Renaissance Responses to Classical Genre Theory: Additional Recommended Readings

 

On Plato: 

 

Julia Annas, An Introduction to Plato's Republic (Oxford: Oxford University Press, 1981) 

 

A. S. Becker,  “A Short Essay on Deconstruction and Plato's Ion,” Electronic Antiquity, 1 (1993).

 

J. A Elias, Plato’s Defence of Poetry (Albany: State University of New York Press, 1984).

 

G. R. F. Ferrari, “Plato and Poetry,” in The Cambridge History of Literary Criticism, Vol. 1., ed. G. A. Kennedy (Cambridge: Cambridge University Press, 1989), 92–148.

 

W. C. Greene, “Plato's view of Poetry,” Harvard Studies in Classical Philology 29 (1918), 1–75.

 

Stephen Halliwell, The Aesthetics of Mimesis: Ancient Texts and Modern Problems (Princeton: Princeton University Press, 2002).

 

Christopher Janaway, Images of Excellence: Plato's Critique of the Arts (Oxford: Oxford University Press, 1998).

 

Jessica Moss, “What Is Imitative Poetry and Why Is It Bad?,” in The Cambridge Companion to Plato's Republic, ed. G.R.F. Ferrari (Cambridge: Cambridge University Press, 2007).

 

Glenn Most, “Mimesis,” in The Routledge Encyclopedia of Philosophy, ed. E. Craig (London: Routledge, 1998), vol. 6, 381–82.

 

Stanford Encyclopedia of Philosophy http://plato.stanford.edu/entries/plato-rhetoric/

 

On Aristotle’s Poetics: 

 

Gerard Else, Plato and Aristotle on Poetry (Chapel Hill: University of North Carolina Press, 1986).

 

Marvin Herrick, The Poetics of Aristotle in England (New Haven: Yale University Press, 1930).

Philip McMahon, “Seven Questions on the Aristotelian Definitions of Tragedy and Comedy,” Harvard Studies in Classical Philology 40 (1929), 97-198.

 

Elder Olson, ed, Aristotle’s “Poetics” and English Literature (University of Chicago Press, 1965).


Charles B. Schmitt, Aristotle and the Renaissance (Cambridge, MA: Harvard University Press, 1983).

 

On Horace, Ars Poetica: 

 

Leon Golden, “The Reception of the Ars Poetica,” in A Companion to Horace, ed. G. Davis (Oxford: Blackwell, 2010).

 

On Donatus:

 

M. J. Hilger, The Rhetoric of Comedy: Comic theory in the Terentian Commentary of Aelius Donatus (PhD, Univ. of Nebraska, 1970).

On Renaissance genre theory:

Gavin Alexander, ed., Sidney's The Defence of Poesy and Selected Renaissance Literary Criticism (New York: Penguin, 2004).

 

J. W. Binns, ed & trans, Latin Treatises on Poetry from Renaissance England (Signet Mountain, TN: Summertown Texts, 1999).

Sarah Dewar-Watson, “Aristotle and Tragicomedy,” in Early Modern Tragicomedy, ed. Subha Mukherji, and Raphael Lyne (Cambridge, 2007), 15-27.

Vernon Hall, Renaissance Literary Criticism: A Study of its Social Content (Madison: University of Wisconsin Press, 1940).


Kristine Louise Haugen, “The Birth of Tragedy in the Cinquecento: Humanism and Literary History,” Journal of the History of Ideas 72:3 (2011), 351-370.

Robert Matz, Defending Literature in Early Modern England: Renaissance Literary Theory in Social Context (Cambridge: Cambridge University Press, 2000).

Paula H. Payne, “Tracing Aristotle's "Rhetoric" in Sir Philip Sidney's Poetry and Prose,” Rhetoric Society Quarterly 20:3 (1990), 241-250.

Timothy J. Reiss, “Renaissance Theatre and the Theory of Tragedy,” The Cambridge History of Literary Criticism, vol. 3: The Renaissance, ed. Glyn Norton (Cambridge University Press, 1999), 229-247.

J. C. Scaliger, Select Translations from Scaliger’s Poetics, ed. and trans. Frederick Morgan Padelford (New York, 1905).

Joel Spingarn, Literary Criticism in the Renaissance (New York: Columbia University Press, 1908).

Bernard Weinberg, A History of Literary Criticism in the Italian Renaissance, vol. 1 & 2 (Chicago: University of Chicago Press, 1961). 

On Hecuba:

Christian M. Billing, “Lament and Revenge in the Hekabe of Euripides,” New Theatre Quarterly 23.1 (2007), 49–57.

 

Malcolm Heath, “‘Jure principem locum tenet’: Euripides’ Hecuba,” Bulletin of the Institute of Classical Studies 34 (1987), 40–68.

 

Judith Mossman, Wild Justice: A Study of Euripides’ Hecuba (Oxford, 1995).

 

On Alcestis:

 

Justina Gregory, “Comic Elements in Euripides,” Illinois Classical Studies 24–25 (1999–2000), 69–72.

 

Michael Lloyd, “Euripides’ Alcestis,” Greece & Rome 2nd Series, 32:2 (1985), 119-131.

 

Charles Segal, “Euripides' Alcestis: Female Death and Male Tears,” Classical Antiquity 11:1 (1992), 142-158.

 

On Heliodorus:

Shadi Bartsch, Decoding the Ancient Novel: The Reader and the Role of Description in Heliodorus and Achilles Tatius (Princeton: Princeton University Press. 1989).

J. W. H. Walden, “Stage-Terms in Heliodorus’s Aethiopica,” Harvard Studies in Classical Philology 5 (1894), 1-43.

JJ Winkler, “The Mendacity of Kalasiris and the Narrative Strategy of Heliodorus' Aithiopika,” Yale Classical Studies 27 (1982), 93-158.

 

Carol Gesner, Shakespeare and the Greek Romance: A Study of Origins (Lexington: University Press of Kentucky, 1970).

 

Steven Mentz, Romance for Sale in Early Modern England: The Rise of Prose Fiction (Aldershot: Ashgate, 2006).

 

James Pletcher, “Euripides in Heliodorus’ Aethiopiaka 7-8,” GCN 9 (1998), 17-27.

 

Tim Whitmarsh, ed, The Cambridge Companion to the Greek and Roman Novel (Cambridge: Cambridge University Press, 2008).

 

Tim Whitmarsh, Narrative and Identity in the Ancient Greek Novel: Returning Romance (Cambridge: Cambridge University Press, 2011).

 

Samuel Wolff, The Greek Romances in Elizabethan Prose Fiction (New York: Columbia, 1902).

On Plautus:

Richard C. Beacham, The Roman Theatre and its Audience (Cambridge:  Harvard UP, 1992).

George E. Duckworth, The Nature of Roman Comedy:  A Study in Popular Entertainment (Princeton:  Princeton UP, 1952).

Kathleen McCarthy, Slaves, Masters, and the Art of Authority in Plautine Comedy (Princeton: Princeton UP, 2000).

On Comedy of Errors:

John Arthos, “Shakespeare's Transformation of Plautus,” Comparative Drama 1 (1967), 239-253.

Joseph Candido, “Dining Out in Ephesus: Food in The Comedy of Errors,” SEL: Studies in English Literature, 1500-1900 30.2 (1990), 217-41.

Louise George Clubb, “Italian Comedy and the Comedy of Errors,” Comparative Literature 19:3 (1967), 240-251.

The Comedy of Errors: Critical Essays, ed. Robert S. Miola (New York: Garland, 1997).

 

Eric Dodson-Robinson, “A Thousand Marks”: Language and Comic Violence In The Comedy Of Errorsand Shakespeare’s Plautus,” Journal of the Wooden O Symposium 9 (2009), 33-42.

 

Jennifer Low, “Door Number Three: Time, Space, and Audience Experience in The Menaechmi and Comedy of Errors,” in Imagining the Audience in Early Modern Drama, ed. Low and Nova Myhill (Palgrave, 2011), 71-92.

Raphael Lyne, “Shakespeare, Plautus, and the Discovery of New Comic Space,” in Shakespeare and the Classics, ed. Charles Martindale and A. B. Taylor (Cambridge, Cambridge UP, 2004), 122-38.

Robert S. Miola, Shakespeare and Classical Comedy: The Influence of Plautus and Terence (Oxford: Oxford University Press, 1994).

Wolfgang Riehle, Shakespeare, Plautus, and the Humanist Tradition (Rochester: D. S. Brewer, 1990).

Martine Van Elk, “’This SympathizŹd One Day's Error’: Genre, Representation, and Subjectivity in The Comedy of Errors,” Shakespeare Quarterly 60.1 (2009), 47-72.

On Hamlet:

Katharine Goodland, Female Mourning in Medieval and Renaissance English Drama (Aldershot: Ashgate, 2006), 171-200.

 

Robert Miola, “Aeneas and Hamlet,” Classical and Modern Literature 8 (1988), 281-86.

Robert Miola, Shakespeare and Classical Tragedy: The Influence of Seneca (Oxford: Oxford University Press, 1992).

Louise Schleiner, “Latinized Greek Drama in Shakespeare’s Writing of Hamlet,” Shakespeare Quarterly 41:1 (1990), 29–48.

 

Marina Warner, “’Come to Hecuba’:Theatrical Empathy and Memories of Troy,” The Shakespearean International Yearbook 11 (2011), 61-87.

On The Winter’s Tale

Sarah Dewar-Watson, ‘The Alcestis and the Statue Scene in The Winter’s Tale’, Shakespeare Quarterly 60:1 (2009), 73-80. 

Stuart Gillespie, “Shakespeare and Greek romance: ‘Like an old tale still’,” in Shakespeare and the Classics, ed. Charles Martindale and A. B. Taylor (Cambridge, 2004), 225-237.

 

Robert Henke, Pastoral Transformations: Italian Tragicomedy and Shakespeare's Late Plays (Newark: University of Delaware Press, 1997).

 

Joseph Roach, “’Unpath’d Waters, Undream’d Shores’: Herbert Blau, Performing Doubles, and the Makeup of Memory in The Winter's Tale,” Modern Language Quarterly 70:1 (2009),117-131.

 

Michael Steffes, “The Ancient Greek Wild in The Winter's Tale,” Renaissance and Reformation/Renaissance et Réforme 27.4 (Fall 2003), 31-51.

 

A. D. Nuttall, “The Winter's Tale: Ovid Transformed,” in Shakespeare's Ovid: The Metamorphoses in the Plays and Poems, ed. A. B. Taylor (Cambridge: Cambridge University Press, 2000), 135-49.

 

Additional Readings on Renaissance Classical Reception:

T. W. Baldwin, William Shakspere’s Small Latine and Lesse Greeke. 2 vols (Urbana: University of Illinois Press, 1944).

R. R. Bolgar, The Classical Heritage and its Beneficiaries (Cambridge: Cambridge University Press, 1954).

Gordon Braden, Renaissance Tragedy and the Senecan Tradition (New Haven: Yale University Press, 1985).

Lynn Enterline, Shakespeare’s Schoolroom (Philadelphia: University of Pennsylvania Press, 2012).

Alistair Fowler, “The Formation of Genres in the Renaissance and After,” New Literary History 34:2 (2003), 185-200.

Heather James, Shakespeare’s Troy (Cambridge: Cambridge University Press, 1997).

Charles Martindale and A. B. Taylor, eds, Shakespeare and the Classics (Cambridge: Cambridge University Press, 2004).

 

Charles Martindale and Richard F. Thomas, eds, Classics and the Uses of Reception (Oxford: Oxford University Press, 2006). 

Bruce Smith, Ancient Scripts and Modern Experience on the English Stage 1500-1700 (Princeton: Princeton University Press, 1988)

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