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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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| 2. |
- Sivefors, Per, 1968-
(författare)
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Representing Masculinity in Early Modern English Satire, 1590–1603 : "A Kingdom for a Man"
- 2020
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Bok (refereegranskat)abstract
- Engaging with Elizabethan understandings of masculinity, this book examines representations of manhood during the short-lived vogue for verse satire in the 1590s, by poets like John Donne, John Marston, Everard Guilpin and Joseph Hall. While criticism has often used categorical adjectives like "angry" and "Juvenalian" to describe these satires, this book argues that they engage with early modern ideas of manhood in a conflicted and contradictory way that is frequently at odds with patriarchal norms even when they seem to defend them. The book examines the satires from a series of contexts of masculinity such as husbandry and early modern understandings of age, self-control and violence, and suggests that the images of manhood represented in the satires often exist in tension with early modern standards of manhood. Beyond the specific case studies, while satire has often been assumed to be a "male" genre or mode, this is the first study to engage more in depth with the question of how satire is invested with ideas and practices of masculinity.
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| 3. |
- 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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| 4. |
- 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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| 5. |
- Sivefors, Per, 1968-
(författare)
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Committing Authorship : Thomas Nashe and the Engaged Reader
- 2016
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Ingår i: Etudes Epistémè. - : OpenEdition. - 1634-0450. ; :29, s. 1-13
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Tidskriftsartikel (refereegranskat)abstract
- Criticism on Thomas Nashe has been notoriously preoccupied with the idea that he had nothing to say. While recent analyses have shown that his works in fact do say lots of specific things about the literary culture of his time, Nashe’s peculiar form and style remain at the centre of attention. This essay suggests that Nashe’s preoccupation with style is also what invokes a sense of commitment in his readers; by their use of the author’s persona and their often baffling narration, Nashe’s works also force the reader to consider questions of what literature is, why we read it and who has control over it. In other words, the repeated admissions of incompetence and narrative digressions have the result of engaging the readers in exercising their judgement and deliberating on aspects of style, narrative and, generally, what literature is.
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| 6. |
- Sivefors, Per, 1968-
(författare)
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Prayer and Authorship in Thomas Nashe’s Christs Teares over Jerusalem
- 2016
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Ingår i: English. - : Oxford University Press. - 0013-8215 .- 1756-1124. ; 65:250, s. 267-279
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Tidskriftsartikel (refereegranskat)abstract
- This article discusses Thomas Nashe’s longest and perhaps most frequently misread work, the religious pamphlet Christs Teares over Jerusalem. While criticism used to dismiss this text as either an aesthetic failure or consider it a hoax, the present analysis situates Christs Teares in the context of Nashe’s self-projection as an author. In doing so, it links the religious fervour and frequent instances of prayer in the text as a way for Nashe to position himself in relation to his patron and his audience. Drawing on the intermingling secular and religious meanings of prayer in Nashe’s time, the article suggests that prayer is predominantly configured as petition in Christs Teares and as such it provides Nashe with a position of dejection and humility that at the same time is a source of empowerment. In other words, the article proposes that the religious tone of the work should not be seen as an anomaly but rather a strategy that is integral to Nashe’s authorial persona as represented in Christs Teares and elsewhere.
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| 7. |
- 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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| 8. |
- 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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| 9. |
- Sivefors, Per, 1968-
(författare)
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‘Oh what a pageant's this’ : Theatrics and Performance in Elizabethan Verse Satire
- 2018
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Ingår i: Genre Bending.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- Although satire is generally known for its problematic relationship to aspects of genre, the formal verse satires written in the 1590s by for example John Donne and John Marston are usually thought of in terms of imitation of classical satirists like Horace, Juvenal and Persius. However, despite the fact that several satirical writers were also theatregoers and at least Marston made a career as a playwright, little attention has been paid to the question whether Elizabethan satire was also infused with a theatrical understanding of space and dialogue. Although frequently thought of as ‘monologic’, Elizabethan verse satire displays patterns that could be termed theatrical in the sense of exploring differing, conflicting voices; Marston not least excels in this type of polyvalent, inconsistent dramatic persona. Moreover, the satirists’ strong sense of dramatic, urban space is not only imitated from Latin models but, the paper argues, is an emulative, visualizing and genre-bending take on classical satire.
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| 10. |
- Sivefors, Per, 1968-
(författare)
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Satire, Immoderation and the Bishops' Ban of 1599
- 2018
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Ingår i: Freedom and Censorship in Early Modern English Literature. - London : Routledge. - 9781138366534 - 9780429400940 ; , s. 37-47
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Bokkapitel (refereegranskat)abstract
- This chapter offers a reconsideration of the Bishops' Ban in 1599. While the Ban has been considered a far-reaching act of censorship, little is known of its causes. In this chapter I argue that the reasons behind the Ban primarily had to do with the Martin Marprelate controversy earlier in the late 1580s and early 1590s, and that it was not so much the specific contents of the banned works that was targeted as the troublesome character of satire itself. The vogue for verse satire in the late 1590s arguably was linked to apprehensions about the lingering heritage of the Marprelate tracts, and associations of immoderation and slander attached to the religious pamphlets spilled over on to the printed verse satires later in the decade.
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