WorldCat Identities

Loxley, James 1968-

Works: 19 works in 108 publications in 2 languages and 3,407 library holdings
Genres: Criticism, interpretation, etc  Handbooks and manuals  History  Academic theses 
Roles: Author, Editor, Annotator
Publication Timeline
Most widely held works by James Loxley
The Edinburgh introduction to studying English literature by Dermot Cavanagh( )

7 editions published in 2014 in English and held by 1,015 WorldCat member libraries worldwide

Now in its second edtion, this established guide for beginning students of literature has been updated to reflect the latest in teaching and research. Students will discover the full range of literary forms, styles, theories and critical strategies which are essential to the study of literature. Carefully selected examples demonstrate exactly how a different strategies for reading texts can be put to work and applied by students in their own work. All texts discussed are conveniently available in readily available works, the majority of which are also in the Norton Anthology of English Literature
Performativity by James Loxley( )

23 editions published between 2006 and 2008 in English and held by 761 WorldCat member libraries worldwide

"For students trying to make sense of the performativity and related concepts such as the speech act, 'ordinary language', and iterability, and for those seeking to understand the place of these ideas in contemporary performance theory, this guide will prove indispensable. Performativity offers not only path through challenging critical terrain, but a new understanding of just what is at stake in the exploration of this field."--BOOK JACKET
The complete critical guide to Ben Jonson by James Loxley( Book )

16 editions published between 2001 and 2005 in English and held by 735 WorldCat member libraries worldwide

As part of The Complete Critical Guide series, this volume offers the broadest range of information on Jonson and his works, from background on contexts to details of interpretations of his plays
Royalism and poetry in the English Civil Wars : the drawn sword by James Loxley( Book )

16 editions published between 1997 and 1999 in English and held by 340 WorldCat member libraries worldwide

English literary history has long incorporated the category of 'Cavalier' verse, and the critical presuppositions that have shaped such a category continue, even now, to determine the ways in which much civil war writing is read. Through a detailed study of both manuscript and printed texts, James Loxley arrives at an account of the interaction between poetry and royalist political activity which for the first time presents a sustained and coherent challenge to such presuppositions
Ben Jonson's walk to Scotland : an annotated edition of the 'foot voyage' by James Loxley( Book )

9 editions published between 2014 and 2015 in English and held by 188 WorldCat member libraries worldwide

"At the heart of this book is a previously unpublished account of Ben Jonson's celebrated walk from London to Edinburgh in the summer of 1618. This unique firsthand narrative provides us with an insight into where Jonson went, whom he met, and what he did on the way. James Loxley, Anna Groundwater and Julie Sanders present a clear, readable and fully annotated edition of the text. An introduction and a series of contextual essays shed further light on topics including the evidence of provenance and authorship, Jonson's contacts throughout Britain, his celebrity status, and the relationships between his 'foot voyage' and other famous journeys of the time. The essays also illuminate wider issues such as early modern travel and political and cultural relations between England and Scotland. It is an invaluable volume for scholars and upper-level students of Ben Jonson studies, early modern literature, seventeenth-century social history, and cultural geography"--
Shakespeare, Jonson, and the claims of the performative by James Loxley( Book )

12 editions published between 2009 and 2013 in English and held by 180 WorldCat member libraries worldwide

"This book will constitute an original intervention into longstanding but insistently relevant debates around the significance of notions of 'performativity' to the critical analysis of early modern drama. In particular, the book aims to:show how the investigation of performativity can enable readings of Shakespeare and Jonson that challenge the dominant methodological frameworks within which those plays have come to be read;demonstrate that the thought of performativity does not come to rest in the simplicity of method or instrumentality, and that it resists its own claim that language and action might be understood as unproblematically instrumental;demonstrate that this self-resistance occurs or takes place as a moment in the process of articulating the claims of the performative, and that this process is itself in an important sense dramatic"--
Stanley Cavell : philosophy, literature and criticism by Stanley Cavell( Book )

3 editions published in 2011 in English and held by 142 WorldCat member libraries worldwide

"'Stanley Cavell: Philosophy, literature and criticism' is the first book to offer a comprehensive examination of the relationship between the celebrated philosophical work of Stanley Cavell and the discipline of literary criticism. In this volume, the editors have assembled an impressive range of interlocutors who set out to explore the shape and substance of Stanley Cavell's persistent acknowledgement of the literary as a category in which, and through which, philosophical work can be undertaken. A number of essays address his engagements with modernism, tragedy, and romanticism, while others consider Cavell's own aesthetic modes as a writer. 'Stanley Cavell: Philosophy, literature and criticism' will be of interest to all those who are concerned with the ways in which the reading of literature, and the practice of philosophy, might continue both to influence each other across disciplinary boundaries, and to challenge the internal topographies of those discipline"--Publisher's description, p. [4] of dust jacket
Ben Jonson by James Loxley( Book )

9 editions published between 2001 and 2006 in English and held by 23 WorldCat member libraries worldwide

As part of The Complete Critical Guide series, this volume offers the broadest range of information on Jonson and his works, from background on contexts to details of interpretations of his plays
Ben Jonson by James Loxley( Book )

1 edition published in 2005 in English and held by 11 WorldCat member libraries worldwide

Royalist poetry in the English Civil War by James Loxley( Book )

3 editions published in 1994 in English and held by 2 WorldCat member libraries worldwide

Figure of Lilith and the feminine demonic in early modern literature by Stephanie Irene Spoto( )

1 edition published in 2012 in English and held by 2 WorldCat member libraries worldwide

To mark its 250th anniversary in 2002, the British Museum decided to make one of the earliest existent depictions of Lilith, or Astarte, its chief acquisition. Called The Burney Relief -after Sidney Burney, who had purchased it in 1935- it was purchased in June 2003 from a Mr Sakamoto at the price of ₤1,500,000. To celebrate its entrance into the museum's collections, it was renamed the "Queen of the Night" by the British Museum (Collon 2005 511). It has been connected to feminine divine and demonic figures, such as Ishtar, Lilith, Astarte, and has been called "Queen of the Underworld" (Collon 2007 50). My thesis looks at these figures of the feminine demonic and the evolution of occult philosophy, and particularly demonology, within Early Modern England, and how demonological studies influenced and were influenced by current sociopolitical climates. Within much occult writing, nonChristian sources (including preChristian philosophy and Hebraic Cabala) were incorporated into the Christian world view, and affected Christian systems of angelic hierarchies and man's place within these hierarchies. English occult thought was influenced by continental writers and philosophers such as Heinrich Cornelius Agrippa, Marsilio Ficino, Giovanni Pico della Mirandola, and Leon Modena. One figure, in particular, featured strongly in many of the demonological writings which were making their way into English occultism: Lilith. When dealing with issues of political and sexual power, Lilith often appears as a focal point for philosophers as they attempt to discover links between gender, demons, and evil. This thesis examines the feminine demonic and the figure of Lilith in the art and literature of the sixteenth and seventeenth centuries, looking both at the occult practioners John Dee, Simon Forman, and Edward Kelley, and at the literary traditions that came out of that occult philosophy. It explores how Lilith manifests in literature which tries to address anxieties surrounding the feminine demonic and sexuality, and the implications of a demonic, political inversion. Lilith and the feminine demonic are seen to be relevant to the works of Ben Jonson, James VI and I, Thomas Dekker, Robert Greene, Christopher Marlowe, William Shakespeare, and John Selden, with a final chapter examining the evidence of Lilith in Milton's poetry, and in particular, Milton's Paradise Lost
W.H. Auden and the Meaning of Lyric Poetry by Edward Quipp( )

1 edition published in 2007 in English and held by 1 WorldCat member library worldwide

My thesis proceeds from recent critical discussion about the status of the aesthetic object after the decline of high theory of the 1980s and 1990s. The term "singularity", articulated by critics working with the ideas of Martin Heidegger, has been variously applied to the artwork in the attempt to describe the generative power of art as separable from any historical or political determinants that may shape it. What makes the experience of art "singular", that is, an experience governed by the artwork itself, without the scaffolding of theory or context? Such a question, I argue, actually demands a return to the first principles of close textual criticism, along with a rigorous approach to genre. The lyric poetry of W. H. Auden provides the ideal material for "singular" criticism. Unpacking the term lyric and redefining it according to Auden's particular poetics, I consider how Auden inaugurated a new manner of experiencing modern poetry based on the notion, implicit to the conventional understanding of lyric, of vocality. After an account of Heidegger's influence on contemporary ideas on aesthetics, I consult the work of Theodor Adorno, and later Hannah Arendt, in order to situate Auden's early work in a European context, opposing the Atlanticism which has governed the vast majority of Auden criticism. Working to restore the power of the first encounter with the poem to historically and philosophically nuanced textual analysis, I present the key works of Auden's early corpus in a new light
Spectre within : unburying the dead in Elizabethan literature by Catherine Stevens( )

1 edition published in 2011 in English and held by 1 WorldCat member library worldwide

This thesis examines spectrality in Elizabethan literature, focusing on the ghost as a figuration of disjuncture within contemporary constructions of the dead. Taking account of the cultural unease and uncertainties about the afterlife generated during the Reformation, I explore how particular conceptualizations of the dead manifest instabilities that move the figure of the ghost into the disturbing role of the spectre. The literature I examine ranges from Elizabethan translations of Seneca and key theological treatises to examples of the English revenge tragedy produced by Shakespeare, Marston, and Chettle. In drawing upon this cross-section of work, I highlight the resonances between varying forms of spectrality in order to explore ways in which the ghost incorporates, but also exceeds, the theatre's requirement for dramatic excess. It thus becomes clear that the presence of the spectre extends beyond the immediate purposes of particular writers or genres to expose a wider disruption of the relation between, and ontologies of, the living and the dead. The theoretical apparatus for this project is drawn primarily from deconstruction and psychoanalytic theory, with attention to the uncanny as an area in which the two intersect and overlap. These modes of analysis usefully highlight areas of disturbance and slippage within the linguistic and conceptual structures by which the living and dead are defined and understood. In adopting this approach, I aim to expand upon and complicate existing scholarship concerning the figure of the ghost in relation to sixteenth-century theological, philosophical, mythological, and popular discourses and traditions. I do so by demonstrating that the emergence of the uncanny arises through a culturally specific haunting of the form and language of Elizabethan treatments of the dead. The spectre thereby emerges as a figure that is as much the product as the cause of instabilities and erosion within the Elizabethan construction and containment of the dead
Performatywność i teoria performansu by James Loxley( )

1 edition published in 2011 in Polish and held by 1 WorldCat member library worldwide

Works of another hand : authorship and English prose fiction continuations, 1590-1755 by Natalia Simonova( )

1 edition published in 2014 in English and held by 1 WorldCat member library worldwide

Beyond tragedy : genre and the idea of the tragic in Shakespearean tragedy, history and tragicomedy by Fionnuala Ruth Clara O'Neill( )

1 edition published in 2013 in English and held by 1 WorldCat member library worldwide

This thesis explores the intersection between the study of Shakespearean drama and the theory and practice of early modern dramatic genres. It reassesses the significance of tragedy and the idea of the tragic within three separate yet related generic frames: tragedy, history, and tragicomedy. Behind this research lies the fundamental question of how newly emerging dramatic genres allow Shakespeare to explore tragedy within different aesthetic and dramatic contexts, and of how they allow his writing to move beyond tragedy. The thesis begins by looking at Shakespeare's deployment of the complex trope of "nothing". "Nothing" as a rhetorical trope and metaphysical idea appears across many of the tragedies, often becoming a focal point for the dramatic representation of scepticism, loss and nihilism. The trope is often associated with the space of the theatre, and sometimes with the dramaturgy of tragedy itself. However, it is also deployed within the histories and tragicomedies at certain moments which might equally be called tragic. "Nothing" therefore provides a starting-point for thinking about how the genres of history and tragicomedy engage with tragedy. Part I focuses on tragedy, including extended readings of Timon of Athens and King Lear. It explores Shakespearean drama as a response to the pressures of the early modern cultural preoccupation with, and anxiety about, scepticism. Stanley Cavell and other critics of early modern dramatic scepticism have tended to locate this engagement with scepticism within tragedy. However, this section shows that the same sceptical problematic is addressed across Shakespearean dramatic genres, with very different results. It then explores why scepticism should display a particular affinity for tragedy as a dramatic genre. Part II focuses on history, with particular reference to Richard II and Henry V. The trope of "nothing" is used as a starting-point to explore the intersection between Shakespearean history and tragedy. Engaging with Walter Benjamin's theory of baroque tragedy as Trauerspiel (mourning-plays) rooted in history, it argues that Trauerspiel provides a useful generic framework against which to consider the mournful aesthetic of Shakespeare's histories. Part III focuses on early modern tragicomedy and The Winter's Tale, asking how Shakespeare achieves the transition from tragedy to tragicomedy in his later writing. It explores tragicomedy's background on the early modern stage in theory and practice, paying particular attention to Guarini's theory that pastoral tragicomedy frees its hearers from melancholy, and to the legacy of medieval religious drama and its engagement with faith and belief. Returning to the trope of "nothing", this section shows that The Winter's Tale addresses the same sceptical problematic as the earlier tragedies. Arguing that scepticism opens up a space for tragedy and nihilism in the first half of The Winter's Tale, it demonstrates that Shakespeare finds in the genre of tragicomedy an aesthetic and dramatic form which allows him to move through, and beyond, the claims of tragedy
Juliet : a role in four movies by Anthony Leo Quinn( )

1 edition published in 2015 in English and held by 1 WorldCat member library worldwide

The uses of ceremony : performing power in the First Civil War by Victoria Lesley Anker( )

1 edition published in 2016 in English and held by 1 WorldCat member library worldwide

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Audience level: 0.35 (from 0.06 for The Edinbu ... to 0.99 for Performaty ...)

PerformativityThe complete critical guide to Ben JonsonRoyalism and poetry in the English Civil Wars : the drawn swordBen JonsonBen Jonson
Alternative Names
Loxley, J. 1968-

English (107)

Polish (1)