Annabel Patterson
Auteur de Censorship and Interpretation: The Conditions of Writing and Reading in Early Modern England
A propos de l'auteur
Annabel Patterson is Sterling Professor of English Emeritus at Yale University.
Œuvres de Annabel Patterson
Censorship and Interpretation: The Conditions of Writing and Reading in Early Modern England (1984) 35 exemplaires
Fables of Power: Aesopian Writing and Political History (Post-Contemporary Interventions) (1991) 11 exemplaires
Hermogenes and the Renaissance: Seven Ideas of Style (Princeton Legacy Library) (1970) 9 exemplaires
The Trial of Nicholas Throckmorton 1 exemplaire
Oeuvres associées
Rome in the Renaissance : the city and the myth : papers of the Thirteenth Annual Conference of the Center for Medieval… (1982) — Contributeur — 2 exemplaires
Étiqueté
Partage des connaissances
- Date de naissance
- 1936-08-09
- Sexe
- female
- Nationalité
- Canada
- Lieu de naissance
- England
- Organisations
- Milton Society of America
- Prix et distinctions
- Guggenheim Fellowship (1983)
Membres
Critiques
Prix et récompenses
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Auteurs associés
Statistiques
- Œuvres
- 18
- Aussi par
- 3
- Membres
- 206
- Popularité
- #107,332
- Évaluation
- 3.4
- Critiques
- 1
- ISBN
- 44
Patterson breaks her study up into times and genres, examining the dangerous game of political criticism from the reign of Elizabeth through to the arrival of William of Orange. She examines straightforward (or as straightforward as anyone dared) pamphleteering; the work of poets including Donne, Jonson, Milton and Dryden; and plays both produced and banned. One of the most interesting sections of this book analyses what Shakespeare might have been up to when he wrote King Lear - and what James I might have thought when it was staged for him. The chapter on romances travels from Arcadia, Sir Philip Sidney's response to his banishment from the court of Elizabeth for giving an unwelcome piece of advice, to works such as The Princess Cloria and Panthalia, which from the vantage point of the Restoration look back across the times of Charles I and Cromwell, and demonstrates how this allegorical form was used as a vehicle for political protest.
The final part of the book deals with letters as a genre, showing through a series of quotations from hesitant, muted, incomplete communications how a culture of suspicion and censorship impacts even upon the most private of human interactions. Disturbingly, it is evident that - writing in 1984, appropriately enough - Annabel Patterson felt her own book to be a form of protest against increased censorship and a climate of decreased freedom of speech. The book as a whole is clearly intended as a warning against "forgetting history".… (plus d'informations)