In his 1963 debut essay for the militant Quebec journal, Parti pris, André Brochu invoked the figure of the sixteenth-century skeptic Michel de Montaigne in the name of what Ralph Waldo Emerson, responding to the same over a century earlier, had called, «an original relation to the universe». «Écrire», wrote Brochu, «c'est redéfinir la relation originelle de l'homme à l'univers, c'est, comme écrit magnifiquement Montaigne, 'faire l'homme'...» By tracing the idealism of nineteenth-century American and twentieth-century Quebec writers back to Montaigne and his rejection of Aristotelian and Scholastic reason, The Renaissance of Impasse offers an alternate history to that found in much (post)Romantic criticism, wherein modern skepticism tends to be identified with, and so in a sense confined to, the project of Enlightenment reason. Key works from Thomas Carlyle, Emerson and Herman Melville to Hubert Aquin, Réjean Ducharme and Victory-Lévy Beaulieu serve to define and to refine the sense of an impasse - personal, social, spiritual, historical, and political - that accompanies the «modern» drive to renaissance.

This collection of Northrop Frye's writings on Shakespeare and the Renaissance spans forty years of his career as a university teacher, public critic, and major theorist of literature and its cultural functions. Extensive annotations and an in-depth critical introduction demonstrate Frye's wide-ranging knowledge of Renaissance culture, the pivotal place of the Renaissance in his oeuvre, his impact on Renaissance criticism and on the Stratford Festival, and his continuing importance as a literary theorist. This volume brings together Frye's extensive writings on Shakespeare and other Renaissance writers (excluding Milton, who is featured in other volumes), and includes major articles, introductions, public lectures, and four previously published books on Shakespeare. Frye's insightful analyses offer not just a formidable knowledge of Renaissance culture but also a transformative experience, moving the reader imaginatively towards an experience of created reality.

Haunted by a secret knowledge and a repressed enchantment, Western rationality is not what it seems. Rembrandt's famous painting of an anatomy lesson, the shrunken head of an Australian indigenous leader, an aerial view of Paris from a balloon: all are windows to enchantment, curiosities that illuminate something shadowy and forgotten lurking behind the neat facade of a rational world. In Curious Visions of Modernity, David Martin unpacks a collection of artifacts from the visual and historical archives of modernity, finding in each a slippage of scientific rationality—a repressed heterogeneity within the homogenized structures of post-Enlightenment knowledge. In doing so, he exposes modernity and its visual culture as haunted by precisely those things that rationality sought to expunge from the “enlightened” world: enchantment, magic, and wonderment. Martin traces the genealogies of what he considers three of the most distinct and historically immediate fields of modern visual culture: the collection, the body, and the mapping of spaces. In a narrative resembling the many-drawered curiosity cabinets of the Renaissance rather than the locked glass cases of the modern museum, he shows us a world renewed through the act of collecting the wondrous and aberrant objects of Creation; tortured and broken flesh rising from the dissecting tables of anatomy theaters to stalk the discourses of medical knowledge; and the spilling forth of a pictorializing geometry from the gilt frames of Renaissance panel paintings to venerate a panoptic god. Accounting for the visual disenchantment of modernity, Martin offers a curious vision of its reenchantment.

An investigation of how Renaissance English revenge drama carried out important ethical work through audience participation and metatheatre.