От французской Плеяды к английскому Ареопагу: защита принципа doctus poeta

MLR, IO 3.1, 2oo8 227 ravaged Poitiers. As 'poetes engagees', theyaddressed royalty in theirpoems. Indeed, Madeleine obtained compensation fromHenri III when Protestants destroyed her property. In terms of the third theme,plume, the intellectualwoman's relationship to her pen dominated theirworks. Not content with theirown accomplishments, they exhorted female readers to follow suit. Larsen's admirable volume makes the des Roches accessible to awider audience, and will prove an indispensable aid toundergraduate teachers. UNIVERSITY COLLEGE LONDON KATHERINE MACDONALD 'The Regrets', with 'TheAntiquities ofRome', Three Latin Elegies, and 'The Defense and theEnrichment of theFrench Language' (A Bilingual Edition). By JOACHIM DU BELLAY. Ed. and trans.by RICHARD HELGERSON. Philadelphia: University of Pennsylvania Press. 2006. 44I PP. ?49. ISBN 978-O-8122-394I-6. This attractive volume provides a faithful modern prose translation ofmajor works by du Bellay, including threeLatin elegies written during his stay inRome ('Romae descriptio', 'AdP. Ronsardum', 'Patriae desiderium'). Richard Helgerson places the original texton the facing page throughout. The French and Latin texts are closely based on the firstprinted edition of each of theworks and retain their spelling and punctuation, with a few minor changes. The original page layout,which contributes to the sense, isalso followed fortheRegrets andA ntiquitez.The notes are kept light ('Au sonien' might be glossed inRegrets, 77, asAusonia is in 'Romae descriptio' (p. 298)), but instructive (see p. 386). Helgerson names as amodel Robert M. Durling's edition of Petrarch 's Lyric Poems (Harvard: Harvard University Press, I976). Helgerson's sensitive introduction stresses the importance ofmonarchie, du Bel lay's dream of the rebirth of the Roman Empire with France as the new Rome. He emphasizes thatno other sixteenth-century European poet wrote asmuch about Rome. No other wrote asmoving a sonnet sequence as Les Regrets or as passionate amanifesto as theDeffence. Helgerson underlines the importance of the everyday in Les Regrets and focuses on sonnet 3 I. He examines the complex Petrarchan legacy in the visionary Antiquitez. He explains why du Bellay sometimes wrote in Latin and studies the beautiful 'Patriae desiderium'. Debts to Speroni, Horace, and Ci cero in theDeffence are examined alongside du Bellay's wish to promote himself, Ronsard, and their friends.The introduction ends with theEnglish reception of du Bellay. The translation, close enough to enable thosewith basic French to follow the ori ginal, is excellent. One might quibble with 'stopper' for 'la bonde' inRegrets, I09 (p. i6o); and inAntiquitez, i8, 'braves palais' is rendered as 'brave palaces' (p. 264), which isnot as apt as 'gallant names' for 'braves noms' inRegrets, i, or as 'whowould puff themselves up' for 'qui voulussent faire des braves' in theDeffence (p. 354). In Antiquitez, 20, 'couver' is translated as 'cover' (p. 267); yet the rhythmand sense of colour are well conveyed in 30. 'La gueule et les ocieuses plumes' of theDeffence are nicely rendered as 'gluttony,and feather-bedded sloth' (p. 380). The Ciceronian 'hyulque', translated as 'choppy' (p. 396), deserved a note. There is a good annotated and critical bibliography. This is an invaluable book. BIRKBECK,UNIVERSITY OF LONDON JEAN BRAYBROOK ...

From J.C. Bach to Hip Hop: Musical Borrowing, Copyright and Cultural Context

Acknowledgments. Introduction. Part I Classical Literary Criticism and Rhetoric. 1 Classical Literary Criticism. Introduction to the Classical Period. Plato (428-ca. 347 BC). Aristotle (384-322 BC). 2 The Traditions of Rhetoric. Greek Rhetoric. Roman Rhetoric. The Subsequent History of Rhetoric: An Overview. The Legacy of Rhetoric. 3 Greek and Latin Criticism During the Roman Empire. Horace (65-8 BC). Longinus (First Century AD). Neo-Platonism. Part II The Medieval Era. 4 The Early Middle Ages. Historical Background. Intellectual and Theological Currents. 5 The Later Middle Ages. Historical Background. Intellectual Currents of the Later Middle Ages. The Traditions of Medieval Criticism. Transitions: Medieval Humanism. Part III The Early Modern Period to the Enlightenment. 6 The Early Modern Period. Historical Background. Intellectual Background. Confronting the Classical Heritage. Defending the Vernacular. Poetics and the Defense of Poetry. Poetic Form and Rhetoric. 7 Neoclassical Literary Criticism. French Neoclassicism. Neoclassicism in England. 8 The Enlightenment. Historical and Intellectual Background. Enlightenment Literary Criticism: Language, Taste, and Imagination. 9 The Aesthetics of Kant and Hegel. Immanuel Kant (1724-1804). Hegel (1770-1831). Part IV Romanticism and the Later Nineteenth Century. 10 Romanticism. Germany. France. England. America. 11 Realism, Naturalism, Symbolism, and Aestheticism. Historical Background: The Later Nineteenth Century. Realism and Naturalism. Symbolism and Aestheticism. 12 The Heterological Thinkers. Arthur Schopenhauer (1788-1860). Friedrich Nietzsche (1844-1900). Henri Bergson (1859-1941). Matthew Arnold (1822-1888). Part V The Twentieth Century: A Brief Introduction. Introduction. 13 From Liberal Humanism to Formalism. The Background of Modernism. The Poetics of Modernism: W. B. Yeats, Ezra Pound, and T. S. Eliot. Formalism. Russian Formalism. The New Criticism. 14 Socially Conscious Criticism of the Earlier Twentieth Century. F. R. Leavis. Marxist and Left-Wing Criticism. The Fundamental Principles of Marxism. Marxist Literary Criticism: A Historical Overview. Early Feminist Criticism: Simone de Beauvoir and Virginia Woolf. 15 Phenomenology, Existentialism, Structuralism. Phenomenology. Existentialism. Heterology. Structuralism. 16 The Era of Poststructuralism (I): Later Marxism, Psychoanalysis, Deconstruction. Later Marxist Criticism. Psychoanalysis. Deconstruction. 17 The Era of Poststructuralism (II): Postmodernism, Modern Feminism, Gender Studies. Jurgen Habermas (b. 1929). Jean Baudrillard (1929-2007). Jean-Fran,cois Lyotard (1924-1998). bell hooks (Gloria Jean Watkins b. 1952). Modern Feminism. Gender Studies. 18 The Later Twentieth Century: New Historicism, Reader-Response Theory, Postcolonial Criticism, Cultural Studies. The New Historicism. Reader-Response and Reception Theory. Postcolonial Criticism. Cultural Studies. Epilogue New Directions: Looking Back, Looking Forward. Index.

Joachim du Bellay’s Les Antiquitez de Rome (1558) is traditionally read as a text about human-made culture: the grandeur and ruin of Rome. Nevertheless, through a moral condemnation of imperial Rome’s pride and its violent origins, Du Bellay describes the effects Rome’s fall had on the nonhuman landscape, thus inviting a re-evaluation of the relation between humans and nonhuman nature. His juxtaposition of the destructiveness of history’s blindness to nature with the landscape’s re-emergence from the ruined remains of Roman culture yields images that challenge us to rethink conservation in relation to a nature that changes over time, and which is inseparable from culture and its ruins, while at the same time redefining the traditional presupposition of what we categorize as ‘nature writing’.

Reviewed by: Reconstructing Alliterative Verse: The Pursuit of a Medieval Meter by Ian Cornelius Jordan Zweck Ian Cornelius. Reconstructing Alliterative Verse: The Pursuit of a Medieval Meter Cambridge: Cambridge University Press, 2017. Pp. 234. $99.99. Recent years have seen a flourishing of publications on the subject of medieval English metrics. The Cambridge Studies in Medieval Literature series alone has produced, along with Ian Cornelius's Reconstructing Alliterative Verse, books by Geoffrey Russom (2017) and Eric Weiskott (2016) on medieval English alliterative poetry. Like these books, Reconstructing Alliterative Verse operates across a long temporal scale, from the seventh through sixteenth centuries, with occasional forays into comparisons with late antique Latin poetry. And like Weiskott and Russom, Cornelius rejects the idea of the so-called "Alliterative Revival" of the fourteenth century, arguing for a continuous tradition of alliterative meter spanning the English Middle Ages, despite the lack of written evidence of such poetry composed c. 1250–c. 1350. The book asks how alliterative meter arose; how it developed over time; and, finally, why it fell out of favor in the fifteenth and sixteenth centuries. In support of its claims, the book also offers a radical revision of how we theorize alliterative meter. Building on the 2008 dissertation of Nikolay Yakovlev, Cornelius describes a system of Old English alliterative meter constructed not around four stressed syllables per line (as in the Sievers five-type system), but rather around four metrical "positions" per line, which are filled by morphemes. Morphological units are not categorized as stressed and unstressed, but rather "strong" or "weak," depending on the part of speech to which they belong and their position in the line. In Cornelius's example, Beowulf, 54a—"leof leodcyning"—would be scanned according to Yakovlev's morphological system as SSSS, where "S" indicates a strong and "x" a weak position. In more traditional scansion, informed by phonological stress patterns, we would expect leodcyning to have primary stress on leod- and secondary stress on -cyn-, with the suffix -ing unstressed. Yakovlev's theory does away with the distinction between primary and secondary stress in polysyllabic Old English words; positions are strong or not, with no gradations between them. Half lines have a minimum of two strong positions but may have as many as four strong positions, and in some metrical types the number of morphemes in some weak positons can or must be more than one. Yakovlev's system results in eight possible types of meter (61). Stress (or [End Page 458] accent) remains possible in Old English verse (and existed phonologically in the spoken language), but is not the primary determiner of meter. Much of the book's argument about both Old English and Middle English meter relies on the reader accepting Yakovlev's ideas, as presented and retested by Cornelius. Not all will. Yakovlev's theory is gaining interest and attention among metrists—Weiskott and Russom also refer to his work, and it has been reviewed by Thomas Cable—but it is not necessarily widely accepted among early medievalists. Early English medievalists who study vernacular poetry but do not identify as metrists may be surprised to learn of its existence. Reconstructing Alliterative Verse is divided into an introduction, five chapters, and a brief epilogue on Spenser's Shepheardes Calender (1578). Chapter 1 argues that even if an ars poetica for medieval English had survived, we would still need to turn to the poetry itself to recover a full understanding of alliterative verse. Not only does practice always deviate from theorized norms, but also the evidence we have for poetic theory from earlier Latin sources and from medieval Iceland demonstrates that medieval literary theory would not have had the vocabulary to address poetic form sufficiently. This is not a critique of medieval thinkers, but an acknowledgment that poetry is very difficult to write about. As Cornelius notes, "[t]he theorists are still playing catch-up today" (25). Moreover, medieval people did not inherit a useful set of terminology from Latin (or Greek) for alliteration, because alliteration would have functioned differently in English than in Latin and because many authors of Latin treatises either ignored alliteration or saw it as hopelessly old-fashioned. One...

This book takes an in-depth look at the widespread language of violence and abjection in early modern European love poetry. Beginning in fourteenth-century Italy, the book shows how Petrarch established a pattern of inequality between suffering poet and exalted Beloved rooted in political parrhēsia. Sixteenth-and early seventeenth-century French and English poets reshaped Petrarch's model into an idiom of extravagant brutality coded to their own historical circumstances. The book argues that these poets exaggerated the posture of the downtrodden lover, adapting the rhetoric of powerless desire to forge a new “countersovereignty” from within the heart of vulnerability—a potentially revolutionary position through which to challenge cultural, religious, and political authority. Creating a secular equivalent to the martyr, early modern sonneteers crafted a voice that was both critical and unstoppable because it suffered. The book tracks the development of the counter-sovereign voice from Francesco Petrarca to Maurice Scève, Joachim du Bellay, Théodore-Agrippa d'Aubigné, Edmund Spenser, and William Shakespeare. Through interdisciplinary and transnational analyses, the text reads early modern sonnets as sites of contestation and collaboration and rewrites the relationship between early modern literary forms.

Reviewed by: Early Modern Écologies: Beyond English Ecocriticism ed. by Pauline Goul and Phillip John Usher Giulia Pacini Early Modern Écologies: Beyond English Ecocriticism. Pauline Goul and Phillip John Usher, eds. Amsterdam: Amsterdam University Press, 2020. Pp. 309. € 99. This volume engages a captivating question first raised by Louisa Mackenzie during an MLA roundtable: “What can early modern French literature do for contemporary ecocriticism?” In response, eleven essays, well framed by the editors’ introduction and an excellent epilogue in which Mackenzie reexamines this initial question, all highlight the ecocritical thinking of authors such as François Rabelais, Pierre de Ronsard, Michel de Montaigne, and Jean Bodin. Early Modern Écologies puts this literary corpus into productive dialogue with that of contemporary theorists Tim Morton, Donna Haraway, Bruno Latour, Gilles Deleuze, Jane Bennett, and Michael Marder, looking for both conceptual alignments and theoretical challenges that might open up new ways for us to understand ecological thought today. Given the predominance of modern and contemporary British models in this critical field, focusing on early modern French texts represents a most welcome move. Through its many close readings, the volume demonstrates that early modern ecological thinking was much more than a simple meditation on environmental issues. Yes, Ronsard lamented the destruction of the Gâtine forest and miners’ violent plundering of the earth, and in their different ways Rabelais, Montaigne, and Olivier de Serres can certainly show us how being ecological in the early modern period meant thinking in sustainable terms. The volume also offers an apt critique of zoocentric thought as it addresses early modern representations of vegetal life: it considers the materiality of Ronsard’s rose; traces the cultural significance of weeds in Joachim du Bellay; and reflects upon the ethical dimensions of Montaigne’s plant philosophy. More [End Page 170] important, however, these ecologies encourage us to rethink our relationship to a vibrant world of matter in which both texts and authors are ultimately embedded. More generally, it demonstrates how early modern writers had already worked with “messily enmeshed” metaphors (the term is Jennifer Oliver’s), often evoking notions of a nature-culture web or an outside-within. This literary corpus is rife with figures that connect the local with the cosmic and the human with the nonhuman—at times in beautiful pastoral scenes and at times in darker modes. Early modern ecological thinking also expressed itself through strangely disorienting scale-shifting and perspectival alterations. It questioned the tidy logic of linear causality and explored the dynamics of mutually-constitutive relationships along with their potentially weird feedback loops. Equally intriguing is the volume’s contention that texts themselves can be ecological actants. Kat Addis’s study of Ronsard’s Franciade suggests that ecological thought is a rhetorically-governed practice that encourages us to connect our present to other times and places. Along similar lines, the editors remind us that literary criticism requires a respect for the ever-shifting otherness of a text even as we search for possibilities of meaningful contact and understanding. As a result, Hassan Melehy proposes, studying these early modern works may be in and of itself a practice of humility that can teach us “greater intellectual sensitivity to other ecological phenomena” (26). This is fascinating material. Giulia Pacini William & Mary Copyright © 2021 L’Esprit Créateur

The physical deformities of Anne Boleyn and Richard III: myth and reality But...in thirty round frames that made an arc were the inhabitants of the unknown worlds, of whom only the Physiologus and the vague reports of travelers speak slightly. Many of them were unfamiliar....For example, brutes with six fingers on each hand; sirens...the hairy men of India...Pygmies,...These and other wonders were carved on that doorway.1 Fiction can stimulate historians to take another look at familiar evidence or to seek insights in unusual sources. In his Defense of Poetry, Sir Philip Sidney argued that as poetry was not limited to facts revealed in old records, it had a greater capacity for moral instruction and for delighting its readers than history.2 Relevant to Sidney's claim is the above quotation from Umberto Eco's The Name of the Rose, a best-selling, twentieth-century murder mystery set in a fourteenth-century abbey. Eco's description of the "wonders...carved on that doorway" is directly responsible for this re-examination of the charges that Anne Boleyn and Richard III were disfigured. It is fitting that fiction has led to this latest attempt to refute the allegations of their deformities, which are almost certainly fictional but which have been accepted as historically valid. A problem basic to this investigation is its reliance on the absence of evidence for its arguments. Caution is called for and will be taken, but it must be emphasized that in early modern Europe a deep insensitivity to the suffering of a person born with a physical abnormality, something as minor as an unusual tuft of hair around his navel, caused him to be characterized as a monster.3 Thus, in considering a royal deformity, like an extra fingernail or uneven shoulders, there is strong reason for accepting the lack of reference to it during the lifetime of the individual involved as compelling in itself. Before turning to the accounts of Anne's and Richard's disfigurement, further comments about how their contemporaries perceived and treated monsters will be useful. Monster literature was ubiquitous and popular at all levels of society. It flowed from three sources: 1) the scientific works of Aristotle and other ancients; 2) references to the birth of monsters as portents or divine signs by pagans, like Cicero, and 1 My thanks to Sir Geoffrey Elton, Cambridge University, for his critical review of this paper and suggestions about its structure: I am grateful for his assistance and encouragement. Umberto Eco, The Name of the Rose, tr. William Weaver, New York, 1980, 405. 2 Sidney: A Defence of Poetry, ed. Jan Van Dorsten, New York, 1966, 11-30. 3 John Barker, The True Description of a Monsterous Chylde (London: W. Gryffith, 1564). 136 R.M. Warnicke Christians like St Augustine; 3) the descriptions of races in the East and in Africa by Alexander the Great, Solinus, and Pliny, among others.4 Drawing upon these sources, writers produced a wide range of publications: broadsides, sermons, and treatises. To generate the greatest possible interest the works contained drawings of an assortment of real and imaginary subjects, such as grotesque pigs, fish, and humans, especially babies with birth defects. Siamese twins loomed large in this literature, partly because clergymen were confronted with the serious theological problem of whether to baptize both heads.5 Writers argued that monsters were born when God deliberately interfered with natural forces, for nature left alone could be viewed as mightier than He. In addition,they often claimed that deformities were a sign that the Almighty had visited the sins of parents upon their offspring. Since occasionally people with unimpeachable morality had handicapped children, other causes could be added or substituted, such as portents of a disaster, an unfavourable position of the stars at conception, or a mother's focussing during her pregnancy on something hideous, the characteristics of which developed in her baby.6 Fascinated by grotesque creatures, early modern Christians displayed them in towns and fairs, a custom that has been continued in the exhibition of fat ladies, giants, and thin men at carnivals. Modern medicine, which has revealed many causes of birth defects, makes it necessary...

The article explores the role of folklore tradition in the short prose of modern Mozambique. The symbiosis of the European cultural matrix, inseparable from the language in which the work is written, and the oral heritage of the Mozambican people is analyzed on the material of one of Aldino Muianga’s short stories. The story «Rosa Maria» is included in the author’s debut collection «Xitala Mati», the main material for which became the folklore «scary stories» about witchcraft and the living dead. And while in his later works Muianga focuses on acute social plots of the colonial past and post-colonial present, in the world of «Xitala Mati» there is practically no place for white people: it is not colonizers and the colonized that interact there, but it is people and spirits. The text of «Rosa Maria» is filled with numerous «conventional signs» by means of which, in the paradigm of the traditional culture of the peoples of Mozambique, the world of the dead communicates with the world of the living. These signs are intuitive to the African reader, while the European must identify and decipher them. At the same time, «Rosa Maria» shows motifs and imagery characteristic of the Gothic novel, albeit reinterpreted and modified to suit African realities. Such components of the poetics as the encounter with the infernal in the image of a beautiful woman, the gloomy colouring supported by the landscape and ominous animals, and the interest in the emotional reactions of the characters, typical of Gothic literature, allow us to see in «Rosa Maria» a hybrid genre, the roots of which should be sought both in the European literary tradition and in the folk tales of Mozambique.

Two years ago, as I entered my first Anniversary, I contemplated the portraits of my predecessors; like the ghosts in Ruddigore, many generations of them stepped from the wall to tell me my prerogatives and duties and obligations and how little chance I had of meeting them with credit; and now the moment has come when I too am a portrait and step back into the wall to haunt my successors. This has prompted me to ponder a little more deeply the nature of our craft and of our kind. I am myself a historian, and make no further excuse for quoting, not for the first time, a favourite description of the historian at work, from Sir Philip Sidney's Defence of Poesie.

ABSTRACTAt once omnipresent and undertheorized, genre is what nobody really believes in but everyone tacitly relies upon, whether they are writing literary criticism or consulting a pull-down menu on Netflix. Taking up the portable slogan of Jacques Rancière, that politics is itself a “distribution of the sensible” (partage du sensible), and placing it in dialogue with Rosalie Colie’s assertion that genre systems offer a “fix” upon the world, this article argues for an understanding of genre as an affective filter that enacts a politics of perception, opening and closing down avenues of recognition, feeling and allegiance, encouraging identification in some directions while discouraging it in others. Sir Philip Sidney’s discussion of the “mongrel” form of tragicomedy in the Defense of Poesy is juxtaposed with the varieties of actual dramatic practice of early modern playwrights (including Lyly, Preston, and Shakespeare, who wrote across generic boundaries) in order to assess what a Rancière-inflected genre theory might look like.

Are the kinds of attention we bring to bear on literature, the skills we use to read it, different from those we exercise in reading other sorts of texts? A generation ago, most critical circles in Europe and America would have answered the question unhesitatingly with a fervent yes. Behind that affirmation stood a long tradition of ideas about literature as a unique repository of values and a uniquely rich vehicle of expression that went back at least to the early nineteenth century or, perhaps further still, to Renaissance apologies for literature like Sir Philip Sidney's Defense of Poetry. Over the past two decades, however, all such privileging of literature over other kinds of discourse has come to seem radically suspect. We read literature, the new critics have argued on various grounds, with the same set of complex skills we use to read newspapers, legal rulings, menus, advertisements, sex manuals; and it is only cultural prejudice or ideological conviction that allows us to claim a special truth for literature. For the moment, I would like to concentrate on the issue of how literature is read, leaving the question of truth for separate consideration. It is obvious that there are usually strong continuities between the ways we read literary texts and the ways we read other kinds of texts. If this were not so, we would all need elaborate specialized training, like taking courses in Sanskrit or calculus, in order to make sense of the simplest story or poem. In fact, this sort of sharp split between literary and ordinary language does occasionally occur in the evolution of literary history. Thus, the poetry of medieval Spain in both Ara-

Sol Miguel-Prendes. <i>Narrating Desire: Moral Consolation and Sentimental Fiction in Fifteenth-Century Spain</i>

8 WLT MAY–AUGUST 2017 global frequency The Audacity of Peace by Rob Vollmar Rahim AlHaj Letters from Iraq: Oud and String Quintet Smithsonian Folkways Iraqi-born composer Rahim AlHaj’s latest album, Letters from Iraq, is his most ambitious to date. AlHaj pairs masterful oud playing with a string quintet on eight original compositions that seamlessly blend a variety of Arab and European traditions. Moreover, each composition is inspired by an actual letter from Iraq, creating a kind of conceptual collage reflecting the mass disruption that has wracked the nation since the US invasion of 2003. In his marriage of the oud with strings (and added percussion), AlHaj builds upon a musical formula first realized on selected tracks from his Little Earth album (Ur, 2010) but with a much greater sense of scope. The opening track, “Eastern Love,” draws most deeply from the Arab classical tradition: each section carefully modulating to the next; the melody, passed back and forth between the oud and the strings until they arrive together in unison and power; all expressed in ten beats to the measure even as the tempo quickens, ebbs, or disappears altogether depending on the structural demands of the section. Other tracks push harder on the listener ’s expectations as they blend the maqam (or scales) of the Arab music tradition with sections that call to mind the music of the Baroque. The string arrangements, overseen by Zack Kear, are remarkable in their chameleonic ability to shift from the powerful unisons that typify Egyptian firqah orchestras to the delicate harmonic interactions normally associated with the European chamber music tradition. The sum is breathtaking in its capacity to evoke a wide variety of emotions in the listener: the wistful sadness of lost love in tracks like “The Last Time We Will Fly Birds”; terror in “Running Boy” and “Unspoken Word”; and even hope, which emerges from the closing pieces, “Fly Home” and “Voices to Remember.” In the liner notes to the album, AlHaj declares his intention to “make music to make us realize peace.” It is a laudable goal and one that stands in stark contrast to a nonironic reading of W. H. Auden’s famous observation that “poetry makes nothing happen.” Although one might question how much of this intention may be fettered in an era when streaming provides none of the programmatic material that fuels the album, it is clear that the composer hopes to mine peace through the cultivation of empathy. Through these compositions, AlHaj scales the incomprehensible violence, the crippling instability, the wave upon unyielding wave of grief, down to the unspoken voice of the individual—an individual whose story inspired the music and lends his or her name to the track. It is on this human level that we can grapple with a small piece of what can seem to be a labyrinth of suffering and loss otherwise. It is an audacious claim in 2017 that music can help us realize peace, but, given the short supply of peace these days, perhaps the world could benefit from more audacity of a similar nature. Rob Vollmar is WLT’s book review editor. Notebook ...

Empire of Eloquence: The Classical Rhetorical Tradition in Colonial Latin America and the Iberian World