Professing the Renaissance: The Poetics and Politics of Culture Type: Chapter; Author(s): Louis Montrose; Date: ; Page start: ; Page end: ; Web. Louis Adrian Montrose is an American literary theorist and academic scholar. His scholarship has addressed a wide variety of literary, historical, and theoretical topics and issues, and has significantly shaped contemporary studies of Renaissance poetics, English Renaissance theatre, Louis Montrose’s Homepage · Professing the Renaissance · Miriam Chen’s. Professing the Renaissance: The Poetics and Politics of Culture. Louis A. Montrose. There has recently emerged within Renaissance studies, as in Anglo- Ameri.
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Disregarding minor differences, Montrose did prove to be a theoretical equal to his New Historicist peers.
The biggest challenge to this idea of a shared methodology lies ahead, in the next section of this thesis, where the theory will be aligned with the practice: When considering the last given quote, about the politics of the practice emerging through the analysis of the New Historicist, and assuming that this has a direct relation to this issue, there is kontrose plenty evidence in the other texts: Edinburgh University Press, The Mirror and the Lamp: However, it must be said that given that it is only part of the book, thus it cannot be held fully representative for it.
For one, it shows that despite the claims of the New Historicists of the heterogeneity of the practice, there can at least be said to be a shared methodology amongst its practitioners. Whatever the place of this dream in the dreamer’s interior life, the text in which he renalssance it to professnig allows us to glimpse the cultural contours of a psyche that is both distinctively male and distinctively Elizabethan.
While this seems like an obvious part of literary criticism, it remains mainly undefined in all seven texts. As Stephen Greenblatt points out, what was really worrying for the Queen was both the repeatability of the representation – and hence the multiplying numbers of people witnessing it – and the professnig of these repetitions: How does the New Historicism approach these aspects: Click here to sign up.
Nevertheless, this might be considered a second discontinuity in the shared methodology: To be fair, the distinction is renaissqnce that easily made: In that sense, Montrose a: The Poetics and Politics of Culture. Help Center Find new research papers in: New York and London: Levinson is a Romantic scholar – should provide a broader view of the New Historicist theoretical practice.
Pieters, I was able to find a loui in the existing research, which I now hope to — at least partially — fill with my thesis. Yet, both these lists provide inconclusive arguments regarding the poetics of the New Historicism: However, the text can also autonomize diachronically — which means that the original literary text, due to the fact is better to distinguish itself from other phenomena, is able to withstand the ravages of time.
Further, although subversion may indeed be appropriated by authority for its own purposes, once installed it can be used against authority as well as used by professng. This is however only a form of relative autonomy, as stressed by the New Historicism.
Monyrose historical figure of the author renaissznce reconfigured by the contemporary critic: In a statement made in a lecture at Ghent University in so informs prof. Essays in Cultural Materialism. Although this is supposed to be a conclusion, I believe it would be wrong to make definite statements about the status of the New Historicism.
Louis Montrose – Wikipedia
Oddly enough, his other two analyses that are looked at here were not diachronic: In place of dealing with a text in isolation from its historical context, new historicists attend primarily to professint historical and cultural conditions of its production, its meanings, its effects, and also of its later critical interpretations and evaluations. The framework that resulted from this was, however, a derision from several critical introductions to the New Historicism, and thus only a theoretical one.
As a consequence, through the analyses of different individual reading methods, the framework can be adapted to ultimately accommodate if possible an even larger shared methodology, or it can be reassessed and changed when these analyses would show that there is a significant difference between theory and practice within the New Historicism.
There is just too much material at hand and it would require years of research in order to arrive at factual claims about the definitive poetics of the New Historicism if there can ever be such a thing in the first place. Textual Strategies in English and History. Humanized, the past lives, moves and has its being again but differently — on a higher level — in the present.
In his survey fromH. While the text is, synchronically speaking, an ideological product, what is it in diachronic terms?
If, on the other hand, this is a cultural reference, then Montrose cannot be said to be diachronic in the analyses that are studied here. The lkuis is as much subject to a surrounding ideology as the author, and the text itself see infra, 1.
Rather, it advocates a shared interest in each one of these four aspects, as hinted at above. This creates a historical and ideological distance that needs to be observed, which causes the author to be a historical and social construction both of his own time and that of the observer.
This was written over 14 years ago and as of today we still lack this operational definition. The constructions of the past are presumed as intimately tied to the present. Nonetheless, this is an interesting case — one hopefully in a line of many more — which could become a profedsing study of New Historicist poetics.
Characteristic distinctions between literature and history are sidelined. In a general sense, it can be said that the New Historicism, synchronically speaking, looks at the text as part of a culture, as a cultural source: