between Utopia's entry into history and the rhetorical construction of self" (43). Some statements, again, are provocative but cryptic: thus a certain woodcut shows how "the gulf bet ween Utopia and Hythlodaeus spans the divide. Noting Renaissance humanists' contradictory desire to locate cultural difference and exemplary models, Leslie scrutinizes Utopian maps and alphabet (a glance at the antipodean maps of Joseph Hall's Mundus alter et Idem would have deepened the historical argument). This last needs more precise definition, as does "humanist," if only because cultural materialism's despised "other" - that "liberal humanist," poor naive fellow - should not be confused with the elusive More, whose own historicism, as witness his Richard III, wavered between cagey irony and tragic skepticism. The chapters on More's Utopia thus offer "a map of the uneven topography of humanist historicism" (26) and comment on how Utopia relates to "the humanist historical project" (30). Leslie's first chapter argues that we too often mistake utopia for accurate prophecy or unrealizable dream, not the "allegoresis of history" that it really is (13). Boswell shows how the English read Utopia as everything from program to fantasy Logan writes tellingly on the irresponsibility of seeing only More's playfulness. ![]() Two works missing here would have served her well: Jackson Boswell's 1994 compilation of printed English allusions to More up to 1640 and George Logan's The Meaning of Thomas More's Utopia. (Evidently the anthropomorphizing of texts continues apace: "authors" lie stiffening in the postmodern morgue while texts enjoy some get-up-and-go, even if, on page 1, a utopia is also "enmeshed in a web of historical contingencies to which it cannot but draw attention even as it struggles to escape.") Hoping to focus on the (unspecified) "models for historical transformation engaged and revised" by these utopias, Leslie says she will analyze "the history and politics of reading utopia" and trace "utopia's shifting location in the historical imagination." Too tall an order, probably, for so short a book: the "contingencies" are only minimally sketched in and this "historical imagination" barely traced. In her clever if elusive study of utopian fictions by More, Bacon, and Margaret Cavendish, Marina Leslie says that she will treat early modern utopias not as "self-reflexive retreat from history" or "self-annihilating exposure Es] of it" but as "a critical practice investigating the historical subject in the interrogative mode" (8). Indianapolis and Cambridge: Hackett, 1999. Utopia with Erasmus's "The Sileni of Alcibiades." Ed. Renaissance Utopias and the Problem of History. APA style: Renaissance Utopias and the Problem of History.Renaissance Utopias and the Problem of History." Retrieved from ![]() 2000 Renaissance Society of America 14 Jun. MLA style: "Renaissance Utopias and the Problem of History." The Free Library.maneskin and madcon both made covers of it Comment by lewis forbes shup its still a tune □□ Comment by user-381549306 Holi Jarvis Comment by madcons song isnt the orginial btw, the original song is by frank valli and the four seasons. Madcon the best version no cap Comment by juris ![]() Plssss Could you remove Go+? it would be very nice :) Comment by Brandon Bond My ex-wife’s favorite song is dope ✌□❤️ Comment by WAT3Rʎɹɔ Great song I'm beggin youuuu □□ Comment by Eric Dantzler ![]() I'm begging you Comment by lovingtheparadise □Ĭhale no la puedo escuchar solo escribir comentario #TambienEstaLatinoAmerica Comment by Jodie Isbell Wellllllllllll done Comment by Sadl圜osmic me huh□□□□□ Comment by Ethan Clarkin Genre Pop Comment by diskdrivedarksinwoop
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