“The Error of our Eye Directs our Mind: Shakespeare on Romantic Misapprehension”
Wednesday, February 13
4:30pm, McCosh B45
Rhodri Lewis (Fellow and Tutor in English, St. Hugh’s College, Oxford)
“The Error of our Eye Directs our Mind: Shakespeare on Romantic Misapprehension”
Wednesday, February 13
4:30pm, McCosh B45
Rhodri Lewis (Fellow and Tutor in English, St. Hugh’s College, Oxford)
Session on the Profession
Friday, November 16
12:00pm, Hinds Library
Prof. Passannante received his Ph.D. from Princeton in 2007 and will be talking briefly about the genesis of his recently published book, The Lucretian Renaissance: Philology and the Afterlife of Tradition, which started as his dissertation. He will also answer questions about the dissertation process, the job market, and any other profession-related queries you may have.
“Catastrophizing: On Reading Disastrously in Shakespeare and Montaigne”
Thursday, November 15
6:00pm, McCosh 40
Gerard Passannante (Associate Professor, University of Maryland)
“Homely Language and the Language of Homily: John Donne’s Sermons”
Thursday, October 11
4:30pm, Hinds Library
“Wyatt, Surrey, and the Poetics of Attainder”
Thursday, May 3
4:30pm, McCosh 40
Molly Murray (Associate Professor of English and Comparative Literature, Columbia University)
“Political Theology, Democracy, and Liberal Culture: The Case of Spinoza”
Wednesday, April 18
12:00pm, Hinds Library
“Milton and Imitation”
Tuesday, March 13
6:00pm, McCosh 40
Colin Burrow (Senior Research Fellow, All Souls College, Oxford)
Workshop: “Decision, Possession: The Time of Law in The Winter’s Tale and the Sonnets”
Tuesday, December 6
12:00pm, McCosh B45
“Sonnet Being”
Monday, December 5
4:30pm, McCosh 26
This paper explores the strains endured by classical conceptions of tragedy when a protagonist who labors is forced upon it. Milton’s Samson, chained to his giant mill wheel, is trapped at a level below that of heroic action, history, and even genuine tragic suffering. At the same time, his labor adumbrates a universalism that, for later thinkers such as Hegel and Kierkegaard, characterizes all genuine tragic fictions. The torsion exerted on tragic drama by Milton’s laboring hero is symptomatic, I claim, of a dilemma afflicting tragedy more broadly in the modern era.
Richard Halpern (Sir William Osler Professor of English, Johns Hopkins University)