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I would confidently pit the prose of Sarah Stroud, Galen Strawson, Gary Watson, Jennifer Saul, Harry Frankfurt, and Susan Wolf against that of Nussbaum at any time.

The only significant human presence, however, remains opaque. In the environmentally-aware Shakespeare criticism of Robert Watson, Gabriel Egan, and Simon Palfrey, it’s apparent that the problem of other minds

Sonnet sequences by Edmund Spenser, Thomas Watson, Sidney, Fulke Greville, Mary Wroth, and Shakespeare testify to an extensive effort among English love poets to offer a Protestant English literary exemplum to

I am thinking here of Robert Watson, ‘False Immortality in Measure for Measure: Comic Means, Tragic Ends’, Shakespeare Quarterly, 41 (1990), and Kiernan Ryan, ‘Measure for Measure: Marxism before Marx’, in

I am thinking here of Robert Watson, ‘False Immortality in Measure for Measure: Comic Means, Tragic Ends’, Shakespeare Quarterly, 41 (1990), and Kiernan Ryan, ‘Measure for Measure: Marxism before Marx’, in

The only significant human presence, however, remains opaque. In the environmentally-aware Shakespeare criticism of Robert Watson, Gabriel Egan, and Simon Palfrey, it’s apparent that the problem of other minds

235. [3] See, for instance, Thomas Watson’s Hekatompathia (1582) for the author’s detailed notes on the debts he owes Petrarch in various sonnets.

succinct yet thorough account of Spenser’s life, works, and literary legacy, of the history of the English sonnet (from Chaucer, through Wyatt and Surrey, with notable stops at Thomas Watson,

The only significant human presence, however, remains opaque. In the environmentally-aware Shakespeare criticism of Robert Watson, Gabriel Egan, and Simon Palfrey, it’s apparent that the problem of other minds

The home of Edmund Spenser studies on the Internet. Abstracts from Spenser Studies. Volume XXXIII, 2019. Richard Z. Lee, Wary Boldness: Courtesy and Critical Aesthetics in The Faerie Queene. In Book VI of The Faerie Queene, Spenser figures courtesy