Sunday, June 9, 2019

Phallogocentricism: Phallocentricism

The term phallogocentric comes from two terms combined- Phallocentric and
                                                                                              - Logocentric
These two schools of western philosophy are the base of Phallogocentricism. This brings us to an important question, what is phallocentricism and what is Logocentricism? What is its relevance?

 Why is it important to write a blog about? Honestly, it was sparked because of a conversation with one of my student who was curious about Helene Cixous's l'ecriture feminism and whether this theory can be used to explain Anne's portrayal in Jane Austen's Persuasion.

This is just to satisfy my own understanding of the word Phallogocentricism and also for the greater good of some of my students or just some enthusiasts who might be interested to understand the concept.

So, What is Phallocentricism? Let's break it down to Phallo/centri/cism. In simple words,  the word Phallo comes from Phallus.

According to the Cambridge dictionary, the word Phallus  is "an image or a model of the penis, especially one representing the power of men to make women pregnant, or a penis." 

So from here, we can deduce that Phallocentricism means centered around the penis/ phallus. In simple words, the one who owns the phallus, ie man. This places man in the center and woman outside it.
Phallocentricism essentially means that Phallus/Penis/ owner of the phallus(ie man) is the center of human experience.
 According to Freud,  women were envious of the phallus. The term, however, was coined by a contemporary of Freud.  Alfred Ernest Jones, a psychoanalyst and a close friend of Sigmund Freud coined the term Phallocentricism as he believed to be a term to counter Freud's penis based paranoia.

He believed that women didn't want to take the penis. The term Phallocentricism refers to society's obsession with a man being the center of the universe in patriarchy.

The experience of a male being the default experience of society as a universal experience is challenged and later on, picked up by many feminists including Helene Cixous.

Next up in the Blog I will be posting on Logocentricism!

 

Saturday, November 3, 2018

Syllabus for MBA, MJ&MC, MCom PG 3rd Semester

Kinesics and Effective Communication

Course Objective:
To enhance the learners communication skills by giving adequate exposure in reading, writing, listening and speaking skills and the related sub-skills
To help the learners recognize and operate in various styles and registers in English
To impart better writing skills by sensitizing the learners to the dynamics of effective writing
There are 4 Modules under the course:

1. Non-verbal Communication
2. Conversations, Dialogues and Debates
3. CVs, Personal Interviews and Group Discussions
4. Developing Reading Skills
The detailed syllabus is as follows:
1. Non-verbal Communication
Kinesic  Communication
Characteristics of non-verbal communication
Classification of non-verbal communication (Ekman’s classification of communicative movements, face facts, positive genres, negative genres, lateral genres.
Responding to power posturing
Guidelines for developing non-verbal communication
Communication breakdown
2. Conversations, Dialogues and Debates
Purpose of general conversation (Tips and features of good conversation)
Short conversations
Telephonic skills
Situational Dialogues and Role plays
3. CVs, Personal Interviews and Group Discussions
Applying for jobs
Writing a CV
The relationship between a Resume and an Application Letter
Guidelines for preparing a good CV
Guidelines for preparing a good application letter
Interviews
Participating in Group Discussion
4. Developing Reading Skills
Introduction
Purpose of reading
Soft skills for reading
Reading Comprehension: types of texts
Reading Practice

Saturday, October 27, 2018

CV's and Resume

Communication for Employment
Preparing Resumes and  Application Messages
Planning Targeted resume
Preparing Resume
Supplementing a Resume
Composing Application Messages

Preparing Resumes and  Application Messages

Applying for jobs start with the process of preparing a good resume or Curriculum Vitae or CV.
After identifying  the potential employers and job openings, applicant must prepare their CV with an
application letter or a cover letter.
This will subsequently be followed by an invitation to an interview and/or group discussion
It is always important and crucial to adopt good communication skills throughout the process.
CV’s and Resumes
What is a CV and what is a Resume?
Are there any difference?
Resume:
A resume provides a summary of your education, work history, credentials, and other
accomplishments and skills. 
Resumes are the most common document requested of applicants in job applications.
A resume should be as concise as possible usually a page or two at the most.
Curriculum vitae (CV)
CV provides a summary of your experience and skills.
CVs are longer than resumes – at least two or three pages.
CVs include information on your academic background, including teaching experience, degrees,
research, awards, publications, presentations, and other achievements.
CVs are thus much longer than resumes, and include more information, particularly details related to
one’s academic background.
Source https://www.thebalancecareers.com/cv-vs-resume-2058495
What Is the difference between a resume and a CV?
•The primary differences between a resume and a curriculum vitae (CV) is the length.
•What is included in a CV and resume might be different.
•The purpose for what each is used for
• While both are used in job applications, a resume and a CV are not always interchangeable.
•CVs are used almost exclusively in countries outside of the United States.
• In Europe, the Middle East, Africa, or Asia, employers may expect to receive a curriculum vitae
rather than a resume.
•Within the United States, people in academia and medicine tend to use CVs rather than resumes.
Difference between Resume and CV
Resume
1.Emphasizes skills 
2.Used when applying for position  in Industry, non- profit and public sector
3.No longer than two pages if highly relevant to the job
4.After 1 year of experience, start with experience
CV
1.Emphasizes Academic accomplishments
2.Used when applying for positions in academia, fellowships and grants
3.Length depends on the experience includes complete lists of experience.
4.Always begins with education, also tenure, leave, merit all is included.
Points to keep in mind
•When writing a CV, it should be written specifically keeping in mind the job requirements for the
organization
•The basic question it should attempt to address is, what are the required qualifications, experience or
achievements that can be highlighted for a particular position
•The CV should strengthen the author’s strengths  and cover the background, achievements,
experiences.
Relationship between Resume and Application/Cover letter
•The Resume and Application letter performs two separate functions
•Resume communicates all relevant and important biographical information about an applicant.
•The application letter interprets the information
•For the application letter the applicant chooses the best information suited to the opening/position
and discuss it in reference to the job requirements
The resume and application letter cannot be combined in one document.
Structure of a Resume for a recent graduate
•The lists may vary depending on exposure and experience
•Usually a new college graduate’s resume is just one page long
•Generally  the following list should be borne in mind
1.Personal/biographical details
2.His/Her educational background
3.Details of his/her work experiences
4.References
Personal/biographical details
•Usually your personal information like
•Name
•Parent’s name/Spouse’s name
•Address permanent/correspondence/present
•Skype/email/pager
•Marital Status
•Citizenship
Mobile number/
Educational background
•The educational background should begin from school level to the present .
•The chronological order may not be very impressive, the highest qualification is the most important
and relevant  so it is best to place the most relevant one in the beginning
•School certificates are not important but any short term training  or special certificate can be
mentioned.
•Even additional coursework if relevant can add to the CV.
•Overall grades with grades points can be added if required similarly  majors/specializations/honors
or subject taken can be added.
Names of Universities, schools, degrees should be mentioned. 
Details of work experiences
•Relevant work experiences can be mentioned in the reverse chronological order
•It includes all experiences, part-time as well as full-time if there is no experiences extensively
•If somebody has a good working experience part-time positions need not be listed
Each Work experience must be accompanied by position, and responsibilities, duration of
employment in years are sufficient.
References
•Under references, an applicant should list the names of two or three people who know they are being
listed
•Their full name, business address, email address, telephone
•Referees are expected to give a sincere opinion of the applicant to the employer confidentially.
•They are familiar with the work of the applicant, usually professors, or previous employers
Sometimes, under references, one can write “references available on request” 

Monday, October 15, 2018

MA 1st English Poetry

Love in Spenser’s Amoretti
It is sonnet cycle of love with a detailed description of the lady’s physical beauty and the lover’s happy feelings.
Amoretti is a story of love between earthlings which is aimed at marriage.
Meanwhile, Spenser sanctifies the love by Platonizing and Christianizing the lady.
Thus it is clear that the love in the mind of Spenser is not just an earthly one or a heavenly one separately, but both.
It is a combination of both earthly love and sacred love.
Introduction
Sonnet sequences were a great vogue during the English Renaissance.
Amoretti, a sonnet sequence published in 1595 together with Epithalamion, “part private and autobiographical, part mythological” (Hollander & Kermode, 1973: p. 320)
It is usually understood as a record of the poet’s courtship to his second wife Elizabethan Boyle whom he married in June 1594, and it is the first sonnet sequence “to have been written by a poet to his bride” (Lerner, 1990: p. 455).
Spenser names his sonnet sequence Amoretti, which means little loves” (Maclean & Prescott, 1993: p. 587), or “little loves poem” (Magill, 1992: p. 3158) or “little cupids” (Hollander & Kermode, 1973: p. 320),
In detail, “intimate little tokens of love made out of ancient materials deriving, primarily, from Italy” (Martz, 1991: p. 107).
No matter what words are used to interpret the title, one thing seems clear: what Spenser probes into in Amoretti is love.
But Spenser’s love is quite different from his contemporary sonneteers.
He stands alone as a poet of marriage.
Through seeking a real love of the flesh and the spirit, Spenser interprets the nature of true love.
An Earthly Love
Amoretti is not about passion but about love between earthlings.
To celebrate his love, Spenser employs the traditional image of love, Cupid:
“I mote perceiue how in her glauncing sight,
  legions of loues with little wings did fly:
  darting their deadly arrowes fyry bright,
  at euery rash beholder passing by” (XVI, 5-8)
In this sonnet “legions of loues with little wings” brings forth an image of Cupid, the representation of god of love: the lady’s eyebeams contain “amoretti”—Cupid, who shoots the deadly arrows at rash beholders.  
The winged god of love, Cupid, appears many times in Amoretti: “him” in Sonnet IV, the “blinded guest” in Sonnet VIII, “vnrighteous Lord of love” in Sonnet X, “king” in Sonnet XIX and “the winged God” and “Cupid” in Sonnet LX.
The image of Cupid is a symbol of corporeal love (Hu, 2001: p. 132).
It is obvious that the love Spenser pursues is quite different from the medieval one which is too spiritualized, and also different from Petrarchan one which “is rather a theatre of the lover’s desire alone” (Waller, 1994: p. 76).
On the one hand, Spenser’s love is an earthly love of real human beings with erotic desire waiting to be fulfilled in the way of marriage.
On the other hand, it is a mutual love without which no true love exists at all.
Spenser puts the lady on the earth, the secular and sublunary world.
One can see an ordinary woman who wears a net of gold (Sonnet XXXVII), dresses and makes up before her mirror (Sonnet XLV) and does “drawen work” (Sonnet LXXI).
She lives in her bower, and she has a fear of losing liberty when falling in love with a man (Sonnet LXV).
To praise the earthy lady Spenser uses more ink on her physical beauty.
She is the sovereign beauty (Sonnet III) whom he admires with “rare perfection of each good part” (Sonnet XXIIII)
She is a fair flower in whom fresh youth contains (Sonnet III); she has attractive eyes (Sonnet VII) which are hart-thrilling (Sonnet XII).
And the most powerful and attractive part of her body is her eyes: her eyes are so charming and powerful that even her glances will become arrows or lightning.
When being looked at mildly “with louely hew”, the lover’s soul is “with life and loue inspired” (Sonnet VII).
So the speaker tries his best to describe her eyes but finally he realizes that he can’t find anything on the earth which glitters to compare to the brightness of her eyes:
Ref (IX, 5-12)
The smile on the lady’s graceful face is also attractive and sweet.
Indeed, throughout the sequence she is certainly one of the most smiling and ‘chearefull’ ladies to appear in any English sequences” (Martz, 1991: p. 106).
The sweet smile is “the daughter of the “Queene of loue”, expressing “all thy mothers powrefull art” to make the lover’s soul “rauished in a trance” (Sonnet XXXIX).
For this smile with “amiable cheare”, Spenser compares it to the sunlight in the summer which is pleasant and lovely (Sonnet XL).
But for the lover, love is not always so sweet and so pleasant.
In opposition to the lover’s enjoyment of the physical beauty is his suffering from the lady.
For Spenser, love is a war and battle, for which the lover must be brave, bright and patient to fight again and again with his “sweet” and “cruell” warrior (Sonnets XI, XII, XIIII, and LVII).
All these sufferings seem to be a kind of test.
In Sonnet LXIII, after unendurable trial and testing, the lover does see the
happy shore in front of him.
And Sonnet LXIIII celebrates their joyful kiss, in which he tastes the odour of his lady that smells more fragrant than any flower.
And in Sonnet LXVII, unlike other sonneteers such as Rime 190 of Petrarch and “whoso list” of Wyatt, the lover finally catches his “deer” after a long pursuit and attempt:
The tying of a half-trembling deer suggests the betrothal to the lady who is still nervous about her new life (Maclean & Prescott, 1993: p. 614).
And the lady’s “paradoxical submission must be attributed not to the successful suit of the amorous male, but to her own change of heart and willing participation in a delicate act of self-conquest” (King, 1990: p. 168).
Although sonnet LXVII seems an announcement of the lover’s fulfilment of desire, actually the love is a mutual one indeed for both the young man and the lady.
Such is the love story that Amoretti tells in the secular world.
In the story Spenser interprets his idea of love between real human beings.
It expresses the un-expectable fate and the long painful process of the lover’s wooing, and also the pleasant feelings of true love between a couple of earthlings who can marry each other finally.
A Sacred Love
Spenser’s love does not only belong to the secular world between earthlings, but it identifies itself with sacred nature with characters of Platonism and Christian ideas as well.
Spenser’s attitude toward love in Amoretti agrees with that of Platonism.
According to Plato, man in motion drives, desires and struggles to achieve the culminating objects of his desire, and man’s desiring always implies a desire to what is good.
For this supreme object of man’s desiring, Plato calls it the good or absolute beauty.
All man’s driving is motivated by a search for beauty and goodness (Singer, 1984: pp. 53-54).
Rivers (1979: p. 35) explains that the central theory of Plato and his followers is that of the two worlds—the Ideas or Forms theory.
The first is the world of Ideas or Forms, which is the world of Being, stable, eternal, immutable and perfect.
The second world is that of a copy of the first one, which is the world of Becoming and change.
The human being belongs to the second world, and his soul which comes from the first has a longing for a return or ascent to the first.
In Symposium, love is a staircase between the two worlds, and man can get the absolute beauty or the ideal love in the other world by passing five steps: from love of physical beauty to love of God (Plato, 1993: pp. 47-48).
The bearing of Platonism can be seen easily in Amoretti.
Sonnet VIII is, first of all, a praise of “absolute beauty” and virtuous love in Platonic idea. Spenser says that the lady is more beautiful than any pretty girl and her “living fire” shines and burns up and up to “the maker”—the God, so that the blinded Cupid cannot shoot the darts while the “Angels” lead the frail minds to rest on her “heavenly beauty bound” with chaste desires.
Lewis (1998: p. 144) sums up that the essential attitude of Platonism is aspiration or longing: the human soul, imprisoned in the shadowy, unreal world of Nature, stretches out its hands and struggles towards the beauty and reality of that which lies (as Plato says) “on the other sides of existence”.
Thus the lady in sonnet VIII, with an image of ascending up to the real world, is the avatar of Platonic world of Idea, a world of the original, real and clear:Ref.(VIII, 1-2)
The holy conceptions of Platonic love is implied rather than stated also in many other sonnets, such as Sonnets III, VII, IX, XLV, LXI, LXXII, LXXIX and sonnet LXXXVIII.
In Sonnet III, the lady is “the soverayne beauty”, with her heavenly fire kindled in the frail spirit of the lover raising him from baseness to pureness.
The lover is at loss for her “celestial hew” and he can only speak and write the ideal love in his heart that his wit cannot dictate.
In Sonnet XLV, Spenser regards the lady as the image of “Idea”.
Because the world of “forms” is only visible to intellect, no earthly eyes can enjoy the immortal beauty: Ref.(XLV, 5-8)
In Sonnet LXI, the lady is a saint of the first world and “the Idoll” of the lover’s thought.
She is divinely worked, born of the brood of heavenly Angels and is brought up “with the crew of blessed Saynts”.
Sonnet LXXIX presents the real nature of the Platonic ideal beauty:
Spenser also endows the love between the couple with Christian idea.
Amoretti compares the lover’s wooing for love to the worship for God with the desire for salvation from the fallen world to the heavenly.
A case in point is Sonnet XXII.
On the first day of the holy Lent, a holiday for fasting and penitence with devotion, the lover is willing to do some service for the lady, his “sweet Saynt”.
The lover wants to build a fair temple for the lady in his mind, in which he puts her bright and noble image.
He, like a sacred priest who is devotional and pious enough for God, will sit before the godly image, praying, contemplating and expecting day and night without any distracting thoughts. (Ref. XXII, 9-14)
It is clear that the lady in this sonnet is the lover’s goddess, the source of his bliss.
Therefore the lover, being a sinful man originated from the first Adam, is ready to sacrifice his heart as a dearest relic to her on the altar to calm her ire, and at the same time, the lover himself can get election from the fleshly to the holy world.
Such comparison of the lover’s wooing to the worship for God’s grace emphasizes Spenser’s praise for spiritualized love which is saintly because of God’s love of mankind.
A Combined Love
Spenser is an exceptional genius with a diversified idea about love.
But actually earthly love and sacred love accord with and interact with each other.
Amoretti distinguishes Spenser from the Renaissance sonneteers of his age by combining earthly love and sacred love together with marriage as the holy aim, as Nelson (1965) puts it:
“Spenser neither declares the earthly incompatible with the heavenly, as Sidney does, nor does he envision an un-broken ascent which spurs earth in its aspiration for heaven. He would have both loves, the one infinitely good, the other good too because, though finite, it imitates the infinite” (p. 114)
To explore such mixed qualities of the love in Amoretti, Spenser demonstrates his artful skill at using the token of carnal love—the image of Cupid.
Traditionally there are two Cupids in mythological history.
Hyde (1990: p. 201) states that the false Cupid is blindfolded, plays cruel spots with his bow and arrow, and kindles lustful fires in the hearts of random victims, while the true Cupid, who is an unarmed one, benevolent and gentle, goes in places apart from the world of man.
It is not unusual for the winged god bearing darts to appear so many a time in Amoretti.
What makes Spenser specific is his use of this old-traditional token of love: he gets Cupid under the control of reason so that the blinded god cannot shoot his arrows freely to arouse lustful desire to make the random victims die of burning with filthy “love”.
In Amoretti, there is a happy king of lovers with “girland crouned” (Sonnet XIX), a winged God whom the lover asks to shorten his journey so that the lover and the beloved can be conjoined (Sonnet LX).
In contrast, there is also a cruel and torturing Cupid darting arrows.
The unique art to handle the image of the gods of love, especially the cruel one, makes the earthy love and the sacred love united
Amoretti gives a figurative description of Cupid darting through the lady’s eyes which are pretty and powerful enough like the fatal arrows, and even a glance from these eyes can make a frail heart burn flame of desire. Ref (VIII, 5-8)
Since the inspiring beams of the beloved derives from the heavenly light, Spenser does not let Cupid’s darts to harm the base affections of the lover, but on the contrary, Angels come to guide the lover to rise up and up until to the chaste desire (not erotic burning fire) in the saintly world.
This is a suitable experiment of Spenser trying to combine sublunary love with saintly love.
And in Sonnet XVI, Spenser exemplifies his skilful ability to master Cupid.
One day the lover’s heart is in amazement for the immortal light” of those lovely eyes, in whose glancing “legions of loues” shoot their “fyry bright” darts at those who is so rash to gaze at the beauty. Ref (XVI, 9-12)
This time the lover avoids Cupid’s destructive arrows not by angels’ help but by the twinkle of the lady’s eyes.
This “twinkle” of the beauty who is “diuine and borne of heauenly seed” (Sonnet LXXIX) stops the “misintended dart” but it does not stop love
It makes the earthy love more sweet and holy in a deliberately playful and smiling way.
The twincle”, therefore, embodies the lady’s reason to control fleshly desire, and at the same time, it serves the function of directing the earthly love to a unification with heavenly love.
Earthly love and sacred love is tied to each other inextricably in Amoretti: they are interactional and interdependent.
The lady, who symbolizes the divine beauty, “deriu’d from that fayre  Spirit” and made of “the skye”, another “Element” besides the four elements earth, water, fire and air (Sonnet LV), works as the lifting agent to the lover.
Because the lover recognizes that the love is “my soules long lacked foode, my heauens blis(Sonnet I), and in return, the lover, a wooer among “men of meane degree” (Sonnet LXI), will also help the lady to be more virtuous and more holy.
So when the lady looks at him mildly with lovely appearance, the lover’s “soule” is inspired with life and love (Sonnet VII), and this love is his “liues last ornament” by whom his “spirit out of dust was raysed” (Sonnet LXXIIII) “to an higher pitch” when thinking of “whose heauenly hew” (Sonnet LXXX).
It is also true that the lover, although being lowly, produces a stimulating effect on his beloved.
Even the lady herself takes on contradictory aspects: she is an absolute beauty of divine virtue with saintly nature and she is also an earthly woman in the temporal world with her feet being on the earth.
So for the lady there exists a problem of salvation, for which the lover plays an active role in the matter of the lady’s leaving earth for heaven. (XIII, 10-12)
In such a case, the lover’s courtship becomes essential.
Therefore the lover asks the lady’s grace “to vouchsafe to look on me” because “such lowlinesse shall make you lofty be” (Sonnet XIII).
He promises to praise her “up to a high degree” (Sonnet LXXXII) “since your light hath once enlumind me, with my reflex yours shall encreased be” (Sonnet LXVI).
This interdependent nature of the union of earthly and sacred love agrees with Plato’s idea of love.
Quitslund (1990: p. 547) points out, quoted from Phaedrus 255D, that when love is exchanged mutually the lover and the beloved are mirrors to each other.
And Rivers (1979: p. 38) gives a further explanation that in Ficino’s system each order in the universal hierarchy—body, soul, angelic mind and god—aspires to that above, and man always struggle to reach god.
But because of the intermediate position of human’s soul, man can both look upwards or downwards which shows that he has free choice whether to reach the truth or not.
Spenser applies his mirror metaphor in Sonnet XLV.
In this sonnet the lover persuades the lady not to look at herself in the crystal mirror because her goodly image and beautiful face appears clearer in his mind than in the mirror:(XLV, 1-4)
That the saintly image of the lady is contained in the heart of the lover clearly illustrates that the saintly nature of the beloved helps the lover to be holy and at the same time the lover works as a stimulus to make the beloved more lofty.
Such is the love Spenser strives for in Amoretti, love both being earthly and sacred, for the character of which Nelson (1965) sums up:
Spenser’s system of love, as even so cursory a study shows, reaches upward from this world but keeps foothold within it… He saw a likeness between the love that draws the sexes together, producing noble deeds and perpetuating the race, and the love that draws man to God and fills the world with beauty”(p. 115).
And therefore the thematic meaning of Spenser’s Amoretti is justified itself.
Firstly, quite different from lust or simple erotic desire which Spenser calls “base things”, what Spenser needs is pure and true love which is full of true emotions with pleasant feelings between real human beings on the sublunary world.
Secondly, Spenser’s love in Amoretti is a complexity being both earthly and sacred, aiming at marriage, which possesses a holy nature of longing for the soul and virtue to ascend to the heavenly world of God.
Works cited
Love in Spenser’s Amoretti
Jiancheng Wang1, Zhengshuan Li2
Foreign Language Department, Baoding University, Baoding, China
School of Foreign Languages, Hebei Normal University, Shijiazhuang, China
References
Hyde, T. (1990). Cupid. In A. C. Hamilton (Ed.). The Spenser Encyclopedia (p. 201) . Toronto: University of Toronto Press.
Hollander, J., & Kermode, F. (Eds.) (1973). The Literature of Renaissance England. New York: Oxford University Press.
Hu, J. (2001). The Starry Heavens: English Renaissance Poetry and Traditional Cosmology. Beijing: Peking University Press.
King, J. N. (1990). Spenser’s Poetry and the Reformation Tradition. Princeton, New Jersey: Princeton University Press.
Lerner, L. Marriage. In A. C. Hamilton (Ed.), The Spenser Encyclopedia. Toronto: University of Toronto Press.
Lewis, C. S. (1998). Studies in Medieval and Renaissance Literature. Collected by Walter Hooper. Cambridge, England: Cambridge University Press.
Maclean , H., & Prescott, A. L. (Ed.) (1993). Edmund Spenser’s Poetry (3rd ed.). New York & London: w.w Norton & Company.
Magill, F. N. (Ed.) (1992). Critical Survey of Poetry (rev. ed., vol. 7). Pasadena: Salem Press.
Martz, L. L. (1991). From Renaissance to Baroque: Essays on Literature and Art. Columbia and London: University of Missouri Press.
Nelson, W. (1965). The Poetry of Edmund Spenser. New York and London: Columbia University Press.
Plato (n.d.) (1993). The Symposium and the Phaedrus: Plato’s Erotic Dialogues (W. S. Cobb, Trans.). New York: State University of New York Press.
Quitslund, J. A. (1990). Platonism. In A. C. Hamilton (Ed.), The Spenser Encyclopedia. Toronto: University of Toronto Press.
Rivers, I. (1979). Classical and Christian Ideas in English Renaissance Poetry: A Students’ Guide. London, Sydney, Wellington: George Allen & Unwin Ltd.
Singer, I. (1984). The Nature of Love (Vol. 1). Chicago: Chicago University Press.
Waller, G. (1994). English Poetry of the Sixteenth Century (2nd ed.). London and New York: Longman Group UK Limited. 

Phallogocentricism: Phallocentricism

The term phallogocentric comes from two terms combined- Phallocentric and                                                                 ...