Search Results for winn

...Philip Smallwood Winn James Anderson . Queen Anne: Patroness of Arts . ( New York : Oxford Univ. , 2014 ). Pp. xxi + 792. 35 b/w ills., 18 color inserts, 28 musical examples. $39.95 Copyright 2015 by Duke University Press 2015 Review Essay...

...James A. Winn The essays printed here all make the case for historical criticism in reasonable and persuasive terms. Professor Weinbrot's paper shows how recovering the meaning that classical allusions, formal word order, and particular loaded phrases had for their original audiences makes us...

...James A. Winn Brown Marshall . The Tooth That Nibbles at the Soul: Essays on Music and Poetry ( Seattle : Univ. of Washington , 2010 ). Pp. xii + 374. $75 cloth, $35 paper Copyright 2012 by Duke University Press 2012 Review Essay...

... of feeling.18 The space between his personae and the historical Alexander Pope called for explanation, and critics from the 1960s through the 1980s tried to account for his psychological or compensatory motives. As Winn puts it, “I do not mean to suggest that Pope was a tireless conniver, deceitfully...

.... of Delaware, 1991). Although his focus is on the language of art and nature, especially the sister arts and sexuality, rather than of the occult, James Anderson Winn analyzes most of these same poems in “When Beauty Fires the Blood”: Love and the Arts in the Age of Dryden (Ann Arbor: Univ. of Michigan...

... by Anne Killigrew that James A. Winn reproduces in his essay “ ‘Praise the Patroness of Arts,’ ” from the second volume under review here, Queen Anne and the Arts (figure 1.10). But whereas Killigrew’s Venus Attired by the Three Graces upholds linear design, Hogarth links academic tradition...

... Studies (ASECS) at Los Angeles in 2015 included a panel entitled “His- torical Criticism and Eighteenth-Century Studies,” with papers by Mar- garet J. M. Ezell, Robert D. Hume, Howard D. Weinbrot, and a response by James A. Winn. No doubt because of the distinction of these scholars, as well...

..., though, differed from many of his fellow writers in a significant way. James Anderson Winn speaks of the “ignorance of musical technique” of such authors as Johnson and Swift and of the “complacent amateurism” of a figure like Joseph Addison, who asserted that any “Man of an ordinary Ear” can judge music...

... Haven: Yale Univ., 2013). Pp. xvii + 309. 39 ills. + 1 map. $38 Winn, Colette H., ed. Teaching French Women Writers of the Renaissance and Reformation (New York: MLA, 2014). Pp. vii + 440. $40 hardcover. $25 paper Winn, James Anderson. Queen Anne: Patroness of Arts (New York: Oxford Univ...

... personal content. One can write a hugely helpful “biog- raphy” of Dryden, as James Winn has done, but it must of necessity be an account of career, works, and context, not of the inner life and feelings of the man.5 The correspondence of Fielding is even less substantive. Only 70 letters from...

..., and the el- egance of prose made Maccubbin’s piece distinctive among the submis- sions,” commented the prize committee’s citation. The article has been reprinted three times, most recently in Critical Essays on John Dryden, ed- ited by James Winn...

... need not be limited by the strictures of convention in ekphrastic practice. Notes I would like to thank James A. Winn and the anonymous readers at Eighteenth- Century Life for their invaluable comments on this essay. 1.  James Heffernan, Museum of Words: The Poetics of Ekphrasis from...

... always obscure the career profile that had Byron remember Pope as (quintes- sentially) the little Queen Anne s man. 2 To its advantage, the Longman narrative of a Queen Anne Pope is pub- lished against the background of James Winn s magnificent cultural biogra- phy of the female monarch; it stands...

... the vast biography that Malone prefaced to the 1800 Prose Works to James Winn’s John Dryden and His World (1987), most of the facts have been registered with reasonable confidence. What they haven’t been is amal- gamated into anything from which we might extract even...

... the springboard from which to surpass any previous translator of the Latin poet. Of the first of these motives, James Winn writes, [Dryden] was now reexamining his faith [in the year before his Catholic conversion], and the reexamination necessarily included some imaginative consideration of what it would be like...

... On his owne Bowels with deepe wounds. 23 As James Winn rightly says of the passage from Windsor- Forest quoted earlier in this essay, By invoking Intestine Wars, Pope was reminding his readers of recent history and inviting them to compare the English Civil Wars with the Roman civil wars. 24 So, what...

... as a Gift, ed. Alan T. Mackenzie (Athens: Univ. of Georgia, 1993); Bruce Redford, The Converse of the Pen (Chicago: Univ. of Chicago, 1986); James Anderson Winn, A Window in the Bosom (Hamden: Archon Books, 1977); Barbara Zaczek, Censored Sentiments: Letters and Censorship in Epistolary Novels...

... to the Close of the Seventeenth Century. Vol. 1 of The Oxford History of the British Empire (Oxford: Oxford Univ., 1998). Pp. xx + 533. $45. ISBN 0-19-820562-7 Carlson, Laurie Winn. A Fever in Salem: A New Interpretation of the New...

... to Bruce Wood and Andrew Pinnock,” Early Music 22 [1994]: 469–81). Since this exchange, two other scholars have come to support the 1684 date: Hume in “Politics” and James A. Winn in “Theatrical culture 2: theatre and music,” in The Cambridge Companion to English...

..., S.P. 16/181/37. The best transcription is in James Winn’s John Dryden and His World (New Haven: Yale Univ., 1987), 521 – 22. 9.  The hero of The London Bully (London, 1683) comes to realize that he might exploit the rigors of his poetic training in order to further his pranks: “In composing...