The Woman in the Garden: (En)gendering Pleasure in Late Elizabethan Poetry
Identifieur interne : 000285 ( Main/Exploration ); précédent : 000284; suivant : 000286The Woman in the Garden: (En)gendering Pleasure in Late Elizabethan Poetry
Auteurs : Christine CochSource :
- English Literary Renaissance [ 0013-8312 ] ; 2009-02.
English descriptors
- KwdEn :
- Aesthetic attraction, Aesthetic pleasure, Aesthetic pleasures, Affective triad, Augustinian impulses, Barbara lewalski, Best colours, Biblical text, Brian vickers, Broader context, Christine, Christine coch, Coch, Curious devices, Early moderns, Emotional pleasures, English husbandman, English landscape garden, English poetry, English renaissance, Erotic appeal, Erotic threat, Faerie queene, Gail kern paster, Garden ground, Gardening, Gardening manuals, Gender, George chapman, George peele, Gervase markham, Gregory smith, Gure, Human nature, Human weakness, Indifferent judgement, John dixon hunt, John harington, Justus lipsius, Lily, Lipsius, Male readers, Manlike liberty, Martial exercises, Matthieu coignet, Metaphor, Moral ambivalence, Natural order, Nicholas grimald, Orlando furioso, Owers, Partheneia sacra, Philip sidney, Pleasure garden, Pleasure gardening, Pleasure gardens, Poetic gardens, Poetic image, Protestant poetics, Renaissance, Renaissance garden, Renaissance writers, Richard strier, Same time, Second book, Seductive power, Sences swimme, Sens, Sensual, Sensual appeal, Sensual pleasure, Sensual pleasures, Seventeenth century, Sixteenth century, Sonnet, Spenser studies, Stanley stewart, Such pleasures, Such questions, Sweet music, Symbolic garden, Terry comito, Testing temperance, Thomas elyot, Thomas hill, Thomas words, Thomas wright, True happiness, Unrespected love, Vayne opinions, William lawson.
- Teeft :
- Aesthetic attraction, Aesthetic pleasure, Aesthetic pleasures, Affective triad, Augustinian impulses, Barbara lewalski, Best colours, Biblical text, Brian vickers, Broader context, Christine, Christine coch, Coch, Curious devices, Early moderns, Emotional pleasures, English husbandman, English landscape garden, English poetry, English renaissance, Erotic appeal, Erotic threat, Faerie queene, Gail kern paster, Garden ground, Gardening, Gardening manuals, Gender, George chapman, George peele, Gervase markham, Gregory smith, Gure, Human nature, Human weakness, Indifferent judgement, John dixon hunt, John harington, Justus lipsius, Lily, Lipsius, Male readers, Manlike liberty, Martial exercises, Matthieu coignet, Metaphor, Moral ambivalence, Natural order, Nicholas grimald, Orlando furioso, Owers, Partheneia sacra, Philip sidney, Pleasure garden, Pleasure gardening, Pleasure gardens, Poetic gardens, Poetic image, Protestant poetics, Renaissance, Renaissance garden, Renaissance writers, Richard strier, Same time, Second book, Seductive power, Sences swimme, Sens, Sensual, Sensual appeal, Sensual pleasure, Sensual pleasures, Seventeenth century, Sixteenth century, Sonnet, Spenser studies, Stanley stewart, Such pleasures, Such questions, Sweet music, Symbolic garden, Terry comito, Testing temperance, Thomas elyot, Thomas hill, Thomas words, Thomas wright, True happiness, Unrespected love, Vayne opinions, William lawson.
Abstract
The image of the woman in the garden captured the interest of early modern readers and writers as an embodiment of a historically specific form of moral ambivalence toward aesthetic pleasure, and, by extension, toward art and poetry. The image acquired this resonance as a result of two cultural coincidences: ambivalence toward sensual pleasure was conventionally schematized in gendered form, and functional and structural parallels were perceived between poetry and the period's new pleasure gardens. For poets, these parallels made poetic gardens a singularly rich medium for exploring the merits and problems of their art in a mode that exceeded the standard moral analyses of the defenses. What the image reveals, particularly when it incorporates a female Other to mediate between the male poet figure and art's sensuous and affective pleasures, is a reluctance to accept the widening gap between body and mind in the period's new conceptions of subjectivity. The new privileging of an independent intellect threatened an older posture essential to poetry as it was conceived by Philip Sidney and others, a porousness to the world at once mental and physical, a passivity that balanced and enabled the autonomy of “self‐fashioning.” Rooted in traditional Galenic psychophysiology, this older, rival ontology accepted the sub‐rational aspects of human nature that poetry appealed to as forces that connected a person to the lower tiers of creation, to other people, and finally to God.
Url:
DOI: 10.1111/j.1475-6757.2009.01041.x
Affiliations:
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<term>George chapman</term>
<term>George peele</term>
<term>Gervase markham</term>
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<term>Martial exercises</term>
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<term>Natural order</term>
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<term>Orlando furioso</term>
<term>Owers</term>
<term>Partheneia sacra</term>
<term>Philip sidney</term>
<term>Pleasure garden</term>
<term>Pleasure gardening</term>
<term>Pleasure gardens</term>
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<term>Protestant poetics</term>
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<term>Same time</term>
<term>Second book</term>
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<term>Terry comito</term>
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<term>Thomas hill</term>
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<front><div type="abstract" xml:lang="en">The image of the woman in the garden captured the interest of early modern readers and writers as an embodiment of a historically specific form of moral ambivalence toward aesthetic pleasure, and, by extension, toward art and poetry. The image acquired this resonance as a result of two cultural coincidences: ambivalence toward sensual pleasure was conventionally schematized in gendered form, and functional and structural parallels were perceived between poetry and the period's new pleasure gardens. For poets, these parallels made poetic gardens a singularly rich medium for exploring the merits and problems of their art in a mode that exceeded the standard moral analyses of the defenses. What the image reveals, particularly when it incorporates a female Other to mediate between the male poet figure and art's sensuous and affective pleasures, is a reluctance to accept the widening gap between body and mind in the period's new conceptions of subjectivity. The new privileging of an independent intellect threatened an older posture essential to poetry as it was conceived by Philip Sidney and others, a porousness to the world at once mental and physical, a passivity that balanced and enabled the autonomy of “self‐fashioning.” Rooted in traditional Galenic psychophysiology, this older, rival ontology accepted the sub‐rational aspects of human nature that poetry appealed to as forces that connected a person to the lower tiers of creation, to other people, and finally to God.</div>
</front>
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