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Cultural semiotics, Spenser, and the captive woman

Author: Louise Schleiner
Publisher: Bethlehem [Pa.] : Lehigh University Press ; London : Associated University Presses, ©1995.
Edition/Format:   Print book : EnglishView all editions and formats
Summary:
In Cultural Semiotics, Spenser, and the Captive Woman, author Louise Schleiner uses concepts from A.J. Greimas to analyze The Shepheardes Calender (1579) as a discourse and as a definitive text for the Elizabethan "political unconscious," in the sense of Fredric Jameson, who also drew on Greimas. The book demonstrates sociolinguistic patterns at work in Elizabethan ideological conflicts, at a level that shows how
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Details

Genre/Form: History
Named Person: Edmund Spenser; Edmund Spenser; Edmund Spenser; Edmund Spenser; Edmund Spenser
Material Type: Internet resource
Document Type: Book, Internet Resource
All Authors / Contributors: Louise Schleiner
ISBN: 093422336X 9780934223362
OCLC Number: 31206122
Description: 278 pages ; 24 cm
Contents: 1. Introduction --
2. The Greimas Model and the Calender's Perspectival Framing --
3. The Shepheardes Calender Analyzed through the Greimas Model --
4. Isaiah: Excrescence as Expression and the Figurative Isotopy --
5. The Calender as Prophecy and the Captive Woman Ideologeme --
6. The 'Captive Woman' at Work --
7. Compositional Order and Colin's Framing of Male and Female Loves in The Shepheardes Calender --
Appendix 1. Algorithm or Description Procedures Used --
Appendix 2. Data of the Algorithm's Application.
Responsibility: Louise Schleiner.

Abstract:

In Cultural Semiotics, Spenser, and the Captive Woman, author Louise Schleiner uses concepts from A.J. Greimas to analyze The Shepheardes Calender (1579) as a discourse and as a definitive text for the Elizabethan "political unconscious," in the sense of Fredric Jameson, who also drew on Greimas. The book demonstrates sociolinguistic patterns at work in Elizabethan ideological conflicts, at a level that shows how those patterns were related to the energies of people's sexuality and their political and religious commitments. Through explaining this libidinal and political functioning of the Calender, in its time and for Spenser as a new poet, the book identifies an "ideologeme," widely observable in England of the 1580s and 1590s: that of the captive/capturing woman, a unit of interfactional and interclass discourse.

As well as discussing Spenser, two chapters include examples from music and balladry and use the "captive woman" construct to analyze material from such figures as Lyly, Shakespeare, the composer John Dowland, the Countess of Pembroke, and Queen Elizabeth I.A concluding chapter on the Calender's proferred text-readership game shows Spenser evolving his ordering of the twelve eclogues through inventing a strategic frame for them, an implied story that both celebrates and leaves behind his passionate friendship with Gabriel Harvey.

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