R-3 Repository :: Browsing by Author "Campana, Joseph"

Browsing by Author "Campana, Joseph"

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A Guide to Ralph Vaughan Williams’ Two Vocal Duets: A History and Musical Analysis of His First Settings of Walt Whitman
(2014-04-24) DeLoach, Marcus; Bailey, Walter B.; King, Stephen; Al-Zand, Karim; Campana, Joseph
Vaughan Williams composed the two duets, “The Last invocation” and “The Love-song of the Birds” for soprano, baritone, and violin with pianoforte (and string quartet ad lib.) in 1904. This study examines these two works, which were designed to be performed together, their origins, and the people and places associated with their premiere performances in Reading and London. It also discusses the biographies of the singing duo that premiered the work, Arthur Foxton Ferguson and Beatrice Spencer, and explores the Wagnerian influences in the music. Walt Whitman’s transcendental poetry, its appeal to Vaughan Williams, and the techniques by which the composer adapted and manipulated his chosen texts are discussed in detail. Through an examination of the various manuscript versions of the “The Love-song of the Birds” (all held in the British Library), the author proposes a chronology for the revisions of the work. Following its premiere performances, Vaughan Williams, and subsequently his wife Ursula after the composer’s death in 1958, suppressed Two Vocal Duets until 1996. This paper explores that suppression and argues why the materials, which were premiered in the same year as the song cycles The Songs of Travel and The House of Life, should now be published and made available to the public.
A Theology of Simultaneity in Early Modern Poetry: Spenser, Milton, and Donne
(2021-06-15) Sherrier, Lindsay E.; Campana, Joseph
This dissertation argues that, to better understand post-Reformation shifts in eschatology and conceptions of theological embodiment, a deeper engagement with the role of time in related early modern poetry must occur. In conversation with current scholarship on early modern temporal studies, I examine poetry by Edmund Spenser, John Milton, and John Donne to illustrate their poetic depictions of simultaneity in their representations of such theological issues as remembrance, repentance, and resurrection. For these authors, simultaneity (defined as two different events, characteristics, etc. occurring at the same time) serves as a productive vehicle for negotiating the, often paradoxical, tensions of time within Christianity. In chapters devoted to such works as Spenser’s The Faerie Queene, Milton’s Paradise Lost, and Donne’s Metempsychosis, I demonstrate how these authors use simultaneity to illustrate the generative role of memory in the believer’s understanding of the sacraments, repentance, and the broader history of salvation. I also contend that simultaneity is employed to answer the temporal concerns surrounding the bodily resurrection and to portray eternity—not as an inert timelessness—but as the continuous, dynamic experience of union with God. My readings are on a variety of poetic genres, such as epics, sonnets, and elegies, and includes examinations of early modern sermons. I also engage with early modern scholarship not only on time and religion but also on memory, reproduction, and poetics. I offer new connections between scholarly topics—such as describing resurrection as a reproductive act or framing moral alignment as an issue of time—and expand the critical work of early modern temporal studies by moving beyond the traditional past, present, and/or future framework. As a whole, this dissertation demonstrates how simultaneity is an overarching concept throughout the sixteenth and seventeenth centuries—manifesting in theological, philosophical, and literary thought—and, as such, illuminates the importance of broadening early modern studies to include a serious examination of this temporal structure.
The Bee and the Sovereign? Political Entomology and the Problem of Scale
(Fairleigh Dickinson University Press, 2013) Campana, Joseph
Boy Toys and Liquid Joys: Pleasure and Power in the Bower of Bliss
(The University of Chicago Press, 2009) Campana, Joseph
Ecologies of Innovation: Economy, Empire, and Environment in Eighteenth-Century British Literature
(2021-04-29) MacDonnell, Kevin T.; Campana, Joseph; Ellenzweig, Sarah
“Ecologies of Innovation: Economy, Empire, and Environment in Eighteenth-Century British Literature” examines how eighteenth-century literature shaped the reception and articulation of innovative modes of production in the Atlantic world. “Innovation” is a concept that is now as ubiquitous as it is elusive. And yet, attending to the cultural histories of innovation is essential to understanding our moment, from the conceptual foundations of global capitalism to the environmental legacies of colonialism. This project explores literary encounters with innovations in mining, shipping, plantation agriculture, and manufacturing that not only advanced Britain’s imperial ascendancy but also registered as forms of capitalist enterprise legible on a planetary scale. From Daniel Defoe, to Olaudah Equiano, to James Grainger, British writers negotiated the conventions of eighteenth-century literary culture with the innovations that were enabling capital accumulation and territorial expansion. By analyzing the interplay of literary and technical discourse in eighteenth-century Britain, I recast paradigmatic modes of the period’s literary culture—the novel, aesthetic philosophy, the slave narrative, and the georgic—as means of turning toward and responding to innovation. In the end, “Ecologies of Innovation” traces a prehistory of our troubled relationship with innovation, illustrating how and to what extent literature and language shaped the early expression of colonial capitalism.
Fashion and the Shifting Semiotics of Sex and Gender in Modernist Lit and Culture
(2018-04-19) Rindell, Suzanne; Roof, Judith; Campana, Joseph
Early 20th century women’s fashion increasingly included the trope of “borrowing” – a trend that translated into women appropriating styles previously reserved for other subjectivities (children, men, athletes, blue-collar workers, etc). These borrowed fashions engaged an ambiguous semiotics that enabled multiple “readings” (linking a specific fashion to the demographics of a specific subjectivity) to exist simultaneously, and in some cases provided the occasion for opposite readings to exist simultaneously. This dissertation surveys a series of examples found in literature and popular culture during the early 20th century (focusing primarily on the 1920s and 1930s), analyzing the ways these “borrowed” women’s fashions collectively create a semiotic mechanism that fluidly negotiates the shifting terrains of gender representation and sexual desire – at some intervals easing cultural resistance to “transgressive” genders and desires, and in other instances underscoring previously existing regimes of heteronormative conformity.
Fictional Texts, Imaginary Performances, and Historiographic Desire in Renaissance England
(2020-04-23) Choate, Evan; Campana, Joseph
Why do we care about the past? How does caring about the past enable historicism? This project answers such questions by attending to the methodological innovations of Reformation historians as they were refined and literalized in the English Renaissance theater. We cannot understand the productive tensions among history, desire, and subjectivity that persist to this day without understanding the reciprocal developments in dramatic form and historiographic method that emerged from the crucible of the Reformation. Sixteenth-century Protestant historians such as John Foxe both recount and provoke a desire that produces history as a series of performances in which we are all simultaneously readers, writers, audiences, and actors. The productive tension between the objectivity that Foxe wants from history and his awareness of the inherent subjectivity of actually producing history is a discursive engine. Foxe uses the theater as the central metaphor for his historiography, and his reorientation of popular conceptions of the past was central to the rapid innovations in dramatic form in Renaissance England. The late-Elizabethan theater, unique in sixteenth-century Europe, sold plays both as performances and as printed texts. The need to appeal to both audiences and readers ensures that the question of why we should care about history is baked into the history play as a commercial genre. The remarkable metatheatricality of late-Elizabethan history plays literalize the methodological gestures of Reformation historiography. They consistently stage the histories of their own production and reception in ways that frame many of the cruxes that continue to occupy scholars today. Criticism is not distinct from the representational dynamics it studies. Rather, modern scholars participate in an ongoing performance of textual proliferation marked not by exhilaration or satisfaction, but by frustration, boredom, and paranoia. Far from blunting the appeal of history, our persistence in spite of the manifest impossibility of satisfaction attests to the continued power of historiographic desire to produce vertiginous sequences of imaginary performances and fictional texts.
Killing Shakespeare's Children: The Cases of Richard III and King John
(Taylor & Francis, 2007) Campana, Joseph
This essay explores a series of affective, sexual and temporal disturbances that Shakespeare's child characters create on the early modern stage and that lead these characters often to their deaths. It does so by turning to the murdered princes of Richard III and the ultimately extinguished boy-king Arthur of King John. A pervasive sentimentality about childhood shapes the way audiences and critics have responded to Shakespeare's children by rendering invisible complex and discomfiting erotic and emotional investments in childhood innocence. While Richard III subjects such sentimentality to its analytic gaze, King John explores extreme modes of affect and sexuality associated with childhood. For all of the pragmatic political reasons to kill Arthur, he is much more than an inconvenient dynastic obstacle. Arthur functions as the central node of networks of seduction, the catalyst of morbid displays of affect, and the signifier of future promise as threateningly mutable. King John and Richard III typify Shakespeare's larger dramatic interrogation of emergent notions of childhood and of contradictory notions of temporality, an interrogation conducted by the staging of uncanny, precocious, and ill-fated child roles.
Narrative Durations: Time at the Intersection of Music and Twentieth-Century Literature
(2018-05-31) Boyd, Sydney; Roof, Judith; Campana, Joseph
Spanning British and American literature, “Narrative Durations: Time at the Intersection of Music and the Twentieth-Century Novel” defines the twentieth century as an era of experimentation with musical time. While most turn to philosophical and scientific paradigms to understand evolving conceptions of temporality in the twentieth century, authors and composers constitute vital interlocutors in that conversation. By examining novels in which music and temporality play essential roles, my dissertation posits that musical terms such as leitmotif, counterpoint, timbre, and overtone, which govern conceptions of time in a musical work, affect literary renditions of temporal perception. Such a study fosters a cross-disciplinary analysis where evocations of music transform a text, where the shared qualities of duration, rhythm, metric experience, and voice reap a distinctive formulation of reoriented literary time. Scholarly efforts to isolate musical experience manifest in layers of unproductive rhetorical disassociation that use metaphor and analogy to claim that James Joyce’s Ulysses is like a fugue for instance. In E. M. Forster’s 1927 narrative treatise Aspects of the Novel, he notes: “When people apply rhythm or pattern to literature they are apt not to say what they mean and not finish their sentences” (102). Here Forster addresses the problem of understanding musical import in twentieth-century literature overall, where assessing music in a text without a methodology of comparison means grappling with a stubborn, centuries-old paradox of contained disorder. “There is an imaginary in music whose function is to reassure, to constitute the subject hearing it,” as Roland Barthes writes in his 1977 study Image-Music-Text (179). Tracing the controlled imaginary of music in a text means accepting a transformation of contemporary awareness, where bodies exist in space and time, where one listens to and creates alternative environments that provoke new experiences, and in turn, where musical systems continually redefine what it means to be human.
On Not Defending Poetry: Spenser, Suffering, and the Energy of Affect
(The Modern Language Association of America, 2005) Campana, Joseph
Shakespeare's Children
(Wiley, 2011) Campana, Joseph
Shakespeare had a thing for children. Ann Blake counts 30, Mark Heberle 39, Mark Lawhorn 45, and Carol Chillington Rutter counts well over 50 child parts. What it means that Shakespeare included more child figures in his plays and poems than his contemporaries remains an incitement to conversation as a recent burst of scholarship makes evident. That this interest follows the institutionalization of the study of childrenﾒs literature and the formation of childhood studies programs is instructive. Approaches taken by humanities scholars may not hold the same political sway as psychological or sociological studies, some of which have real implications for the policies and standards that impact the lives of actual children. But since attempts to tell the history of childhood often produce fantasies of the ideal, sentimental child, the works of Shakespeare offer an opportunity to understand constructions and fictions of childhood in a time of the rapidly shifting cultural and historical valuation of children. This essay examines central questions and problems in the study of early modern child figures, reviews past approaches to and recent publications on early modern children, suggests topics yet to be explored in the context of the child figures of Shakespeare and his contemporaries (sexuality, temporality, sovereignty, humanity, and economy), and concludes by suggesting we think of Shakespeareﾒs children not as strictly historical or affective objects but, rather, as figures pressed to signify with respect to cultural expectations of value, sovereignty, and futurity.
The Child's Two Bodies: Shakespeare, Sovereignty, and the End of Succession
(Johns Hopkins University Press, 2014) Campana, Joseph
The narrative development of the dramatic monologues of Thomas Hardy
(1960) Goins, Lovene Peterson; McKillop, Alan D.; Campana, Joseph; Wilson, Joseph
The State Of England's Camp: Courtesans, curses, and the violence of style in The Unfortunate Traveller
(Taylor & Francis, 2007) Campana, Joseph
Thomas Nashe's mystifying The Unfortunate Traveller offers few clues to explain its fundamental purpose, its grotesque depictions of violence, its outrageous rhetoric, or its relationship to forms of linguistic, literary, and social authority. While this text begins amidst Henry VIII's conquests, one soon realizes that ‘the state of England's camp’ in Nashe's early modernity pertains both to the military encampment and to incidences of outrageous, ironic theatrical citation that occur within those encampments and that are now associated with the term ‘camp.’ As Jack Wilton strays from the dangerous pranks of England's camps to the degenerate pleasures of Italy, his textual performance oscillates between dissembling, feminine persuasion, associated with the courtesan (who was, for Nashe, a figure of the writer) and brutal, unforgiving masculine force, associated with the vengeful curses of the blasphemer. Nashe's prose explores degraded forms of orality (speaking, tasting, and eating) with a theatrical morbidity that reveals the subject of The Unfortunate Traveller to be the development of a style to balance the limitless violence of rhetorical assertion with the effeminizing effects of commercial publication. As Nashe's parodic compensations for the lived contradictions of gender, commerce, and writing backfire spectacularly, the style and subject of The Unfortunate Traveller truly emerge.
Theophanic Reasoning: Science, Secrets, and the Stars from Spenser to Milton
(2020-10-08) McAdams, Alexander Lowe; Campana, Joseph; Ellenzweig, Sarah
Theophanic Reasoning: Science, Secrets, and the Stars from Spenser to Milton posits that early modern English literary figures use the concept of theophany, the material or transferred presence of God in the terrestrial world, to respond to the vacuum of doubt instigated after Nicolaus Copernicus published his astronomical observations in 1543. From heretical theories of the world-soul expressed through pagan Roman myth in Spenserian epic and Shakespearean drama, to the deeply spiritual and lively negotiation between man and the divine in Francis Bacon’s scientific writings and John Milton’s Paradise Lost, Theophanic Reasoning argues that Protestant writers use theophany as a cipher to reason, or rationalize, the anxiety accompanying the scientific method, which threatened to eliminate God the Maker from the universe entirely. As a literary history of religion and science, Theophanic Reasoning makes a critical intervention between religious studies and the history of science. In doing so, it argues that seventeenth-century literature acts as the gravitational force that pulls these now-disparate fields into cooperating orbits. Whereas current literary scholarship focuses on the history of science or the “religious turn” as separately evolving critical conversations, this dissertation returns to the original historical milieu of the seventeenth century by forging careful analysis of historical materials and Latin philosophical texts with recent research in Christian mystical theology and the esoteric branch of the history of science discipline. Thus, Theophanic Reasoning addresses a crucial gap in scholarship between literature and religion and literature and the long history of science. At the heart of this project is the early modern brokering between the ontological status of truth and lies, belief and proof. It argues that Protestant believers used verifiable proof of God’s presence—in the cosmos, in the atmosphere, on the human body—to explain and further buoy scientific experiment and reality. It seeks to answer the question of what happens to literature when two giant cultural shifts, the Protestant Reformation and the Cosmological Revolution, threaten to rend the very fabric of religious and intellectual life in England. With particular attention to early modern understandings of facticity and sensory experience, Theophanic Reasoning provides a religio-scientific reading practice to redefine the secularizing impulse of contemporary literary criticism. In turn, this dissertation seeks to restore the divine to its place in early modern conceptions of science, secrets, and the stars.

Browsing by Author "Campana, Joseph"

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