The Rhetoric of the Body from Ovid to Shakespeare (Cambridge Studies in Renaissance Literature and Culture, Series Number 35)

This persuasive book analyses the complex, often violent connections between body and voice in Ovid's Metamorphoses and narrative, lyric and dramatic works by Petrarch, Marston and Shakespeare. Lynn Enterline describes the foundational yet often disruptive force that Ovidian rhetoric exerts on early modern poetry, particularly on representations of the self, the body and erotic life. Paying close attention to the trope of the female voice in the Metamorphoses, as well as early modern attempts at transgendered ventriloquism that are indebted to Ovid's work, she argues that Ovid's rhetoric of the body profoundly challenges Renaissance representations of authorship as well as conceptions about the difference between male and female experience. This vividly original book makes a vital contribution to the study of Ovid's presence in Renaissance literature. Cover......Page 1 Half-title......Page 3 Series-title......Page 6 Title......Page 7 Copyright......Page 8 Dedication......Page 9 Contents......Page 11 Acknowledgements......Page 13 Purple notes......Page 15 Medusa's mouth......Page 25 I am transformed......Page 36 Admirable figures......Page 41 Pursuing Daphne......Page 45 2 Medusa's mouth: body and voice in the Metamorphoses......Page 53 Phonographic histories......Page 55 Reading lips......Page 63 The rhetoric of animation......Page 75 Beauty and the breeze......Page 81 Resisting voices......Page 88 Other voices, other loves......Page 97 Writing in the name of love......Page 105 Actaeon ego sum......Page 113 The art of looking......Page 124 Memorable monsters......Page 131 4 “Be not obsceane though wanton'': Marston's Metamorphosis of Pigmalions Image......Page 139 That fayre Image......Page 142 As strange a transformation wrought by mee......Page 147 Women's wants and men's perfections......Page 154 My wondrous metamorphosis......Page 160 Stony ladies......Page 166 Lucrece's tongue......Page 171 The fault is thine......Page 175 She is not her own......Page 181 Poor instruments......Page 190 Where breath most breathes......Page 201 6 “You speak a language that I understand not'': the rhetoric of animation in The Winter's Tale......Page 212 “Shall I be heard?''......Page 215 “Not Guilty''......Page 224 “Be stone no more''......Page 235 1 PURSUING DAPHNE......Page 241 2 MEDUSA'S MOUTH: BODY AND VOICE IN THE METAMORPHOSES......Page 251 3 EMBODIED VOICES: AUTOBIOGRAPHY AND FETISHISM IN THE RIME SPARSE......Page 258 4 “BE NOT OBSEANE THOUGH WANTON”: MARSTON'S METAMORPHOSIS OF PIGMALIONS IMAGE......Page 266 5 “POOR INSTRUMENTS” AND UNSPEAKABLE EVENTS IN THE RAPE OF LUCRECE......Page 267 6 “YOU SPEAK A LANGUAGE THAT I UNDERSTAND NOT”: THE RHETORIC OF ANIMATION IN THE WINTER'S TALE......Page 271 Index......Page 279 Cover 1 Half-title 3 Series-title 6 Title 7 Copyright 8 Dedication 9 Contents 11 Acknowledgements 13 1 Pursuing Daphne 15 Purple notes 15 Medusa's mouth 25 I am transformed 36 Admirable figures 41 Pursuing Daphne 45 2 Medusa's mouth: body and voice in the Metamorphoses 53 Phonographic histories 55 Reading lips 63 The rhetoric of animation 75 Beauty and the breeze 81 Resisting voices 88 Other voices, other loves 97 3 Embodied voices: autobiography and fetishism in the Rime Sparse 105 Writing in the name of love 105 Actaeon ego sum 113 The art of looking 124 Memorable monsters 131 4 “Be not obsceane though wanton'': Marston's Metamorphosis of Pigmalions Image 139 That fayre Image 142 As strange a transformation wrought by mee 147 Women's wants and men's perfections 154 My wondrous metamorphosis 160 5 “Poor instruments'' and unspeakable events in The Rape of Lucrece 166 Stony ladies 166 Lucrece's tongue 171 The fault is thine 175 She is not her own 181 Poor instruments 190 Where breath most breathes 201 6 “You speak a language that I understand not'': the rhetoric of animation in The Winter's Tale 212 “Shall I be heard?'' 215 “Not Guilty'' 224 “Be stone no more'' 235 Notes 241 1 PURSUING DAPHNE 241 2 MEDUSA'S MOUTH: BODY AND VOICE IN THE METAMORPHOSES 251 3 EMBODIED VOICES: AUTOBIOGRAPHY AND FETISHISM IN THE RIME SPARSE 258 4 “BE NOT OBSEANE THOUGH WANTON”: MARSTON'S METAMORPHOSIS OF PIGMALIONS IMAGE 266 5 “POOR INSTRUMENTS” AND UNSPEAKABLE EVENTS IN THE RAPE OF LUCRECE 267 6 “YOU SPEAK A LANGUAGE THAT I UNDERSTAND NOT”: THE RHETORIC OF ANIMATION IN THE WINTER'S TALE 271 Index 279 "This book analyzes the complex, often violent connections between body and voice in Ovid's Metamorphoses and narrative, lyric, and dramatic works by Petrarch, Marston, and Shakespeare. Lynn Enterline describes the foundational yet often disruptive force that Ovidian rhetoric exerts on early modern poetry, particularly on representations of the self, the body, and erotic life. Paying close attention to the trope of the female voice in the Metamorphoses, as well as early modern attempts to ventriloquize women's voices that are indebted to Ovid's work, she argues that Ovid's rhetoric of the body profoundly challenges Renaissance representations of authorship as well as conceptions about the difference between male and female experience. This book makes a contribution to the study of Ovid's presence in Renaissance literature."--Jacket This persuasive book describes the complex, often violent connections between body and voice in Ovid's Metamorphoses and narrative, lyric and dramatic works by Petrarch, Marston and Shakespeare. Lynn Enterline analyzes what happens when Renaissance authors revisit Ovid's stories of violence and desire, paying close attention to the ways in which his subversive representations of gender, sexuality and the body influence later conceptions of the self and erotic life. This vividly original book makes a profound contribution to the study of Ovid's presence in Renaissance literature. This persuasive book describes the complex, often violent connections between body and voice in Ovid's Metamorphoses and works by Petrarch, Marston and Shakespeare. Lynn Enterline brilliantly reveals how Ovid's stories of violence and desire disturb Renaissance conceptions of authorship and what makes the difference between male and female experience

profoundly Original Study Of Ovid's Troubling Presence In Renaissance Representations Of Gender And Desire.