By Karin E. Olsen, Jan R. Veenstra
Ever because the center a while the Otherworld of Faerie has been the article of great highbrow scrutiny. What technological know-how finally disregarded as ethereal nothings was once given a neighborhood habitation and a reputation through paintings. This e-book provides a few of the major chapters from the heritage and culture of otherworldly spirits and fairies within the folklore and literature of the British Isles and northern Europe. In 11 contributions assorted specialists care for a number of the major difficulties posed by way of the scholarly and inventive war of words with the Otherworld, which not just fuelled the mind's eye, but in addition ended in the last word redundancy of realized perceptions of that Otherworld because it was once ultimately obfuscated via the readability of an enlightened age. participants contain: Henk Dragstra, John Flood, Julian Goodare, Tette Hofstra, Robert Maslen, Richard North, Karin E. Olsen, David J. Parkinson, Rudolf Suntrup, Jan R. Veenstra, and Helen Wilcox.
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Additional resources for Airy Nothings : Imagining the Otherworld of Faerie from the Middle Ages to the Age of Reason : essays in honour of Alasdair A. MacDonald
The second throws historical accuracy to the winds and represents the Siege of Vienna as an orientalist extravaganza, with giant horses and elephants. The narrative, then, journeys from a state of profound uncertainty regarding the relationship between the imagination and real life—implying the very real dangers of succumbing to the allure of imagined power—to an unabashed celebration of fiction, unalloyed by any fear about confusing the factual and the fantastic. The book looks like a conscious effort to move prose fiction forward from the old-fashioned view of it as a form of pedagogy, in tune with the agendas of religious reformers, to a proto-modern celebration of imaginative writing for its own sake.
Jones (see above, n. 16), pp. 45–50. marlowe’s ghost 13 if this is what made it controversial, then both writer and printer may have deemed it prudent to claim that it originated several years before the playwright’s murder. It remains to be seen, then, how far the text can be read as I’ve suggested; how far, in fact, the Second Report of Doctor John Faustus might have given its early readers a second report on Marlowe, to set alongside the infamous calumnies of the Baines Note. Fictions of Fiction in the Second Report The narrative of the Second Report is divided into two neat halves, each of which derives its tone and content from one of Marlowe’s plays.
The winged boy holds in his hands a flaming torch like an extra in a play ‘to give light to the after-commers and beholders’; and one beholder, Wagner, is intensely conscious that the person he takes for Faustus is not the man himself, despite the impulse he has to greet him as his former master (‘so naturall was his semblaunce, so lively his countenaunce, as if it had eyther beene a new Faustus, or not the olde murthered Faustus’). Finally, after the pageant is over Wagner is quick to dismiss it as a baseless mirage: ‘an illusion[,] dream, or a temptation, or else some conceite proceeding from his moiste and melancholicke fantasie, overprest with too many vapors, raised up by continuall thought into his Pores’ (sig.