Milton is one of the first writers in English to refer to Longinus, the author traditionally associated with the Ancient Greek treatise On the Sublime. This book argues that Milton did have an idea of the sublime—one that came to him from Longinus but also from a larger classical tradition that offered a pre-aesthetic predecessor to the aesthetic concept of the sublime. Thomas Vozar shows that Longinus was better known in early modern England than has been previously appreciated; that various notions of sublimity beyond that of Longinus would have been available to Milton and his contemporaries; and that such notions of the sublime were integral to Milton's rhetorical, scientific, and theological imagination. Additional material relating to the early modern reception of Longinus is provided in the appendices, which contain the first bibliographical study of copies of Longinus in English private libraries to 1674 and an edition of a newly discovered seventeenth-century English translation of Longinus. Far from being anachronistic, Milton's "abstracted sublimities" touch on almost every aspect of his thought, from rhetoric to politics, from science to theology. Making substantive contributions to literary scholarship, classical reception studies, and the history of ideas, Milton, Longinus, and the Sublime in the Seventeenth Century returns the sublime to its proper place at the forefront of Milton criticism, re-evaluates the diffusion of Longinian texts and concepts in early modern Europe, and records a crucial missing chapter in the history of the sublime.

This volume examines five early modern novels from the seventeenth century in Spain and France as examples of literature as a form of skeptical inquiry: Cervantes’s Don Quijote, Zayas’s Desengaños amorosos, Scarron’s Roman comique, Cyrano de Bergerac’s L’Autre Monde, and Mme. de Lafayette’s Zayde. These early modern novels encourage readers to take a critical stance toward accepted beliefs, through content that stages multiple encounters with the shockingly unfamiliar as well as through experiments in literary form, especially the interpolated story. At its broadest reach, this study asserts the fundamental value of literature as a means of encouraging discernment, recognizing the illusory, and honing critical acuity. In terms of the particularity of the historical moment, the volume also identifies the early modern novel as uniquely able to represent the conflicting value spheres of early modernity because of its ability to present multiple voices and its fascination with conflicting vantage points. Due to its interdisciplinary nature, Disenchantment, Skepticism, and the Early Modern Novel in Spain and France appeals to literary scholars and intellectual historians of the early modern period in Europe, as well as to advanced undergraduates and postgraduates studying the early novel, intellectual history, and philosophy of literature.

Essayist Michel de Montaigne is one of the most accessible and widely read authors in world literature. His skepticism and relativism, and the personal quality of his writing, make him a perennial favorite among readers today. Montaigne After Theory / Theory After Montaigne pursues the idea that theory has altered the scholarly understanding of Montaigne, while Montaigne's ideas have simultaneously challenged the authority of the various interpretive doxa collectively known as "theory." Montaigne's life and writings have drawn myriad interpretations. While some scholars of his work focus on the content of the writings to define the man, others stress his playful use of language. Montaigne's complex and multifaceted works provide fertile ground for exploring themes of wide-ranging significance within the field of literary theory, including the relationship between biography and theory; the critique of modernism; a critical history of the confessional mode of writing; sexuality and gender; and the theory of practice. The essays in this collection move beyond the current stalemate in Montaigne criticism by revisiting questions about the role of theory in literary studies and by opening up a dialogue on the validity and limitations, or use and abuse, of theory in Montaigne studies.

Linking ecstasy with art and liberty, the book advances understanding of Renaissance literature as a field in the humanities today.

This is the first comprehensive study of the sublime in Lucan. Drawing upon renewed literary-critical interest in the tradition of philosophical aesthetics, Henry Day argues that the category of the sublime offers a means of moving beyond readings of Lucan's Bellum Civile in terms of the poem's political commitment or, alternatively, nihilism. Demonstrating in dialogue with theorists from Burke and Kant to Freud, Lyotard and Ankersmit the continuing vitality of Longinus' foundational treatise On the Sublime, Day charts Lucan's complex and instructive exploration of the relationship between sublimity and ethical discourses of freedom and oppression. Through the Bellum Civile's cataclysmic vision of civil war and metapoetic accounts of its own genesis, through its heated linguistic texture and proclaimed effects upon future readers and, most powerfully of all, through its representation of its twin protagonists Caesar and Pompey, Lucan's great epic emerges as a central text in the history of the sublime.

The most comprehensive collection of essays on Renaissance poetry on the market Covering the period 1520–1680, A Companion to Renaissance Poetry offers 46 essays which present an in-depth account of the context, production, and interpretation of early modern British poetry. It provides students with a deep appreciation for, and sensitivity toward, the ways in which poets of the period understood and fashioned a distinctly vernacular voice, while engaging them with some of the debates and departures that are currently animating the discipline. A Companion to Renaissance Poetry analyzes the historical, cultural, political, and religious background of the time, addressing issues such as education, translation, the Reformation, theorizations of poetry, and more. The book immerses readers in non-dramatic poetry from Wyatt to Milton, focusing on the key poetic genres—epic, lyric, complaint, elegy, epistle, pastoral, satire, and religious poetry. It also offers an inclusive account of the poetic production of the period by canonical and less canonical writers, female and male. Finally, it offers examples of current developments in the interpretation of Renaissance poetry, including economic, ecological, scientific, materialist, and formalist approaches. • Covers a wide selection of authors and texts • Features contributions from notable authors, scholars, and critics across the globe • Offers a substantial section on recent and developing approaches to reading Renaissance poetry A Companion to Renaissance Poetry is an ideal resource for all students and scholars of the literature and culture of the Renaissance period.