humanism,
Petrarchism, courtiership, and literary sophistication; but
Many of the contributors, to no surprise, draw on
Petrarchism throughout, whether to emphasize that literary style's contextual importance or, in the case of Ian Frederick Moulton's fascinating contribution, using Petrarch's sonnets as a gateway to draw the reader's attention to other comparative modes of literary and contextual analysis.
Press, 1982), 125; Unn Falkeid, "Petrarch's Laura and the Critics," MLN 127 Supplement (2012): 21; Peter Hainsworth, Petrarch the Poet: An Introduction to the Rerum vulgarium fragmenta (London: Routledge, 1988), 118; Heather Dubrow, Echoes of Desire: English
Petrarchism and Its Counterdiscourses (Cornell U.
Gordon Braden tambien considera que sor Juana probablemente conocio a Petrarca a traves de poetas espanoles de finales del siglo dieciseis y principios del diecisiete: "Her principal contact with literary
Petrarchism would have been through its later Spanish practitioners, Francisco de Quevedo and especially Luis de Gongora, who gave his name to a style of vehement intricacy that the usual term 'baroque' hardly begins to cover" (133).
Petrarchism, at the time the most famous language of interaction between a man and a woman, was employed as a model.
His study rereads Renaissance
Petrarchism as English medievalism.
(Sonnet 13) In european and English tradition of
petrarchism, transformed into its opposite of anti-petrarchism, a long way lead to this text in 1590s.
This is not a radical departure from traditional
Petrarchism, as DuBrow notes in Echoes of Desire: English
Petrarchism and Its Counterdiscourses: "This tempestuous tossing back and forth between representations of success and failure, agency and impotence, and control and helplessness is, then, at the core of Petrarch's poetry and that of many of his followers as well." (13) Yet, the uniqueness of Barrett's sonnet sequence lies in how spatial tropes orient and organize desire and its expression.
In the cultural sphere, the spread of humanism and
Petrarchism provided new, and thus in some senses liberating, but also imitative, and therefore stultifying, paradigms.
Hertel tests his argument against such familiar touchstones as John Knox's "monstrous regiment of women," Queen Elizabeth's speech to her troops at Tilbury, the Ditchley portrait, Kantorowicz on the king's two bodies, Laqueur on the one-sex model of gender difference, male womb envy, and the gender politics of English
Petrarchism. Yet when the author turns to Marlowe's Edward II, he touches only briefly on the play's implications as a commentary on Elizabeth's rule; he concludes that its real concern "is not whether national identity is gendered masculine or feminine but rather whether there is any space for it in a country torn into rival factions incited by the struggle for personal interests" (224).
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Petrarchism and Perspectivism in Garcilaso's Sonnets (I, X, XVIII, XXII)." Modern Language Review 108 (2013): 863-80.