Marlowe, History, and Sexuality: New Critical Essays on Christopher Marlowe by Paul Whitfield White Marlowe's Counterfeit Profession: Ovid, Spenser, Counter-Nationhood by Patrick Cheney Between Nations: Shakespeare, Spenser, Marvell, and the Question of Britain by David J. Baker (review)
Notice bibliographique
Résumé
MLR,96.3,200 I 797 Greville, Daniel, andSpenser, Kleinfinds the various ways inwhich these poets use theformal andthesocialexemplarity ofSidney almost against itself; inthecaseof Spenser inparticular, theAmoretti 'reforms thetraditions ofcourtly lovepoetry to articulate Protestant idealsofmarried love,a radicaldeparture from Sidney's practice thatparadoxically confirms theprior poet'sidealsfortheright useof POetrY'(PV I73) Thisbookhas muchto offier in thewayofclosereadings and occasional engagements with thelegacy ofSidney criticism. Compared, however, tothebest andmostcreative Sidney criticism ofthepasttwodecades(RonaldL. Levao's brilliant chapter ontheDefence inhisRenaissance Minds andtheir Fictions (Berkeley: University ofCalifornia Press, I985),orRoland Greene's deft readings ofthe sonnet sequence inhisPost Petrarchism (Princeton NJ: Princeton University Press, I99I))the bookis onlyworkmanlike. And compared, too,to thecreative, theoretically informed and culturally wide-ranging workon the conceptof Renaissance exemplarity, from John Lyon's Exemplum (Princeton NJ: Princeton University Press, I989)toTimothy Hampton's Wrztingfrom Histo7y (Ithaca, NY: Cornell, I99I),this bookis onlyderivative. It bears, still, theimpress ofitsorigins ina dissertation finished a decade ago.Ifits virtues lieinits lackofflashiness, its sober close readings, anditsdiligent pursuit ofitsstated thesis, itsshortcomings lieinthefact that ithas chosenas itssubject matter a figure ofliterary flash, whosework, and more particularly whose contexts, havebeenstudied bysome ofthemost dazzling critics . 0tourgeneratlon. STANFORD UNIVERSITY SETH LERER Marlowe, Histoy, and Sexuality: J%ew Crztical Essays onChristopher Marlowe. Ed.byPAUL WHITFIELD WHITE. NewYork: AMSPress.I998. XXi + 257PP. S59.50. Marlowe'sCounterfeitProfession. Ovid,Spenser,Counter-Xationhood. BYPATRICKCHENEY. Toronto, Buialo, NY, and London:University ofToronto Press. I998. xii+ 402pp. $60 oo;£39 Between Aations. Shakespeare, Spenser, Marvell, andthe Question of Britain. BYDAVID J. BAKER. Stanford,CA:StanfordUniversityPress. I997. Xii+2XIpp. $39.50;£3° '[TheCorpus portrait] shows a striking young man:twenty-one years old,self-assured, a bit flashy [. . .] arms folded [. . .]. Thestance [. . .] requires noprops [. . . and]show[s] offthe rows ofbossed golden buttons sewn down thesleeves ofhisdoublet, fourteen oneacharm. Thedoublet issuperb: close-fitting, winged atthe shoulders, with bigpadded sleeves tapering toa narrow wrist. Thematerial, blackordeepbrown, hasthelookofvelvet. Thezigzag pattern ismadeofsmall slashes [. . .] showing theglossy, peach-colored lining underneath [. . .]. Thedoublet issogoodhe[. . .] wears noruff, nofussy ornamental pickadils, justa shirt ofthefine linen called"cobweb lawn,'3 thecollar falling [. . .],aninchofcuff atthe wrists. Hisbrown hair islong [. . .]. Allthis[. . .] is [. . .] whathehasmadeofhimself, for this moment: a certain wayof standing, a particular jacket, a hairstyle. Thestatement isoneofprestige, ofcourtliness. It shows him asa young manwith money tospend not justthe doublet, which even secondhand would havecost him thirty shillings ormore; not justthe rows ofgolden buttons like so many counterfeit coins; butthe very fact ofthe portrait. Itwasnoteveryone whocould afford the services ofa good'limner'. [. . .] Other parts ofthestatement areharder toread.Thelipsespecially area problem. [. . .] Thesmile seems ready tomock us.Wehave beentaken insoeasily [. . .]. I havelooked long andhard atthis portrait, andafter a while my gazehastravelled down from thesardonic faceandthesnazzy doublet toconsider something I cannot see:hisleft 798 Revaews hand. Itisconcealed, perhaps under the right sleeve, more probably init,inthe pocket they often hadinthose bigpadded sleeves. I find myself wondering: what hashegotinthere? A purse? Adagger? Someclose-printed text inoctavo? After allthese years almost everything ishidden, butevenifwecould stand there infront ofhim, ona dayinI 585,westill might notknow what hewashiding from us. Thissense ofa statement whose meaning youcannot quite grasp, this sense oftheatricality, this sense ofsomething hidden: tomethese arethe keynotes ofChristopher Marlowe. (Charles Nicholl, "'Faithful Dealing": Marlowe andthe Elizabethan Intelligence Service', in Marlowe, Histoy, and Sexuality.) I quotefrom Charles Nicholl's essay atsuchlength toillustrate itscombination of unimpeachable content, intellectual patience, andexcellence ofstyle. Evensavagely cutthepassage readswellbothsilently andaloud;grounded inobservation, itis exactwith supplementary knowledge, andbuilds simply butvery carefully notto theobvious lament ('Wecannot nowknow . . .'),buttoa subtler point undergraduatesneedtounderstand , andtoomany critics forget ('evenifwecouldstand there [. . .] in I585, westill might notknow'). Suchexcellence, I regret tosay,isata premium intheMarlovian criticism hereconsidered, anditis notchancethat Nicholl (ajournalist) istheonly author inWhite's volume whoisnota professional academic. One must beprofessionally wary, ofcourse (I wellremember boththeintense excitement ofreading Greenblatt as an undergraduate ('I beganwith a desire to speak with the dead'), andthe intense disappointment ofrealizing asapost-graduate thecaustictruth in Ricks'sdefinition of the'New Historicism' as 'theOld Historicism with itsfacts wrong'), butitremains starkly true that far toomuch of thewriting inthis volume ispoor.Trendy jargontoooften abounds (subversive discourses, decentred limens), andthebellelettristic islargely scorned: so diction bristles, rhythm dies,cogency recedes, andthere islittle that I wouldexcerpt for teaching, setfor seminars, orevenrecommend viareading lists. Yetneither isthe collection forscholars, foritsbestessays arebetter represented elsewhere: even Nicholl cannibalizes theopening ofhissuperb study ofMarlowe's murder, Be Reckoning, a...
Récupéré en direct depuis OpenAlex et désinversé. Les résumés ne sont pas conservés dans cette base de données : les index inversés représentent 8,6 Go des 9,3 Go de texte de la base, et le serveur dispose de 13 Go libres.
Comment cette classification a été obtenuedéplier
Prédiction machine sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Le volet Gemma est une étiquette directe du modèle pour chaque travail de la base, lue sur la notice réduite au titre. Le volet Codex est un classifieur appris des 10 348 étiquettes directes de Codex et calibré sur les taux pondérés de l'échantillon; les champs sans appui suffisant ne portent aucun appel Codex. Le mode candidate est l'union des deux volets; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont pas des étiquettes humaines.
Scores du classifieur distillé par catégorie (deux têtes)
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,006 | 0,013 |
| Méta-épidémiologie (sens strict) | 0,001 | 0,001 |
| Méta-épidémiologie (sens large) | 0,001 | 0,000 |
| Bibliométrie | 0,004 | 0,007 |
| Études des sciences et des technologies | 0,008 | 0,015 |
| Communication savante | 0,009 | 0,010 |
| Science ouverte | 0,002 | 0,005 |
| Intégrité de la recherche | 0,005 | 0,007 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,009 | 0,001 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; un appel candidat d’une seule source (Gemma direct ou Codex distillé), pas un consensus.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».