Titlebook: Eros and Poetry at the Courts of Mary Queen of Scots and James VI; Sarah M. Dunnigan Book 2002 Sarah M. Dunnigan 2002 artefact.body.corpus

athlete’s-foot

limber

Devotional Artefacts: John Stewart and the Eroticisation of the Courtlyn world yet is also centred upon the courtly self (the courtliness ‘within’, as it were), and its fragile space of interiority. Stewart’s poetry can justly be said to crystallise the material culture of Jacobean poetic devotion in that the presentation manuscript appears as a ‘lovingly’ assembled te

Sedative

Love’s Altar: Alexander Montgomerie and the Erotics of Representationot apostrophise or imagine the king, but stage their own dramas of erotic desecration and redemption. Desire is frequently ensnared by mortality in Montgomerie’s love poetry; love, fortune and death unite to form a trinity of adversaries. While mortal love is not the explicit subject of Montgomerie’

啞巴

ITCH

Eros and Poetry at the Courts of Mary Queen of Scots and James VI

紋章

crucial

Book 2002in relation to the figure of the monarch, and that the formation of elite lyric culture takes place under the shaping influence of desire for, and against, the sovereign, and her or his ‘passional‘ and symbolic powers.

顛簸地移動(dòng)

2634-5919 onsidered in relation to the figure of the monarch, and that the formation of elite lyric culture takes place under the shaping influence of desire for, and against, the sovereign, and her or his ‘passional‘ and symbolic powers.978-1-349-42369-9978-1-4039-3270-9Series ISSN 2634-5919 Series E-ISSN 2634-5927

cardiac-arrest

https://doi.org/10.1007/BFb0082437 between the end of the major corpus of Jacobean love poetry and the queen’s own end. But 1587, rather than 1603, more persuasively marks the dissolution of the courtly love poetry resting upon the intimate links between the monarch, the courtly environment and literary culture, which this book has explored.

radiograph

Conclusion between the end of the major corpus of Jacobean love poetry and the queen’s own end. But 1587, rather than 1603, more persuasively marks the dissolution of the courtly love poetry resting upon the intimate links between the monarch, the courtly environment and literary culture, which this book has explored.