From: Alan Rudrum [rudrum@sfu.ca] Sent: Monday, November 06, 2000 3:50 PM To: milton-l@richmond.edu Subject: Re: Eve in the Fine Arts At 04:41 PM 03/11/2000 -0600, Margaret Arnold wrote: When I tried an Eve search once on the web, I >got an ad for a line of cosmetics. Still, think of what a search for "The Faerie Queene" in an airport bookstore turned up in David Lodge's "Small World." Alan Rudrum "People who don't care about language can never understand why people who do mind do." Geoffrey Wheatcroft, Spectator Diary, 2 September 2000 Alan Rudrum 2326 West 35th Avenue Vancouver BC V6M 1J6 Canada (604) 263-7321 (4 rings gets voice-mail) At cottage (250) 539-5181 (No voice-mail; we may be a long way from the phone) From: Frank [fa1804@wlv.ac.uk] Sent: Monday, November 06, 2000 9:43 AM To: milton-l@richmond.edu Subject: Re: Eve in the Fine Arts Dear Margaret, I had a student who did a very interesting senior thesis on Angela Carter's reworking of Eve/'PL' in her novel THE PASSION OF NEW EVE, making links between the heroism of Milton's post-lapsarian Eve & the wiser-through-suffering heroine whom Carter sends off at the end of work to [presumably] start a new race. cheers, Frank Wilson, Dept. of English, University of Wolverhampton, UK At 16:41 03/11/00 -0600, you wrote: >A student wants to work out a topic for her senior essay in which she >discusses positive images of Eve in art, Milton, and probably a later >author. I have shared references from several Milton bibliographies with >her, but I think that she wants to emphasize some other, probably later >figures. (If I understand her present partially formed aim, I'd compare her >quest to that of Charlotte Bronte's Shirley, who wants a Promethean Eve.) >Obviously, she will need to narrow her focus. Do any of you have >suggestions about references where she might start? She knows about Diane >McColley's work, about illustrations for *Paradise Lost*, as well as works >by Frye, Labriola and Sicchi. > >Suggestions will be welcome. When I tried an Eve search once on the web, I >got an ad for a line of cosmetics. > >Margaret Arnold >Department of English >University of Kansas >Lawrence, KS 66045 (785) 842-9989 > > From: Arnold, Margaret [mjarnold@ukans.edu] Sent: Friday, November 03, 2000 5:42 PM To: 'Milton-l@urich.edu' Cc: 'Margaret Arnold' Subject: Eve in the Fine Arts A student wants to work out a topic for her senior essay in which she discusses positive images of Eve in art, Milton, and probably a later author. I have shared references from several Milton bibliographies with her, but I think that she wants to emphasize some other, probably later figures. (If I understand her present partially formed aim, I'd compare her quest to that of Charlotte Bronte's Shirley, who wants a Promethean Eve.) Obviously, she will need to narrow her focus. Do any of you have suggestions about references where she might start? She knows about Diane McColley's work, about illustrations for *Paradise Lost*, as well as works by Frye, Labriola and Sicchi. Suggestions will be welcome. When I tried an Eve search once on the web, I got an ad for a line of cosmetics. Margaret Arnold Department of English University of Kansas Lawrence, KS 66045 (785) 842-9989 From: melsky [melsky@gc.cuny.edu] Sent: Thursday, November 02, 2000 5:09 PM To: MILTON-L Subject: CUNY Renaissance Studies Colloquium [with apologies for cross-posting] The CUNY Renaissance Studies Program is pleased to announce its Fall = Colloquium: The Image and the Court: Van Dyck, Monarchs, and Puritans http://web.gsuc.cuny.edu/renaissancestudies/vandyck/ Arthur W. Wheelock, Jr. National Gallery, Washington DC "The Queen, the Dwarf, and the Court: Van Dyck and the Ideals of the = English Monarchy" Nigel Smith Princeton University=20 "Art and the English Republic: Courtliness Puritanised and Pur=E9=E9ed" RESPONDENTS Susan Koslow Brooklyn College and CUNY Graduate School Richard McCoy Queens College and CUNY Graduate School The program is free and open to the public Graduate School and University Center City University of New York 365 Fifth Avenue (at 34 Street) New York City Fri, Nov 17 4:00-6:00 Room 9204-9205 Sponsored by the CUNY Renaissance Studies Certificate Program and the = Ph.D. Programs in Art History and English For further information contact Martin Elsky, Coordinator, CUNY = Renaissance Studies Program melsky@gc.cuny.edu From: John Ulreich [jcu@u.arizona.edu] Sent: Thursday, November 02, 2000 9:09 AM To: milton-l@richmond.edu Subject: Re: Milton and Galileo I heartily endorse Judith's praise. Way to go, Derek! John Ulreich At 09:51 AM 11/01/2000 -0500, you wrote: >Thanks, Derek. >This is wonderfully helpful >Judith Herz > >Derek Wood wrote: > > > Piero Rebora was convinced that Milton did not visit Galileo*. His > > reaons were: > > i. Galileo's poor health. In spring 1638 the inquisitor Fanano wrote that > > he was in very poor shape, more like a corpse than a living person. On > > Milton's return from Naples he was much worse and so carefully tended by > > his son Vincenzo that a visit was "assolutamente da escludersi," quite out > > of the question; > > ii. so outspoken an "eretico" would not have been allowed access by the > > Sant'Uffizio. He instances the failed visit proposed by by the delegate of > > the Dutch government, Martin Hortensius van den Hove, who wished to make a > > formal award to Galileo, recognising his work on the calculation of > > longitude. That fell through. If the Dutchman was a "heretic," the visit > > should be forbidden and if he was Catholic, no award might be made > > honouring the "damnata opinio de motu terrae etc." Galileo refused an award > > of a gold chain from some German merchants "per non aver noie," to avoid > > unpleasantness. > > Against ii, we may argue that a young unknown Englishman had nothing > > like the political high profile of an emissary of a national government. He > > had a number of friends among the Florentine intellectuals whom he had so > > highly impressed, friends who were friends and guests of Galileo. Was > > Hobbes acceptable and Milton not? Milton's supposedly vocal Protestantism > > did not seem to be offensive enough to cause him any problems, in Rome or > > elsewhere. Besides, the person whom the inquisitor Muzzarelli Fanano > > reported to was Cardinal Barberini, who was the nephew and valued adviser > > of the Pope, who referred all sorts of business to his "Cardinal Padrone." > > His influence was immense. He was also the Cardinal responsible for England > > and was something of an anglophile. He was the patron of Holstenius, who > > introduced Milton to the Cardinal, who treated him with exceptional > > kindness and courtesy. No doubt, word from Florence in praise of this > > polyglot and cultured English poet had preceded Milton. Barberini was > > something of a Maecenas. A list was published, c. 1630-32, of the "Apes > > Romanae," about 450 writers supported or patronised by the Barberini, whose > > family symbol was the bee. Access to Galileo was unlikely to have been a > > problem. > > As for i, how sick is too sick to meet a special visitor? Why should > > the young Englishman be special? Galileo was a very close friend of the > > Diodati family. He calls Elia Diodati "mio amatissimo e vero amico." The > > letter in which Galileo's blindness is announced on 2 January 1638 was > > sent to Elia. Sadly, this beloved Lucchese family was now dispersed to > > Geneva, Paris and England. Would the possibility of first-hand news of the > > distant English Diodati be important to the old man, now blind and clearly > > moving towards death? Hanford suggests that Milton might have visited Elia > > on his way out in Paris; his diversions to Geneva and Lucca suggest he was > > very conscious of Diodati connections. Elia may even have used him as a > > courier to communicate with Galileo clandestinely. Milton's Italian friend > > Dati was a student of Galleo and a friend of Vincenzo, his son and > > caregiver in his illness. Dati's letter to Milton mentions Vincenzo who > > sent him affectionate greetings. Milton in his wanderings may not have > > heard promptly of the deaths of his young friend, Carlo, and his sister and > > sister-in-law in August 1638 but it is likely that the news was sent > > directly to Galileo, one more reason for treating the visiting Englishman > > with special tenderness. > > Best wishes, > > Derek Wood, > > St. Francis Xavier University. > > John C. Ulreich Professor of English Dept. of English - Modern Languages Bldg. #67 University of Arizona (520) 621-5424 Tucson, AZ 85721-0067 FAX: (520) 621-7397 From: jherz [jherz@vax2.concordia.ca] Sent: Wednesday, November 01, 2000 9:52 AM To: milton-l@richmond.edu Subject: Re: Milton and Galileo Thanks, Derek. This is wonderfully helpful Judith Herz Derek Wood wrote: > Piero Rebora was convinced that Milton did not visit Galileo*. His > reaons were: > i. Galileo's poor health. In spring 1638 the inquisitor Fanano wrote that > he was in very poor shape, more like a corpse than a living person. On > Milton's return from Naples he was much worse and so carefully tended by > his son Vincenzo that a visit was "assolutamente da escludersi," quite out > of the question; > ii. so outspoken an "eretico" would not have been allowed access by the > Sant'Uffizio. He instances the failed visit proposed by by the delegate of > the Dutch government, Martin Hortensius van den Hove, who wished to make a > formal award to Galileo, recognising his work on the calculation of > longitude. That fell through. If the Dutchman was a "heretic," the visit > should be forbidden and if he was Catholic, no award might be made > honouring the "damnata opinio de motu terrae etc." Galileo refused an award > of a gold chain from some German merchants "per non aver noie," to avoid > unpleasantness. > Against ii, we may argue that a young unknown Englishman had nothing > like the political high profile of an emissary of a national government. He > had a number of friends among the Florentine intellectuals whom he had so > highly impressed, friends who were friends and guests of Galileo. Was > Hobbes acceptable and Milton not? Milton's supposedly vocal Protestantism > did not seem to be offensive enough to cause him any problems, in Rome or > elsewhere. Besides, the person whom the inquisitor Muzzarelli Fanano > reported to was Cardinal Barberini, who was the nephew and valued adviser > of the Pope, who referred all sorts of business to his "Cardinal Padrone." > His influence was immense. He was also the Cardinal responsible for England > and was something of an anglophile. He was the patron of Holstenius, who > introduced Milton to the Cardinal, who treated him with exceptional > kindness and courtesy. No doubt, word from Florence in praise of this > polyglot and cultured English poet had preceded Milton. Barberini was > something of a Maecenas. A list was published, c. 1630-32, of the "Apes > Romanae," about 450 writers supported or patronised by the Barberini, whose > family symbol was the bee. Access to Galileo was unlikely to have been a > problem. > As for i, how sick is too sick to meet a special visitor? Why should > the young Englishman be special? Galileo was a very close friend of the > Diodati family. He calls Elia Diodati "mio amatissimo e vero amico." The > letter in which Galileo's blindness is announced on 2 January 1638 was > sent to Elia. Sadly, this beloved Lucchese family was now dispersed to > Geneva, Paris and England. Would the possibility of first-hand news of the > distant English Diodati be important to the old man, now blind and clearly > moving towards death? Hanford suggests that Milton might have visited Elia > on his way out in Paris; his diversions to Geneva and Lucca suggest he was > very conscious of Diodati connections. Elia may even have used him as a > courier to communicate with Galileo clandestinely. Milton's Italian friend > Dati was a student of Galleo and a friend of Vincenzo, his son and > caregiver in his illness. Dati's letter to Milton mentions Vincenzo who > sent him affectionate greetings. Milton in his wanderings may not have > heard promptly of the deaths of his young friend, Carlo, and his sister and > sister-in-law in August 1638 but it is likely that the news was sent > directly to Galileo, one more reason for treating the visiting Englishman > with special tenderness. > Best wishes, > Derek Wood, > St. Francis Xavier University. From: Derek Wood [dwood@stfx.ca] Sent: Tuesday, October 31, 2000 4:50 PM To: milton-l@richmond.edu Subject: Re: Milton and Galileo Piero Rebora was convinced that Milton did not visit Galileo*. His reaons were: i. Galileo's poor health. In spring 1638 the inquisitor Fanano wrote that he was in very poor shape, more like a corpse than a living person. On Milton's return from Naples he was much worse and so carefully tended by his son Vincenzo that a visit was "assolutamente da escludersi," quite out of the question; ii. so outspoken an "eretico" would not have been allowed access by the Sant'Uffizio. He instances the failed visit proposed by by the delegate of the Dutch government, Martin Hortensius van den Hove, who wished to make a formal award to Galileo, recognising his work on the calculation of longitude. That fell through. If the Dutchman was a "heretic," the visit should be forbidden and if he was Catholic, no award might be made honouring the "damnata opinio de motu terrae etc." Galileo refused an award of a gold chain from some German merchants "per non aver noie," to avoid unpleasantness. Against ii, we may argue that a young unknown Englishman had nothing like the political high profile of an emissary of a national government. He had a number of friends among the Florentine intellectuals whom he had so highly impressed, friends who were friends and guests of Galileo. Was Hobbes acceptable and Milton not? Milton's supposedly vocal Protestantism did not seem to be offensive enough to cause him any problems, in Rome or elsewhere. Besides, the person whom the inquisitor Muzzarelli Fanano reported to was Cardinal Barberini, who was the nephew and valued adviser of the Pope, who referred all sorts of business to his "Cardinal Padrone." His influence was immense. He was also the Cardinal responsible for England and was something of an anglophile. He was the patron of Holstenius, who introduced Milton to the Cardinal, who treated him with exceptional kindness and courtesy. No doubt, word from Florence in praise of this polyglot and cultured English poet had preceded Milton. Barberini was something of a Maecenas. A list was published, c. 1630-32, of the "Apes Romanae," about 450 writers supported or patronised by the Barberini, whose family symbol was the bee. Access to Galileo was unlikely to have been a problem. As for i, how sick is too sick to meet a special visitor? Why should the young Englishman be special? Galileo was a very close friend of the Diodati family. He calls Elia Diodati "mio amatissimo e vero amico." The letter in which Galileo's blindness is announced on 2 January 1638 was sent to Elia. Sadly, this beloved Lucchese family was now dispersed to Geneva, Paris and England. Would the possibility of first-hand news of the distant English Diodati be important to the old man, now blind and clearly moving towards death? Hanford suggests that Milton might have visited Elia on his way out in Paris; his diversions to Geneva and Lucca suggest he was very conscious of Diodati connections. Elia may even have used him as a courier to communicate with Galileo clandestinely. Milton's Italian friend Dati was a student of Galleo and a friend of Vincenzo, his son and caregiver in his illness. Dati's letter to Milton mentions Vincenzo who sent him affectionate greetings. Milton in his wanderings may not have heard promptly of the deaths of his young friend, Carlo, and his sister and sister-in-law in August 1638 but it is likely that the news was sent directly to Galileo, one more reason for treating the visiting Englishman with special tenderness. Best wishes, Derek Wood, St. Francis Xavier University. From: Cynthia A. Gilliatt [gilliaca@jmu.edu] Sent: Monday, November 06, 2000 8:52 AM To: Milton-l list Cc: 'Margaret Arnold'; 'Milton-l@urich.edu' Subject: Re: Eve in the Fine Arts For a modern Eve figure she might consult ursula K. Leguin's short story "She Unnames Them." It would be interesting to see what she makes of The Lady in Lewis' "Perelandra." Let us know how this progresses. Cynthia G. -- JMU SAFE ZONES PARTICIPANT Cynthia A. Gilliatt English Department MSC 1801 James Madison University Harrisonburg VA 22807 gilliaca@jmu.edu http://raven.jmu.edu/~gilliaca/ 540-568-3762 or 6202 From: Cobelli@aol.com Sent: Tuesday, November 07, 2000 7:56 AM To: Milton-l@richmond.edu Subject: Re: Eve in the fine arts How about the stern figure of Eve in Byron's verse drama Cain? Scott Grunow Editorial Services Specialist University of Illinois/Chicago (university email address to come) From: Lauren Shohet [lauren.shohet@villanova.edu] Sent: Tuesday, November 07, 2000 10:43 AM To: milton-l@richmond.edu Subject: Re: Eve in the Fine Arts Your student (and Miltonists on the list) might want to have a look at Philip Pullman's newly completed trilogy, *His Dark Materials* (*The Golden Compass,* *The Subtle Knife,* and *The Amber Spyglass,* marketed as "Young Adult" books). I find these a remarkably thorough and cogent engagement of *PL*, as well as Blake and Lewis on *PL.* And Pullman manages quite remarkably to shape a narrative that is strongly feminist in our own terms while taking into account the feminisms and anti- feminisms of other Eve traditions. As I say, I'm fascinated by the thoroughness and intelligence of these books as criticism of *PL* in the form of narrative that has great aesthetic and affective integrity in its own right (rather like *PL*'s relationship to Scripture)--would be interested to hear what other From: Nancy Rosenfeld [rfeld_zn@ein-hashofet.co.il] Sent: Tuesday, November 07, 2000 11:21 AM To: milton-l@richmond.edu Subject: Re: Eve in the Fine Arts What about one (or more) of the women characters from Toni Morrison's "Paradise"? All the best, Nancy Rosenfeld "Arnold, Margaret" wrote: > A student wants to work out a topic for her senior essay in which she > discusses positive images of Eve in art, Milton, and probably a later > author. I have shared references from several Milton bibliographies with > her, but I think that she wants to emphasize some other, probably later > figures. (If I understand her present partially formed aim, I'd compare her > quest to that of Charlotte Bronte's Shirley, who wants a Promethean Eve.) > Obviously, she will need to narrow her focus. Do any of you have > suggestions about references where she might start? She knows about Diane > McColley's work, about illustrations for *Paradise Lost*, as well as works > by Frye, Labriola and Sicchi. > > Suggestions will be welcome. When I tried an Eve search once on the web, I > got an ad for a line of cosmetics. > > Margaret Arnold > Department of English > University of Kansas > Lawrence, KS 66045 (785) 842-9989 From: Arnold, Margaret [mjarnold@ukans.edu] Sent: Tuesday, November 07, 2000 8:17 PM To: 'Cynthia A. Gilliatt ' Cc: 'Milton-l@richmond.edu' Subject: RE: Eve in the Fine Arts Thanks so much for the suggestions, Cynthia. I did not know the Leguin story and am glad to learn of it. I am in the middle of a semester with a small class studying a range of paradises, and have several students interested in Milton topics. At this point it's difficult to assess our progress, but I'll certainly have something to say about it early in December. The student with the Eve quest, though, is looking for visual representations, so I am still open to suggestions. Another class member is off reading Leguin now. I appreciate hearing. Margaret J. Arnold Department of English University of Kansas Lawrence, KS 66045 -----Original Message----- From: Cynthia A. Gilliatt To: Milton-l list Cc: 'Margaret Arnold'; 'Milton-l@urich.edu' Sent: 11/6/00 7:51 AM Subject: Re: Eve in the Fine Arts For a modern Eve figure she might consult ursula K. Leguin's short story "She Unnames Them." It would be interesting to see what she makes of The Lady in Lewis' "Perelandra." Let us know how this progresses. Cynthia G. -- JMU SAFE ZONES PARTICIPANT Cynthia A. Gilliatt English Department MSC 1801 James Madison University Harrisonburg VA 22807 gilliaca@jmu.edu http://raven.jmu.edu/~gilliaca/ 540-568-3762 or 6202 From: Carrol Cox [cbcox@ilstu.edu] Sent: Tuesday, November 07, 2000 1:08 PM To: milton-l@richmond.edu Subject: [Fwd: "the most subversive message in children's literature in years"] -------- Original Message -------- Subject: "the most subversive message in children's literature in years" Date: Tue, 07 Nov 2000 09:25:07 -0500 From: Louis Proyect Reply-To: marxism@lists.panix.com To: marxism@lists.panix.com NY Times, November 7, 2000 Philip Pullman: The Man Who Dared Make Religion the Villain By SARAH LYALL LONDON, Nov. 6 — Six months ago, the British author Philip Pullman got a letter from a reader, along with a picture of a winsome little squirrel. "I want you to admire this squirrel," the letter said. "Now that you've admired the squirrel, please think about your book which the world has spent so long waiting for. Now, put those two things together. Finish your book, or the squirrel will die." Perhaps Mr. Pullman's reputation has not yet swelled to J. K. Rowling-esque proportions, but there is no question that he has a growing following of impassioned admirers who take a personal interest in his publishing schedule. And with the long-awaited publication of "The Amber Spyglass" (Knopf), the last book of a trilogy that began with "The Golden Compass" in 1995, Mr. Pullman has done more than appease his eager readers (and spare the squirrel, presumably). He has produced a thrillingly ambitious tale inspired by Milton's "Paradise Lost" with a radical view of religion that may well hold the most subversive message in children's literature in years. Interviewed recently in London, Mr. Pullman said that his story, which tells of a boy and a girl from different worlds who grapple with profound philosophical questions of existence while having amazing adventures, was the most important thing to him, even more important than the books' underlying meaning. "The story has been coming to me for a long time, the idea of a very big story that would be free from the constraints of superficial realism," he said. "But when you tell a story, there's got to be a worldview that's consistent throughout, and this is mine. I dare say there might be a certain amount of controversy, which places me in a slightly difficult position because I have not written a sermon or a treatise or a book of philosophy — I have written a novel." The trilogy contains many of the familiar elements of fantasy and adventure novels aimed at the class of readers loosely classified as young adults: child heroes who undergo life-threatening and character-building trials; an epic struggle between good and evil, between love and hatred, between free will and submission; a cliffhanging, imaginative narrative that in this case glides among various worlds, from a strange city populated by adult-eating specters to a world of the dead full of pitiful souls who long more than anything to taste the air again and then escape into nothingness. It is full of singular characters, too. There are huge polar bears, proud, fierce and fair, who wear expertly hewn armor that they happen to have made themselves. There are angels of immense spiritual purity whose fatal flaw — and most aching regret — is their lack of corporeal existence. There are tiny creatures called Gallivespians, who are very easy to offend, make excellent spies and carry lethal poison in their spurs. There are good witches, forlorn ghosts and terrifying harpies whose fate brings an element of unexpected joy. And there are humans from a world very much like — but not quite the same as — our own, whose souls manifest themselves as animal daemons who stay with them always. But the books, which have been read by adults as avidly as by teenagers and younger readers, defiantly confound the expectations of their genre. For one thing, the lines between good and evil are muddy and shifting, so that the most wicked characters are capable of startling acts of heroism and sacrifice. More important, and shockingly, Mr. Pullman, a 53-year-old former schoolteacher, has created a world in which organized religion — or, at least, what organized religion has become — is the enemy and its agents are the misguided villains. In this way, Mr. Pullman's book offers an explicit alternative to C. S. Lewis's "Chronicles of Narnia," with their pervasive Christian message. In the Narnia books, nestled inside the delightful stories of talking animals, heroic challenges and whimsical scenes, the meaning is clear: the heroes find true happiness only after death, when their spiritual superiority buys them passage to heaven. It is a conclusion with which Mr. Pullman thoroughly disagrees. "When you look at what C. S. Lewis is saying, his message is so anti-life, so cruel, so unjust," he said. "The view that the Narnia books have for the material world is one of almost undisguised contempt. At one point, the old professor says, `It's all in Plato' — meaning that the physical world we see around us is the crude, shabby, imperfect, second-rate copy of something much better." Instead, Mr. Pullman argues for a "republic of heaven" where people live as fully and richly as they can because there is no life beyond. "I wanted to emphasize the simple physical truth of things, the absolute primacy of the material life, rather than the spiritual or the afterlife," he said. "That's why the angels envy our bodies — because our senses are keener, our muscles are stronger. If the angels had our bodies and our nerves, they'd be in a perpetual state of ecstasy." Full article at: http://www.nytimes.com/2000/11/07/arts/07PULL.html Louis Proyect Marxism mailing list: http://www.marxmail.org/ From: Mario A. Di Cesare [dicesare1@mindspring.com] Sent: Wednesday, November 08, 2000 8:16 AM To: milton-l@richmond.edu Subject: Re: Eve in the Fine Arts Margaret, I seem to remember a book on illustrations of Milton or PL by Marcia Pointer? Mario "Arnold, Margaret" wrote: > Thanks so much for the suggestions, Cynthia. I did not know the Leguin > story and am glad to learn of it. I am in the middle of a semester with a > small class studying a range of paradises, and have several students > interested in Milton topics. At this point it's difficult to assess our > progress, but I'll certainly have something to say about it early in > December. > > The student with the Eve quest, though, is looking for visual > representations, so I am still open to suggestions. Another class member is > off reading Leguin now. I appreciate hearing. > > Margaret J. Arnold > Department of English > University of Kansas > Lawrence, KS 66045 > > > -----Original Message----- > From: Cynthia A. Gilliatt > To: Milton-l list > Cc: 'Margaret Arnold'; 'Milton-l@urich.edu' > Sent: 11/6/00 7:51 AM > Subject: Re: Eve in the Fine Arts > > For a modern Eve figure she might consult ursula K. > Leguin's short story "She Unnames Them." It would be > interesting to see what she makes of The Lady in Lewis' > "Perelandra." > > Let us know how this progresses. > Cynthia G. > > -- JMU SAFE ZONES PARTICIPANT > > Cynthia A. Gilliatt > English Department MSC 1801 > James Madison University > Harrisonburg VA 22807 > gilliaca@jmu.edu > http://raven.jmu.edu/~gilliaca/ > 540-568-3762 or 6202 From: Tony Hill [mjksezth@fs1.ce.umist.ac.uk] Sent: Wednesday, November 08, 2000 9:31 AM To: milton-l@richmond.edu Subject: Re: [Fwd: "the most subversive message in children's literature in years"] Sender: owner-milton-l@richmond.edu Precedence: bulk Reply-To: milton-l@richmond.edu I have heard Philip Pullman say, on BBC Radio 4, that he did not really write for children at all. I can see how his trilogy relates to much that has gone before in literature in English That includes, of course JM. Whilst it may well be "subversive" reading for children, drawing as it does on Blake's "Songs of Innocence and Experience" it has been said and done before. Nevertheless it is a good read and if children find it good then OK. It is far better than most of the trash that they are exposed to in this present day (I think). Tony Hill www.ce.umist.ac.uk From: AntiUtopia@aol.com Sent: Wednesday, November 08, 2000 10:02 AM Subject: Re: [Fwd: "the most subversive message in children's literature in years"] To: Mime-Version: 1.0 Message-ID: Sender: owner-milton-l@richmond.edu Precedence: bulk Reply-To: milton-l@richmond.edu I can't believe how facile this book review was...the belief that organized religion is evil is somehow revolutionary? Lewis's fiction is anti-life? Have they bothered to actually **read** the Chronicles? The reference to Plato is not necessarily an endorsement of all Platonism, btw...what a shallow reading....pathetic. Jim From: Lourdes A. Canto [lcanto@email.arizona.edu] Sent: Wednesday, November 08, 2000 9:26 AM To: engstaff@listserv.arizona.edu; english@listserv.arizona.edu; compgat@listserv.arizona.edu; Chris Johnson; milton-l@richmond.edu Subject: Milton Marathon > >Thrones, Dominations, Princedoms, Powers; >Colleagues also, near and far; my friends >And friends of Milton: Don't forget this Friday's >Milton Marathon. To find out where, >And more of what's in store, please click below: > www.coh.arizona.edu >I hope I'll see you there. >John C. Ulreich Professor of English >Dept. of English - Modern Languages Bldg. #67 >University of Arizona (520) 621-5424 >Tucson, AZ 85721-0067 FAX: (520) 621-7397 > > > > ============================================================== Lourdes A. Canto Senior Business Manager Department of English Modern Languages #67, Room 445G Phone (520) 621-1623 Fax (520) 621-7397 lcanto@u.arizona.edu From: Justin Pepperney [pepperney.3@osu.edu] Sent: Wednesday, November 08, 2000 11:52 AM To: milton-l@richmond.edu Subject: NEH FOXE SEMINAR 2001 NEH Summer Seminar for College Teachers: Applications are invited for a seminar on "Foxe's Book of Martyrs: A Paradigm for Early Modern English Print Culture." This interdisciplinary program will consider John Foxe's Book of Martyrs as the defining text of early modern English print culture. We shall explore how its early editions exemplify the highest state of contemporary English printing technology and try to answer the questions of how and why each took unique physical shape as the longest, most fully illustrated, and most complicated book of the age. Study of the book as a material object will enable members to inquire why, during the age of Shakespeare, the Book of Martyrs molded sixteenth- and seventeenth-century English poetry, drama, historiography, biography (and more), and exerted greater influence upon English national and religious consciousness than any other book aside from the Bible. Our concerns include religious persecution and pacifistic response, shaping of martyrological identity, women's roles as readers and textual interpreters, and relationships with writings by Erasmus, Thomas More, William Tyndale, Edmund Spenser, William Shakespeare, John Milton, and others. Applications are welcome from teachers and scholars who specialize in English literature, history, art history, women's studies, religious studies, bibliography, and print culture. Faculty in departments with Ph.D. programs are not eligible. This six-week seminar will meet at The Ohio State University from 18 June-29 July 2001. Participants will receive stipends of $3,700. The deadline for application is 15 April 2001. For further information, write to: Justin Pepperney, Department of English, 164 West 17th Avenue, Room 421, The Ohio State University, Columbus OH 43210-1370; phone: 614/294-3846; email: pepperney.3@osu.edu From: Jean Graham [graham@tcnj.edu] Sent: Wednesday, November 08, 2000 12:56 PM To: milton-l@richmond.edu Subject: Re: iota Slightly off topic here, but I'm studying classical Greek (a midlife crisis/vain attempt to catch up with Milton the polyglot), and yesterday my instructor referred to the iota (subscript) as "the little letter that caused a Biblical war." When we asked him to explain, he could say only that he'd heard that from one of his former professors. Anyone know what this is about? Jean This semester when we were discussing "Of Education" in my undergraduate Milton class, I asked Milton's reasons for advocating a good understanding of Latin and Greek. The reply: those were the languages in which the Bible was originally written. I asked about Hebrew, and saw 20 blank faces. I suppose I should be glad that no one tried to argue that the Bible was originally written in the English of King James.