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This dissertation examines some of the Catholic ideas and people found in the life and writings of Philip Sidney. Due to Sidney’s aggressive advocacy of a pro-Protestant English foreign policy during the 1570s and 1580s, and to the anti-Catholic biases of many British and American academics in the nineteenth and twentieth centuries, previous studies have almost unanimously approached Sidney from an exclusively Protestant angle. This Sidney is the hero of English Protestant nationalism, the perfect poet-knight. The Sidney that emerges from the present study is much less unified: thoroughly anti-papal and anti-Spanish in his politics but warmly Catholic in his apparent metaphysical convictions. Catholic theology and devotional traditions were far from dead in Sidney’s England, and he was far from hostile toward them. By recovering Sidney’s engagement with Catholicism, from his consistent generosity to individual Catholics to the numerous sympathetic allusions to Catholic tradition in all his major works, this dissertation provides a new yet historically grounded way of reading Sidney. It also encourages a broader understanding of confessional diversity in the Elizabethan period. / text

Thesis (Ph. D.)--University of Wisconsin--Madison, 1969. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

This project analyzes the intersections between idealized representations of nature in both pastoral literature and early modern exploration literature published before the establishment of England's first successful American colony at Jamestown in 1607. Scholars have often seen the use of the golden age trope by early modern explorers of the Americas as nothing more than propaganda. At the same time, in literary studies, scholars have not done enough to appreciate the symbolic potential of idealized landscapes. By examining the landscapes depicted in both types of texts, this project seeks to change how we view pastoral settings. These settings reveal more than just fantasy landscapes; they tell us about English attitudes towards humanity's place in the natural world. Rather than offering overly sentimentalized, naïve representations of nature, authors depict pastoral settings that idealize labor, including a georgic trope for its ability to shape and control the natural world. Labor, then, not leisure becomes the new ideal for pastoral works, as it is through cultivation and the establishment of "place" that the English feel that they can demonstrate power and sovereignty.

This video offers some quick questions/points that might be considered when writing about Sir Philip Sidney's "Sonnet 1" from Astrophil and Stella. / https://dc.etsu.edu/lit-outlines-complete-oer/1002/thumbnail.jpg

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Dans Arcadia de Sir Philip Sidney (1554-1586), les représentations de la nature témoignent de la richesse de l’univers artistique de l’auteur. Le titre de l’œuvre suggère que le socle esthétique sur lequel repose la mimesis sidnéienne est ancré dans l’imitation de la tradition poétique pastorale. L’imitation littéraire est certes au cœur du processus de création sur lequel repose la composition de l’œuvre. Cependant, le texte de Sidney est bien plus qu’une autre Arcadie littéraire inspirée des Bucoliques de Virgile ou de L’Arcadie de Jacopo Sannazaro. Le texte fait s’imbriquer les récits héroïques qui empruntent à l’épopée les repères esthétiques sur lesquels reposent l’évocation du locus terribilis, vision antagoniste du locus amoenus. L’œuvre est donc animée par une passion pour la fiction au point que la littérature et la lecture se substituent à l’intrigue en tant que sujet même de l’œuvre. Cette conception de la création littéraire comme acte réflexif imprègne la représentation de la nature qui devient donc dans certains passages un texte dans le texte, une nature textualisée. Le champ de la réflexivité s’étend à d’autres domaines de la création artistique et notamment aux arts plastiques dont l’esthétique informe à la fois la représentation de la nature et la matière verbale de l’œuvre. L’affinité entre les formes verbales et les formes visuelles est sous-tendue par une esthétique commune que l’on doit replacer dans le contexte du mouvement du maniérisme. Paradoxalement, l’unité de cette œuvre protéiforme réside dans sa fragmentation dont résulte une esthétique du détail. L’énergie créative de l’auteur s’illustre en effet dans la représentation de petites natures dont l’esthétique témoigne de la beauté de son univers artistique. / In Philip Sidney’s Arcadia, the representations of nature testify to the diversity and wealth of the author’s artistic world. The title of the literary work suggests that the aesthetic foundations on which the Sidneyan mimesis lies are rooted in the imitation of the pastoral poetic tradition. Literary imitation lies at the core of the creative process from which the text proceeds. Yet, Philip Sidney’s work goes beyond the vision of nature as locus amoenus associated with Virgil’s Bucolics or Jacopo Sannazaro’s own Arcadia. The text features embedded narratives recounting heroic tales which draw on the epic literary tradition and lead to the representation of nature as locus terribilis. The passion for fiction with which Arcadia is imbued leads to a shift from the plot to the essence of literature as the main focus of Sidney’s work. This conception of literary creation as a reflexive praxis pervades the representation of nature which, in parts of the text, becomes a text within the text, a textualized nature. The spectrum of the reflexive dynamics encompasses several artistic areas including the plastic arts which inform both the aesthetics of the representation of nature and that of the verbal matter. The correspondences between the visual forms and the verbal ones spring from a common aesthetics which ties to the artistic context of mannerism. Paradoxically, the unity of this multifarious work lies in its fragmented dimension from which derives an aesthetics of the detail. Indeed, the illustration of author’s creative energy resides in the depictions of a small-scale nature and minute details which illustrate the beauty of his artistic environment.

La légende nationale élaborée autour de Sir Philip Sidney [1554-1586] à la période élisabéthaine a contribué à dissimuler de nombreux aspects de l’expérience visuelle de « l’icône culturelle » du protestantisme anglais. En effet, les monuments picturaux érigés à sa mémoire ont gravé dans la rigidité du marbre les lignes d’un régime représentatif européen à vocation humaniste et exemplaire qui a échoué à reproduire les traits du courtisan. Au cours des deux dernières décennies du XXe siècle, le développement des visual culture studies a permis de démontrer la friabilité des socles taxinomiques de la matière visuelle élisabéthaine en élargissant la notion d’image à des domaines jusque-là négligés [imprese, miniatures, médaillons de cire]. Mais bien que des formes alternatives de visualité aient ainsi pu être envisagées, ces nouvelles lectures de la mimésis sidneyenne ne sont pas parvenues à s’extraire d’une compréhension ethnocentrée de la perspective. Loin d’offrir le reflet insulaire d’un archaïsme pictural exotique, les ornements dédiés à ou conçus par Sidney s’inscrivent pourtant au cœur de l’histoire de rencontres visuelles entre le « propre » et le « barbare » qui mettent en lumière toute l’incertitude étiologique et généalogique des dernières années du règne des Tudor. Les effets de rémanence du Kitab al-manazir [De Aspectibus] d’Ibn al-Haytham [Alhacen] dans la compréhension des « intentions » du visible élisabéthain seront dès lors envisagés comme l’aspect le plus lumineux de la dimension anthropologique du geste mimétique sidneyen. / The national legend surrounding Sir Philip Sidney [1554-1586] in the Elizabethan era has played a significant part in concealing many aspects of the courtier’s visual experience. The marble fixity of pictorial monuments erected in memory of England’s favourite Protestant « cultural icon » has mostly failed to register his features. This has been made apparent through the development of visual culture studies. Since emerging in the 1980’s, this interdisciplinary field has led to the laying bare of the brittle material of Elizabethan visual taxonomies, by encompassing within the ‘pictorial’ frame new kinds of images [imprese, limnings, wax medallions]. Yet, although opening up onto alternative visual modes, the latest forays into Sidneyan mimesis have remained firmly rooted in an ethnocentric approach of perspective. Conversely, far from reflecting an exotic, insular or archaic pictorial response to visual culture, Sidney’s ornaments -whether created by or dedicated to him- draw on encounters between ‘gentle’ and ‘barbarous’ visual histories, thus highlighting Tudor England’s ‘etiological uncertainty’. As a result, the many aspects of Ibn al-Haytham [Alhacen]’s Kitab al-mananazir [De Aspectibus] transpiring through Elizabethan optics will emerge as central to the building up and understanding of the anthropological dimension of Sidney’s mimesis.

D. Th. : Department of English : Uppsala, University of Uppsala : 1989. / Includes index.