Skepticism and Memory in Shakespeare and Donne

Sherman, Anita Gilman

doi:10.1007/978-1-137-08610-5

Cited by 12 publications

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“…'The so-called art of memory becomes, in [Donne's] hands, an art of doubt', Anita Gilman Sherman astutely argues, identifying a scepticism -a dialectical and dialogic aesthetic that allows Donne to wrestle with questions of faith in unorthodox terms -that is central to the Holy Sonnets. 5 To see the Holy Sonnets as a memory theatre is to rethink what the 'art of memory' means. 6 As I have previously argued, building upon William E. Engel's extensive work on the 'mnemonically oriented principle of early modern aesthetics', the art of memory is more than an ars or artificial method of rhetoric, used to construct imaginative spaces -metaphorically, a building or book of memory, which often double for one another to create a book-as-building and vice versa -filled with vivid images designed both to store memory and to spur and maintain an orator's recollection.…”

Section: Death and The Art Of Memory In Donne Rebeca Helfermentioning

confidence: 99%

Death and the Art of Memory in Donne

Helfer¹

2022

Memory and Mortality in Renaissance England

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Section: Death and The Art Of Memory In Donne Rebeca Helfermentioning

confidence: 99%

Death and the Art of Memory in Donne

Helfer¹

2022

Memory and Mortality in Renaissance England

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“…In terms of epistemology, critics tend to align Shakespeare, like Montaigne, with Skepticism, building on Keats's sense of his "negative capability," as well as the earlier, more formalist critical tradition represented by Rossiter and Rabkin (Bradshaw 1987;Bell 2002;Hamlin 2005a;Hamlin 2005b;Cox 2007;Nuttall 2007;Sherman 2007). Shakespeare's skepticism can be easily overstated, however, unless it is balanced by a sense of his more fundamental sympathies.…”

Section: Heritage and Rupture With The Traditionmentioning

confidence: 99%

Shakespeare, William

Gray¹,

Clifford²

2017

Encyclopedia of Renaissance Philosophy

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The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that:• a full bibliographic reference is made to the original source • a link is made to the metadata record in DRO • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders.Please consult the full DRO policy for further details. Title Shakespeare, William Dates and places of birth and deathBorn: 1564, Stratford-upon-Avon, England / Died: 1616, Stratford-upon-Avon, England Abstract William Shakespeare (1564 -1616) is the world's most highly-acclaimed literary figure, known for his plays and poems. Shakespeare is celebrated for his comic touch, kaleidoscopic, tightly-structured verse, and genial sense of human nature, manifest in finely-detailed individual characterization. Less widely-recognized, however, is the depth of his engagement with classical and contemporary philosophy, which bears comparison to more obviously learned contemporaries such as Michel de Montaigne (1533 -1592), John Case (c. 1540 -1600), and Justus Lipsius (1547 -1606).

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“…4 Arguing that Shakespeare's epitaphs demonstrate a certain scepticism about the potential of inscriptions to preserve the memory of the dead, Anita Gilman Sherman likewise suggests that the playwright's use of epitaphs exposes their generic pretensions. 5 This paper focuses on a type of epitaphic incorporation in Shakespearean drama different from that considered by Newstok and Gilman, expanding the scope of 'epitaph' to include what would more accurately be described as the staging of embodied epitaphic performances than the staged reading of embedded textual epitaphs.…”

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Acting as an Epitaph: Performing Commemoration in the Shakespearean History Play

Shortslef¹

2010

Critical Survey

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Despite the importance of the epitaph in early modern England, Shakespeare is considered by most critics to have had little regard for the commemorative potential of the genre. But his English history plays take seriously the trope of the living acting as epitaphs for the dead: through embodied epitaphic performances in these plays, Shakespeare draws upon the cultural valences of the epitaph to disrupt and critique the very relation of continuity and obligation between present and past, living and dead, that epitaphs more conventionally propose. The embodied epitaphs of the history plays make a case for rupture rather than continuity, and challenge the notion that the present should imitate the past. Shakespeare uses these epitaphs to interrogate what it means, and costs, to remember the past by remaking the present in its image. 12

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Skepticism and Memory in Shakespeare and Donne

Cited by 12 publications

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Death and the Art of Memory in Donne

Death and the Art of Memory in Donne

Shakespeare, William

Acting as an Epitaph: Performing Commemoration in the Shakespearean History Play

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