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Changing Satire : Transformations and Continuities in Europe, 1600–1830
- 2022
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Samlingsverk (redaktörskap) (refereegranskat)abstract
- This edited collection brings together literary scholars and art historians, and maps how satire became a less genre-driven and increasingly visual medium in the seventeenth through the early nineteenth century. Changing satire demonstrates how satire proliferated in various formats, and discusses a wide range of material from canonical authors like Swift to little known manuscript sources and prints. As the book emphasises, satire was a frame of reference for well-known authors and artists ranging from Milton to Bernini and Goya. It was moreover a broad European phenomenon: while the book focuses on English satire, it also considers France, Italy, The Netherlands and Spain, and discusses how satirical texts and artwork could move between countries and languages. In its wide sweep across time and formats, Changing satire brings out the importance that satire had as a transgressor of borders.
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| 5. |
- Keinänen, Nely, et al.
(författare)
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Introduction : Shakespeare in the Nordic Countries
- 2022
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Ingår i: Disseminating Shakespeare in the Nordic Countries. - London : Bloomsbury Academic. - 9781350200869 - 9781350201019 - 9781350200883 - 9781350200876 ; , s. 1-30
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Bokkapitel (refereegranskat)
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| 6. |
- Price, Eoin, et al.
(författare)
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VIII - Renaissance Drama : Excluding Shakespeare
- 2016
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Ingår i: Year's Work in English Studies. - : Oxford University Press (OUP). - 0084-4144 .- 1471-6801. ; 95:1, s. 1-41
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Forskningsöversikt (refereegranskat)abstract
- A review of articles and books published on Christopher Marlowe during 2014.
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| 7. |
- Rosengren, Cecilia, et al.
(författare)
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Introduction
- 2022
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Ingår i: Changing Satire. - : Manchester University Press. - 9781526146113 ; , s. 1-36
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Bokkapitel (refereegranskat)
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| 8. |
- Sivefors, Per, 1968-
(författare)
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A Kingdom for a Man : Representing Masculinity in Late Elizabethan Verse Satire
- 2018
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Ingår i: The 64th Annual Meeting of the Renaissance Society of America. - : All Academic.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- The present paper suggests that the representations of manhood in Elizabethan satire mobilized cultural and sexual values at odds with prevailing masculine ideals of self-control. Thus, the paper investigates to what extent the conventions and conditions of early modern satire imply redefinitions of or challenges to early modern masculinity. While other types of poetry often explore emotional weakness such as tears or effeminacy, even representing ‘alternative’ masculinities, satire is extensively preoccupied with other forms of flawed manhood, such as the angry, dissolute or reckless man. Elizabethan satire explores countercodes of manly conduct, although such countercodes are manifestly different from the ‘soft’ or ‘effeminate’ man of much lyric poetry. Instead, the disorderly and unruly manhood in Elizabethan satire should be understood as an interrogation of classical genre conventions that also responds to early modern patriarchal notions of moderation.
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| 9. |
- Sivefors, Per, 1968-
(författare)
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"A kingdom for a man" : The troubled male of Marston's verse satires
- 2019
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Ingår i: Presented at Conference 2019, The Marston Effect: John Marston and Early Modern Culture. - Leeds : University of Leeds.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- Recent years have seen extensive research in fields such as early modern masculinities, violence and the passions, although rarely so in connection with satire. This is despite the fact that the angry male satirist has been at the focus of much criticism of Elizabethan satire, particularly Marston’s, since Alvin Kernan’s seminal The Cankered Muse (1959). The present paper suggests that Marston’s verse satire enacts early modern notions of masculinity, although not simply in the sense of reproducing patriarchal norms. Despite their enthusiastic, Juvenalian attacks on all sorts of male depravity, Marston’s satires do not offer a straightforward reproductions of traditional norms. Rather, through the varying registers of the satirist – which far from always embody the standard ‘angry’ persona – and the tendency to aggressively challenge the reader and various people in the poems, Marston’s satires in one sense explore alternative, non-patriarchal codes of male competition. At the same time, the satirist explicitly denies involvement in typical rituals of male bonding such as drinking and drunkenness. In other words, Marston’s satirical stance involves the fashioning of a deliberately extreme male that stands outside early modern ideals of self-control but also in some respects rejects the notion of excess. Stoicism and Calvinism, both of which have been discussed as ideological frameworks for Marston’s satires, do not offer reassurance in this respect; rather, the paper concludes, the very extremity of Marston’s persona can be said to challenge the (male) reader to himself find an answer to the question: what is a man?
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| 10. |
- Sivefors, Per, 1968-
(författare)
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Class, Commerce and the Bard : The Migration of Shakespeare into Sweden, 1770 – 1820
- 2019
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Ingår i: ESRA Conference, European Shakespeare Research Association.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- If anything, the migration of Shakespeare into Sweden was complex and fraught with uncertainties. The scant existing documentation of performances in the 18thcentury indicates that the introduction of Shakespeare often took the route via French or German translations, although in some cases there are clear indications that English was the source language. Gothenburg, on the west coast of Sweden, had lively contacts with Great Britain and it was also here that for example Hamlet was staged the first time. Notably, Shakespeare was not performed in the capital of Stockholm until the 1810s: it was theatres in provincial towns like Gothenburg and Norrköping that introduced Shakespeare, in various versions, to the Swedish stage. In the light of this historical development, the present paper argues that the migration of Shakespeare into the country was strongly linked to the rise of a wealthy provincial bourgeoisie, often with economic connections in England and Scotland. Once Shakespeare begun to be staged in the capital, it was for different reasons, involving the rise of literary Romanticism, and from the horizon of a Europe that had been affected by the French Revolution and the Napoleonic Wars. Thus, the paper concludes, the early history of Shakespeare in Sweden was not so much the result of national projects or specific agendas as the consequence of an emerging class restructuring and economic interests.
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