Printer Friendly


Like our previous, 2018/1 issue, the present one also originates in the May 2017 conference on Disbelief, organised by the Early Modern English Research Group, a graduate student collective at the Department of English Studies, Eotvos Lorand University (ELTE), Budapest. As the conference brought together two fields, Renaissance and Romanticism, the members of EMERG: Bence Levente Bodo, Zsolt Bojti, Agnes Bonacz, and Gergo David, were joined by Kristof Kiss and Orsolya Komaromi as coordinators. The six of them did much of the heavy lifting, from conceiving the event to taking care of practicalities. They were supported by the two project leaders, Geza Kallay, for the Renaissance, and Andrea Timar, for Romanticism. Andrea Timar edited the collection of papers that emerged from the Romanticism panels of the conference.

The Renaissance volume should have been edited by Geza Kallay, who passed away suddenly in November 2017. Geza was not only the faculty sponsor of EMERG and a mentor of a long list of doctoral students working on Shakespeare, English Renaissance literature, drama, and the intersections of literature and philosophy, but also the organiser of several major research projects at ELTE and beyond, including, as Principal Investigator, a Hungarian Scientific Research Fund (OTKA) Grant for a five-volume history of English literature that involves virtually everyone in the field who writes in Hungarian. Beyond his formal, official roles, he was also the central figure of several overlapping circles and networks of friends, students, and colleagues. He was a contagiously inquisitive mind, a scholar whose contribution to his field is only partially captured by his essays, books, and translations of Shakespeare. These give a sense of the substance, the propositional content of his thinking those who spent long hours talking to him, whether in the seminar room, in his office, at a restaurant, or at home, over coffee, dinner, or a beer, or watched him perform or lecture, also witnessed the exuberance and capaciousness of his intellect, and benefitted from his ability to conjure up a community around a shared interest, whether it was one we brought to him, or one he helped us discover. His gift was to help us believe that thinking about it mattered like nothing else.

Although it can no longer bear his imprint, this collection is also a product of his energy and generosity. Of our contributors, Bence Bodo, Gergo David, Balz Engler, Marta Hargitai, Daniel Takacs, and Eszter Torek were among the presenters of the conference. Some of Geza's friends, former students, and colleagues, including Zsolt Almasi, Sam Gilchrist Hall, David Scott Kastan, Ivan Lupic, David Marno, Agnes Matuska and Karen Kettnich, Ivan Nyusztay, Miklos Peti, Veronika Schandl, and Erzsebet Strobl, are joining here the conference presenters.

Renaissance notions of disbelief and belief remain the main focus of our collection. Marta Hargitai and Gergo David explore questions of faith, trust, and belief in Marlowe's plays, David Scott Kastan shows the extent and the limits of religious inclusion in Shakespeare's Venice, while Balz Engler considers the willingness of Othello's audience to suspend their disbelief. David Marno attends to the problem of faith as it is highlighted by the phenomenon of religious poetry, Bence Levente Bodo reveals how clothing and disguise serve as vehicles of deception in Paradise Regain'd, and Sam Gilchrist Hall identifies the Mosaic underpinnings of seventeenth-century utopianism. Other contributions range more widely, although their concerns also intersect with aspects of religion, faith, and the divine. Erzsebet Strobl surveys the use of the Judgement of Paris in Elizabethan representation, Eszter Torek traces the metamorphoses of the Muse in Shakespeare's Sonnets, whereas Agnes Matuska and Karen Kettnich invite us to look at A Midsummernight's Dream in the context of sixteenth-century theatricality. Ivan Lupic establishes counsel as a central trope of Renaissance dramatic subjectivity, Zsolt Almasi uses the paratexts and typography of an early seventeenth-century translation to reveal its religio-political connotations, Miklos Peti exposes Milton's early poetic fragment as a moment of self-reflection, and Daniel Takacs identifies a link between Pope's and Hume's notions of the passions and human character. The collection is rounded off by two essays about twentieth-century perspectives on Shakespeare: Veronika Schandl writes about Brecht's and Marowitz's versions of Measure for Measure, while Ivan Nyusztay compares Shakespearean and Camusian conceptions of the absurd. Our volume concludes with Tamas Pavlovits's review of a posthumous collection of Geza's essays.

We dedicate this issue to the memory of the journal's former editor-in-chief, Geza Kallay.


Issue Editor
COPYRIGHT 2018 Eotvos Lorand Tudomanyegyetem, Department of English Studies
No portion of this article can be reproduced without the express written permission from the copyright holder.
Copyright 2018 Gale, Cengage Learning. All rights reserved.

Article Details
Printer friendly Cite/link Email Feedback
Author:Kisery, Andras
Publication:The AnaChronisT
Article Type:Editorial
Date:Jul 1, 2018
Previous Article:Disbelief Against Disbelief: The Cases of Goodwife Agnes and Mrs. Larkin: A comparative analysis of Janos Arany's ballad "Goodwife Agnes" and Eudora...
Next Article:Queen Elizabeth and the "Judgement of Paris".

Terms of use | Privacy policy | Copyright © 2020 Farlex, Inc. | Feedback | For webmasters