By Karin E. Olsen, Jan R. Veenstra
Ever because the center a while the Otherworld of Faerie has been the article of great highbrow scrutiny. What technology in spite of everything brushed aside as ethereal nothings used to be given a neighborhood habitation and a reputation by means of paintings. This e-book offers a few of the major chapters from the background and culture of otherworldly spirits and fairies within the folklore and literature of the British Isles and northern Europe. In 11 contributions diversified specialists take care of a few of the major difficulties posed by way of the scholarly and creative disagreement with the Otherworld, which not just fuelled the mind's eye, but additionally ended in the final word redundancy of realized perceptions of that Otherworld because it was once ultimately obfuscated by means of the readability of an enlightened age. members contain: Henk Dragstra, John Flood, Julian Goodare, Tette Hofstra, Robert Maslen, Richard North, Karin E. Olsen, David J. Parkinson, Rudolf Suntrup, Jan R. Veenstra, and Helen Wilcox.
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Extra resources for Airy Nothings : Imagining the Otherworld of Faerie from the Middle Ages to the Age of Reason : essays in honour of Alasdair A. MacDonald
12 Nauert, Agrippa (see above, n. 3), p. 28. 13 The revised first book was printed in 1531 and the complete, three-book work in 1533. A summary of this process is found in Heinrich Cornelius Agrippa, De occulta philosophia libri tres, ed. Vittoria Perrone Compagni, Studies in the History of Christian Thought 48 (Leiden, 1992), pp. 15–50. The textual apparatus of this edition makes the revision of the work clear. 14 Diane Kelsey McColley, Milton’s Eve (Urbana, 1983), p. 42; Constance Jordan, Renais sance Feminism: Literary Texts and Political Models (Ithaca, 1992), p.
E. small importance) (sig. B3v). In doing so he implicitly dismisses the fears of the student’s own readers as to the damaging effect on their minds of the devilish book they are perusing. This section of the narrative, then, partakes of the playful interweaving of mimetic realism and reflexive fictionality that characterizes the prologue of the first edition and the two epistles of the second. And the rest of the narrative is filled with a similar blend of realism and self-conscious fictionality.
Clearly The Second Report must be seen as among the wittiest and most inventive contributions to this celebration. 2 Knowledge of Agrippa’s work and reputation (the latter often biased towards notoriety) was widespread in late sixteenth- and early seventeenth-century England and he was known by John Dee, Philip Sidney, Gabriel Harvey, Thomas Nashe and Fulke Greville, amongst others. 3 Despite relative obscurity in subsequent centuries, Agrippa’s presence is to be found in authors as various as Goethe, Guillaume Apollinaire 1 Act 1, scene 1, lines 117–18 (A-Text) and 110–11 (B-Text) in Christopher Marlowe, Doctor Faustus, ed.
Airy Nothings : Imagining the Otherworld of Faerie from the Middle Ages to the Age of Reason : essays in honour of Alasdair A. MacDonald by Karin E. Olsen, Jan R. Veenstra