Literary studies: c 1600 to c 1800 Books
Stanford University Press The Experimental Imagination: Literary Knowledge
Book SynopsisChallenging the "two cultures" debate, The Experimental Imagination tells the story of how literariness came to be distinguished from its epistemological sibling, science, as a source of truth about the natural and social worlds in the British Enlightenment. Tita Chico shows that early science relied on what she calls literary knowledge to present its experimental findings. More radically, she contends that science was made intellectually possible because its main discoveries and technologies could be articulated in literary terms. While early scientists deployed metaphor to describe the phenomena they defined and imagination to cast themselves as experimentalists, literary writers used scientific metaphors to make the case for the epistemological superiority of literary knowledge. Drawing on literature as well as literary language, tropes, and interpretive methods, literary knowledge challenges our dominant narrative of the scientific revolution as the sine qua non of epistemological innovation in the British Enlightenment. With its recourse to imagination as a more reliable source of truth than any empirical account, literary knowledge facilitates a redefinition of authority and evidence, as well as of the self and society, implicitly articulating the difference that would come to distinguish the arts and sciences.Trade Review"The Experimental Imagination reveals the deep connections between and across the realms of literature and science. Tita Chico shows that literary modes enabled key developments in the new scientific practice, and, reciprocally, that the definition of art itself is based on a profound alliance between aesthetics and experimental philosophy. This is a fertile and important intervention in integrative thinking about the long eighteenth century." -- Laura Brown * Cornell University *"Starting from the elegant assertion that 'science is a literary trope,' Tita Chico offers illuminating, expert readings that fully vindicate her claims to make an original and important contribution to the evolving understanding of British Enlightenment culture." -- Robert DeMaria, Jr. * Vassar College *"Subtle, learned, and inventive at every turn, The Experimental Imagination is essential reading for anyone seeking to rethink the relationship between literature and science in the eighteenth century. The effort to join these histories is one of the great projects of our time. This book is the state of the art." -- Jonathan Kramnick * Yale University *"Tita Chico's The Experimental Imagination: Literary Knowledge and Science in the British Enlightenment does no less than offer a landmark contribution to both literary studies and the history of science and technology....Chico's study offers a timely, relevant, and consistently exciting set of arguments....The Experimental Imagination's theoretical and methodological lenses serve as a call to arms for scholars of these fields to perform more nuanced intersectional work that will productively explore how issues of race, gender, and power amplify, echo, and inform literary-scientific discourse in the later eighteenth- and early nineteenth centuries and beyond." -- Danielle Spratt * Digital Defoe *"Chico sketches out what she calls the "experimental imagination," a mixture of plot forms and rhetorical aesthetics, which underwrites the profound social and cultural transformations of the British Enlightenment. She traces the long, difficult disentanglement of objectivity from poetry and romance—or, really, the construction of objectivity as one creative mode of discourse among others." -- Sean Silver * Los Angeles Review of Books *"[The Experimental Imagination] offers up some rich, highly suggestive texts that confirm the idea that the literary imagination was integral to the development of early science." -- Sharon Ruston * Times Literary Supplement *"The Experimental Imagination constitutes a tremendous addition to scholarship regarding eighteenth-century British literature, science, intellectual history, aesthetics, gender, and Enlightenment as well as the intellectual functions of literature more generally. It usefully extends the archive of what constitutes and concerns scientific writing in the period."––J. Ereck Jarvis, Review of English Studies"Chico powerfully models how literary texts are central to understanding the history of science despite the field's historical resistance to the literary....[Her] framework of affective epistemology opens new avenues for thinking about the unique role of feeling in histories of science."––Travis Chi Wing Lau, Eighteenth-Century Fiction"This is an insightful and enviably disciplined book about a predisciplinary moment." -- Jayne Lewis * Studies in English Literature *"Tita Chico's learned and eloquent book leverages the superior status of literature over science in the Enlightenment by thinking about how literature made natural philosophical knowledge itself possible....Chico's deft recognition of the period's capacious understanding of something like literariness transforms what we think we know about literature and science." -- Richard C. Sha * Eighteenth-Century Studies *"The Experimental Imagination envisions an exciting way forward for literature scholars interested in the history and future of knowledge production....Chico's book is extraordinary, and not to be missed by anyone interested in early modern and Enlightenment literature, history, and natural philosophy." -- Aaron R. Hanlon * Genre *Table of ContentsContents and AbstractsIntroduction chapter abstractThis introduction challenges the "two cultures" debate about disciplinarity. Critical studies of literature and science have not presented a satisfactory understanding of the two domains' comingling and reciprocity. Early science formulated itself through literary knowledge: natural philosophers relied on literariness not only to present experimental findings but also to imagine the practice of science. The multiplicity and diversity of allusions to science in the long eighteenth-century literary archive reflect an understanding of literary knowledge as epistemologically superior. Natural philosophical practice requires yet obscures the imaginative practice; literary knowledge embraces this impulse as a way of understanding the world at large. The experimental imagination encapsulates the process and effects of literary knowledge as an epistemology. The keywords literary knowledge, science, trope, and gender reveal core concepts that enable myriad writers to posit alternative models of experience, authority, and evidence. 1"Literary Knowledge" chapter abstractNatural philosophy in the long eighteenth century connoted a sense of modernity and enlightenment, attributes that bound science to meanings in excess of its practice and consumption. The pliancy of science as a trope finds support in reflections on language as a scientific tool by Robert Boyle, Robert Hooke, and other natural philosophers. The two dominant technologies of the experimental imagination are the observed particular and the modest witness. Observed particulars of empirical study are those nuggets of data that disclose themselves and, in their revelation, produce knowledge. The modest witness is the individual who is objective by virtue of erasing himself through his privilege. Tropes are literary tools that not only enable practitioners to describe scientific findings, but also enable an even more fundamental component of experimentalism: literariness makes possible the conceptualization of scientific findings and the individual who produces them. 2"Immodest Witnesses" chapter abstractThe character of the immodest witness embodies the self-interest, sexual desire, and circulation of wealth implicitly bound up with the practice of experimental philosophy. The characterization of Gimcracks in Thomas Shadwell's The Virtuoso, James Miller's The Humours of Oxford, and Susannah Centlivre's The Basset-Table and coquettes in Joseph Addison and Richard Steele's The Spectator and Eliza Haywood's The Female Spectator all represent self-interest. In plays and periodicals, characterization, metaphor, and plot together reveal the logic of self-interest undergirding claims to scientific objectivity. If the ideal natural philosopher removed himself to achieve objectivity, then the Gimcrack and coquette were defined by an inability to overcome prejudice and desires, speaking for themselves rather than for the object. For some, this form of bias leads to self-delusion, eroticism, and social obstruction, but for others, it allows a new form of self-directed agency and social, even moral, improvement. 3"Scientific Seduction" chapter abstractBeginning with Bacon, natural philosophy texts frequently present scientific practice as an erotic quest, establishing a correspondence between sexual seduction and natural philosophical inquiry. Bernard de Fontenelle's and Francesco Algarotti's scientific dialogues, translated by Aphra Behn and Elizabeth Carter, respectively, adopt the literary plot of seduction to explain and promote Cartesianism, Copernicanism, and Newtonianism. Both Behn and Carter embrace the suitability of natural philosophical education for women. For Fontenelle and Algarotti, understanding science necessitates new ways of thinking that are possible only with one's imagination and requires that characters undergo a process of seduction. Learning science is a conversion process, simultaneously rational and affective. Mathematicians, like lovers, are persuasive and persistent, ultimately demanding submission. These scientific dialogues reframe erotic plots to promote intellectual and moral self-improvement, qualities posited as uniquely modern and widely available to the texts' readers. 4"Political Science" chapter abstractLate seventeenth-century natural philosophers inherited the conjunction of politics and science at the core of Francis Bacon's experimental project. Thomas Sprat's The History of the Royal Society, Margaret Cavendish's The Blazing World, and Jonathan Swift's Gulliver's Travels use the conventions of literary knowledge to express their scientific-political visions, insisting that natural philosophy cannot be understood apart from the political institutions enabling and enabled by its practice and promulgation. These writers use the experimental imagination to envisage, in turn, civil government, absolutist monarchy, and imperialism. Sprat advances scientific triumphalism and a model for schooling gentlemen into civil society. 5"When Science Becomes Literature" chapter abstractThe eighteenth-century aesthetic theories of Anthony Ashley Cooper, third earl of Shaftesbury, and Francis Hutcheson use scientific tropes, consequently revealing the reciprocity of scientific and literary epistemologies. Poets use an expressly aesthetic mode to imagine beyond the limits of experimental knowledge, even though eighteenth-century aesthetics takes shape through unacknowledged appropriation of scientific structures and processes. With this reciprocity obscured, natural philosophy may well disclose sights unseen, but poetry does more. In Alexander Pope's The Rape of the Lock, poems inspired by Queen Caroline's homage to British theological and scientific accomplishments in her Richmond Hermitage, and James Thomson's The Seasons, science becomes literature: aesthetic mediations of natural philosophy draw on but also challenge the intellectual work of science, and mount a case for the epistemological superiority of the literary.
£86.40
Stanford University Press Shakesplish: How We Read Shakespeare's Language
Book SynopsisFor all that we love and admire Shakespeare, he is not that easy to grasp. He may have written in Elizabethan English, but when we read him, we can't help but understand his words, metaphors, and syntax in relation to our own. Until now, explaining the powers and pleasures of the Bard's language has always meant returning it to its original linguistic and rhetorical contexts. Countless excellent studies situate his unusual gift for words in relation to the resources of the English of his day. They may mention the presumptions of modern readers, but their goal is to correct and invalidate any false impressions. Shakesplish is the first book devoted to our experience as modern readers of Early Modern English. Drawing on translation theory and linguistics, Paula Blank argues that for us, Shakespeare's language is a hybrid English composed of errors in comprehension—and that such errors enable, rather than hinder, some of the pleasures we take in his language. Investigating how and why it strikes us, by turns, as beautiful, funny, sexy, or smart, she shows how, far from being the fossilized remains of an older idiom, Shakespeare's English is also our own.Trade Review"As Paula Blank argues, whether or not we are dipping into a 'No Fear' edition, we are always paraphrasing Shakespeare. Shamelessly fun to read, this original and timely book should have broad appeal." -- Julia Reinhard Lupton * University of California, Irvine *"In her worthy sequel to Broken English, Paula Blank meditates provocatively on the 'friction' induced by our distance from early modern English. Shakesplish confronts and celebrates that distance, giving voice to a past now revived for our era." -- Scott Newstok, Director, Pearce Shakespeare Endowment * Rhodes College *"This beautifully conceived book argues for a new and suggestive way of making Shakespeare our contemporary, at once familiar and exotic. Focusing on Shakespeare's language not as he might have intended it but as we understand it today, Paula Blank shows how what registers to a modern reader as the difficulty or strangeness of Shakespeare actually provokes singularly rich forms of cultural and personal self-discovery." -- Geoffrey Harpham, Kenan Institute for Ethics * Duke University *"We owe Paula Blank much thanks for bequeathing to us a book that I would not hesitate to describe as possessing the same traits she has analyzed for us—a book that is 'beautiful', 'funny', 'smart', and yes, even 'sexy': seductive, that is, in the elegant and articulate way in which it helps reveal to us our innermost desires about what Shakespeare's language should be." -- Iolanda Plescia * Memoria di Shakespeare *"Blank returns the reader to the act of luxuriating in the opulent richness of Shakespeare's language like no other scholar I have ever encountered. Shakesplish: How We Read Shakespeare's Language will be consulted for decades to come because of its indefatigable energy and exuberate erudition." -- William Reginald Rampone * Sixteenth Century Journal *Table of ContentsContents and Abstracts1"Shakespeare in Modern English" chapter abstractThis chapter lays the groundwork for approaching Shakespeare's English from the perspective of our own, drawing on translation theory, second-language acquisition theory, and performance studies. It destabilizes the argument over whether Shakespeare should or should not be translated into modern English by posing the theory that Shakespeare's English, in our reception of it, has become an "interlanguage," a uniquely modern hybrid. 2"Beautiful" chapter abstractThis chapter attempts to account for our continuing sense of Shakespeare's language as "beautiful" in an age in which the traditional aesthetic categories of "beautiful" and "sublime" have given way to new categories, such as "cute" or "interesting." Starting from the premise that, when it comes to Shakespeare, we are closer to eighteenth-century critics than twenty-first century ones, this chapter posits that our best chance of determining what it is that makes Shakespeare's language beautiful lies in considering what happens in the moment we make contact with his texts, the moment of our interlinguistic participation. Focusing on our experience of belatedness in relation to Shakespeare's Early Modern diction and syntax, this chapter examines various examples of Shakespeare's beautiful—and not so beautiful—language in order to determine the source of our aesthetic pleasure. 3"Sexy" chapter abstractThis chapter shows that Shakespeare's language is more openly sexual, when it is sexual, than our Modern English expectations have led us to believe. Early Modern English lacked "clinical" terms for male and female sexual organs and for the act of sexual intercourse itself. When Shakespeare uses terms like "sport" or "dally" for sex, he is speaking directly rather than euphemistically. This chapter argues that our interest in Shakespeare's sexual language actually reveals our ambivalence toward his original sexual frankness: We prefer sex in Shakespeare be hidden, so that we can find it out for ourselves. For us, Shakespeare's sexual language is, in itself, a metaphor for our idea of Shakespeare's text as coded, hiding some essential "truth." 4"Funny" chapter abstractThis chapter explores the "funny" and "unfunny" effects of Modern English on Shakespeare's comedy. Situating Shakespeare's jokes within the context of several dominant, enduring theories of humor in the Western tradition—including "superiority" theories, "arousal" or "release" theories, and "incongruity" theories—the chapter explains why and how it is that some of Shakespeare's comedy falls flat to contemporary ears while other instances have become more funny as a result of the gap between our English and Shakespeare's. 5"Smart" chapter abstractThis chapter examines Shakespeare's "intelligence effects," the ways in which his language gives us a sense of depth and acuity. Shakespeare did not use the word "intelligence" in the way that we do: in Early Modern English, the key terms were "wit" and "discourse of reason." Often, modern readers find Shakespeare's characters' "intelligent" because they demonstrate inwardness and self-consciousness; in the process, however, we miss their many failures of logic, which for Shakespeare's audience would have indicated a failure of reason. The chapter further argues that Shakespeare's poetic syntax makes him sound "smarter" to us. 6"Shakespeare as Modern English" chapter abstractThis chapter focuses on Modern English phrases that derive from Shakespeare's Early Modern English, but have been adapted to more recent forms of the vernacular, either in meaning or form. Modern English includes many idioms that originate in Shakespeare, such as "hoist with his own petard," "one fell swoop," and "primrose path." This chapter divides such idioms into three categories: those whose literal meaning is now obscure to us, those that we hear simply as Modern English, and those that sound antiquated and clichéd. Finally, the chapter returns to our modern obsession with identifying idioms as Shakespearean. Cited so often, in so many contexts, over so many centuries, these phrases have become their own particular suborder of language. They are far more ours than his, not Shakespeare but "Shakespeare."
£21.59
Stanford University Press The Experimental Imagination: Literary Knowledge
Book SynopsisChallenging the "two cultures" debate, The Experimental Imagination tells the story of how literariness came to be distinguished from its epistemological sibling, science, as a source of truth about the natural and social worlds in the British Enlightenment. Tita Chico shows that early science relied on what she calls literary knowledge to present its experimental findings. More radically, she contends that science was made intellectually possible because its main discoveries and technologies could be articulated in literary terms. While early scientists deployed metaphor to describe the phenomena they defined and imagination to cast themselves as experimentalists, literary writers used scientific metaphors to make the case for the epistemological superiority of literary knowledge. Drawing on literature as well as literary language, tropes, and interpretive methods, literary knowledge challenges our dominant narrative of the scientific revolution as the sine qua non of epistemological innovation in the British Enlightenment. With its recourse to imagination as a more reliable source of truth than any empirical account, literary knowledge facilitates a redefinition of authority and evidence, as well as of the self and society, implicitly articulating the difference that would come to distinguish the arts and sciences.Trade Review"The Experimental Imagination reveals the deep connections between and across the realms of literature and science. Tita Chico shows that literary modes enabled key developments in the new scientific practice, and, reciprocally, that the definition of art itself is based on a profound alliance between aesthetics and experimental philosophy. This is a fertile and important intervention in integrative thinking about the long eighteenth century." -- Laura Brown * Cornell University *"Starting from the elegant assertion that 'science is a literary trope,' Tita Chico offers illuminating, expert readings that fully vindicate her claims to make an original and important contribution to the evolving understanding of British Enlightenment culture." -- Robert DeMaria, Jr. * Vassar College *"Subtle, learned, and inventive at every turn, The Experimental Imagination is essential reading for anyone seeking to rethink the relationship between literature and science in the eighteenth century. The effort to join these histories is one of the great projects of our time. This book is the state of the art." -- Jonathan Kramnick * Yale University *"Tita Chico's The Experimental Imagination: Literary Knowledge and Science in the British Enlightenment does no less than offer a landmark contribution to both literary studies and the history of science and technology....Chico's study offers a timely, relevant, and consistently exciting set of arguments....The Experimental Imagination's theoretical and methodological lenses serve as a call to arms for scholars of these fields to perform more nuanced intersectional work that will productively explore how issues of race, gender, and power amplify, echo, and inform literary-scientific discourse in the later eighteenth- and early nineteenth centuries and beyond." -- Danielle Spratt * Digital Defoe *"Chico sketches out what she calls the "experimental imagination," a mixture of plot forms and rhetorical aesthetics, which underwrites the profound social and cultural transformations of the British Enlightenment. She traces the long, difficult disentanglement of objectivity from poetry and romance—or, really, the construction of objectivity as one creative mode of discourse among others." -- Sean Silver * Los Angeles Review of Books *"[The Experimental Imagination] offers up some rich, highly suggestive texts that confirm the idea that the literary imagination was integral to the development of early science." -- Sharon Ruston * Times Literary Supplement *"The Experimental Imagination constitutes a tremendous addition to scholarship regarding eighteenth-century British literature, science, intellectual history, aesthetics, gender, and Enlightenment as well as the intellectual functions of literature more generally. It usefully extends the archive of what constitutes and concerns scientific writing in the period."––J. Ereck Jarvis, Review of English Studies"Chico powerfully models how literary texts are central to understanding the history of science despite the field's historical resistance to the literary....[Her] framework of affective epistemology opens new avenues for thinking about the unique role of feeling in histories of science."––Travis Chi Wing Lau, Eighteenth-Century Fiction"This is an insightful and enviably disciplined book about a predisciplinary moment." -- Jayne Lewis * Studies in English Literature *"Tita Chico's learned and eloquent book leverages the superior status of literature over science in the Enlightenment by thinking about how literature made natural philosophical knowledge itself possible....Chico's deft recognition of the period's capacious understanding of something like literariness transforms what we think we know about literature and science." -- Richard C. Sha * Eighteenth-Century Studies *"The Experimental Imagination envisions an exciting way forward for literature scholars interested in the history and future of knowledge production....Chico's book is extraordinary, and not to be missed by anyone interested in early modern and Enlightenment literature, history, and natural philosophy." -- Aaron R. Hanlon * Genre *Table of ContentsContents and AbstractsIntroduction chapter abstractThis introduction challenges the "two cultures" debate about disciplinarity. Critical studies of literature and science have not presented a satisfactory understanding of the two domains' comingling and reciprocity. Early science formulated itself through literary knowledge: natural philosophers relied on literariness not only to present experimental findings but also to imagine the practice of science. The multiplicity and diversity of allusions to science in the long eighteenth-century literary archive reflect an understanding of literary knowledge as epistemologically superior. Natural philosophical practice requires yet obscures the imaginative practice; literary knowledge embraces this impulse as a way of understanding the world at large. The experimental imagination encapsulates the process and effects of literary knowledge as an epistemology. The keywords literary knowledge, science, trope, and gender reveal core concepts that enable myriad writers to posit alternative models of experience, authority, and evidence. 1"Literary Knowledge" chapter abstractNatural philosophy in the long eighteenth century connoted a sense of modernity and enlightenment, attributes that bound science to meanings in excess of its practice and consumption. The pliancy of science as a trope finds support in reflections on language as a scientific tool by Robert Boyle, Robert Hooke, and other natural philosophers. The two dominant technologies of the experimental imagination are the observed particular and the modest witness. Observed particulars of empirical study are those nuggets of data that disclose themselves and, in their revelation, produce knowledge. The modest witness is the individual who is objective by virtue of erasing himself through his privilege. Tropes are literary tools that not only enable practitioners to describe scientific findings, but also enable an even more fundamental component of experimentalism: literariness makes possible the conceptualization of scientific findings and the individual who produces them. 2"Immodest Witnesses" chapter abstractThe character of the immodest witness embodies the self-interest, sexual desire, and circulation of wealth implicitly bound up with the practice of experimental philosophy. The characterization of Gimcracks in Thomas Shadwell's The Virtuoso, James Miller's The Humours of Oxford, and Susannah Centlivre's The Basset-Table and coquettes in Joseph Addison and Richard Steele's The Spectator and Eliza Haywood's The Female Spectator all represent self-interest. In plays and periodicals, characterization, metaphor, and plot together reveal the logic of self-interest undergirding claims to scientific objectivity. If the ideal natural philosopher removed himself to achieve objectivity, then the Gimcrack and coquette were defined by an inability to overcome prejudice and desires, speaking for themselves rather than for the object. For some, this form of bias leads to self-delusion, eroticism, and social obstruction, but for others, it allows a new form of self-directed agency and social, even moral, improvement. 3"Scientific Seduction" chapter abstractBeginning with Bacon, natural philosophy texts frequently present scientific practice as an erotic quest, establishing a correspondence between sexual seduction and natural philosophical inquiry. Bernard de Fontenelle's and Francesco Algarotti's scientific dialogues, translated by Aphra Behn and Elizabeth Carter, respectively, adopt the literary plot of seduction to explain and promote Cartesianism, Copernicanism, and Newtonianism. Both Behn and Carter embrace the suitability of natural philosophical education for women. For Fontenelle and Algarotti, understanding science necessitates new ways of thinking that are possible only with one's imagination and requires that characters undergo a process of seduction. Learning science is a conversion process, simultaneously rational and affective. Mathematicians, like lovers, are persuasive and persistent, ultimately demanding submission. These scientific dialogues reframe erotic plots to promote intellectual and moral self-improvement, qualities posited as uniquely modern and widely available to the texts' readers. 4"Political Science" chapter abstractLate seventeenth-century natural philosophers inherited the conjunction of politics and science at the core of Francis Bacon's experimental project. Thomas Sprat's The History of the Royal Society, Margaret Cavendish's The Blazing World, and Jonathan Swift's Gulliver's Travels use the conventions of literary knowledge to express their scientific-political visions, insisting that natural philosophy cannot be understood apart from the political institutions enabling and enabled by its practice and promulgation. These writers use the experimental imagination to envisage, in turn, civil government, absolutist monarchy, and imperialism. Sprat advances scientific triumphalism and a model for schooling gentlemen into civil society. 5"When Science Becomes Literature" chapter abstractThe eighteenth-century aesthetic theories of Anthony Ashley Cooper, third earl of Shaftesbury, and Francis Hutcheson use scientific tropes, consequently revealing the reciprocity of scientific and literary epistemologies. Poets use an expressly aesthetic mode to imagine beyond the limits of experimental knowledge, even though eighteenth-century aesthetics takes shape through unacknowledged appropriation of scientific structures and processes. With this reciprocity obscured, natural philosophy may well disclose sights unseen, but poetry does more. In Alexander Pope's The Rape of the Lock, poems inspired by Queen Caroline's homage to British theological and scientific accomplishments in her Richmond Hermitage, and James Thomson's The Seasons, science becomes literature: aesthetic mediations of natural philosophy draw on but also challenge the intellectual work of science, and mount a case for the epistemological superiority of the literary.
£23.39
Stanford University Press Networking Print in Shakespeare’s England:
Book SynopsisIn Networking Print in Shakespeare's England, Blaine Greteman uses new analytical tools to examine early English print networks and the systemic changes that reshaped early modern literature, thought, and politics. In early modern England, printed books were a technology that connected people—not only readers and writers, but an increasingly expansive community of printers, publishers, and booksellers—in new ways. By pairing the methods of network analysis with newly available digital archives, Greteman aims to change the way we usually talk about authorship, publication, and print. As Greteman reveals, network analysis of the nearly 500,000 books printed in England before 1800 makes it possible to speak once again of a "print revolution," identifying a sudden tipping point at which the early modern print network became a small world where information could spread in new and powerful ways. Along with providing new insights into canonical literary figures like Milton and Shakespeare, data analysis also uncovers the hidden histories of key figures in this transformation who have been virtually ignored. Both a primer on the power of network analysis and a critical intervention in early modern studies, the book is ultimately an extended meditation on agency and the complexity of action in context. Trade Review"This book offers rigorous scholarship into print culture, while at the same time all the main terms of network theory appear, meticulously documented, clearly explained, and well illustrated by examples. This interweaving is beautifully accomplished, and the result is as delightful to read as it is deeply engaged in all the relevant scholarship."—Laura Mandell, Texas A&M University"This is an important and much-needed work that provides a blueprint for scholars who wish to adopt network analysis for their own research.Greteman persuasively demonstrates how network analysis can make meaningful contributions to well-established humanistic research fields and questions."—Jessica Otis, George Mason University"The book skillfully shows that network analysis can be incorporated into a serious engagement with the particularities of early modern print culture. The central principle of networks is connection, and the connections Greteman makes among fields of study and among the many agents of early modern print culture are a powerful illustration of the utility of this kind of analysis in literary criticism."—John R. Ladd, Modern Language QuarterlyTable of ContentsIntroduction 1. Methods and Data 2. A Small New World: Fire, Infection, and Sudden Change in the English Print Network 3. Hubs in the Network: Nicholas Okes and the Making of Infectious Information 4. Radical Betweenness: Eleanor Davies and Mary Cary 5. Weak Ties and the Making of a Strong Poet: John Milton's Early Publishers Epilogue: Future Directions in Networking the Past
£100.00
Stanford University Press Networking Print in Shakespeare’s England:
Book SynopsisIn Networking Print in Shakespeare's England, Blaine Greteman uses new analytical tools to examine early English print networks and the systemic changes that reshaped early modern literature, thought, and politics. In early modern England, printed books were a technology that connected people—not only readers and writers, but an increasingly expansive community of printers, publishers, and booksellers—in new ways. By pairing the methods of network analysis with newly available digital archives, Greteman aims to change the way we usually talk about authorship, publication, and print. As Greteman reveals, network analysis of the nearly 500,000 books printed in England before 1800 makes it possible to speak once again of a "print revolution," identifying a sudden tipping point at which the early modern print network became a small world where information could spread in new and powerful ways. Along with providing new insights into canonical literary figures like Milton and Shakespeare, data analysis also uncovers the hidden histories of key figures in this transformation who have been virtually ignored. Both a primer on the power of network analysis and a critical intervention in early modern studies, the book is ultimately an extended meditation on agency and the complexity of action in context. Trade Review"This book offers rigorous scholarship into print culture, while at the same time all the main terms of network theory appear, meticulously documented, clearly explained, and well illustrated by examples. This interweaving is beautifully accomplished, and the result is as delightful to read as it is deeply engaged in all the relevant scholarship."—Laura Mandell, Texas A&M University"This is an important and much-needed work that provides a blueprint for scholars who wish to adopt network analysis for their own research.Greteman persuasively demonstrates how network analysis can make meaningful contributions to well-established humanistic research fields and questions."—Jessica Otis, George Mason University"The book skillfully shows that network analysis can be incorporated into a serious engagement with the particularities of early modern print culture. The central principle of networks is connection, and the connections Greteman makes among fields of study and among the many agents of early modern print culture are a powerful illustration of the utility of this kind of analysis in literary criticism."—John R. Ladd, Modern Language QuarterlyTable of ContentsIntroduction 1. Methods and Data 2. A Small New World: Fire, Infection, and Sudden Change in the English Print Network 3. Hubs in the Network: Nicholas Okes and the Making of Infectious Information 4. Radical Betweenness: Eleanor Davies and Mary Cary 5. Weak Ties and the Making of a Strong Poet: John Milton's Early Publishers Epilogue: Future Directions in Networking the Past
£26.99
Stanford University Press Love against Substitution: Seventeenth-Century
Book SynopsisAre we unique as individuals, or are we replaceable? Seventeenth-century English literature pursues these questions through depictions of marriage. The writings studied in this book elevate a love between two individuals who deem each other to be unique to the point of being irreplaceable, and this vocabulary allows writers to put affective pressure on the meaning of marriage as Pauline theology defines it. Stubbornly individual, love threatens to short-circuit marriage's function in directing intimate feelings toward a communal experience of Christ's love. The literary project of testing the meaning of marriage proved to be urgent work throughout the seventeenth century. Monarchy itself was put on trial in this century, and so was the usefulness of marriage in linking Christian belief with the legitimacy of hereditary succession. Starting at the end of the sixteenth century with Edmund Spenser, and then exploring works by William Shakespeare, William Davenant, John Milton, Lucy Hutchinson, and Aphra Behn, Eric Song offers a new account of how notions of unique personhood became embedded in a literary way of thinking and feeling about marriage.Trade Review"Love Against Substitution ranks among the most thoughtful and thorough works on the meaning of marriage. It's beautifully written and a joy to read."—Will Stockton, Clemson University"Eric Song's excellent new book reveals the central ideologeme of modern love to be 'Embrace me, my irreplaceable you,' a grasping for unique attachment in a world where all else is fungible. Deftly interweaving gender studies, political theology, and affect theory, Love against Substitution elegantly explores the fraught relationship between the individual and communal identities of the liberal subject."—Feisal Mohamed, Yale UniversityTable of ContentsIntroduction 1. "Beguiling Love in the Amoretti and the 1590 Faerie Queene" 2. Jealousy against Substitution in Othello and The Winter's Tale 3. "Gondibert and the Biopolitics of Marriage" 4. "Love against Succession in Paradise Lost" 5. "Lucy Hutchinson and the Imperfection of Christian Marriage" 6. "From Remarriage to Tragic Fungibility: Behn's The Forc'd Marriage and Oroonoko" Epilogue
£86.40
Stanford University Press Literary Authority: An Eighteenth-Century
Book SynopsisThis book is the cultural history of an idea which now seems so self-evident as barely to be worth stating: through writing imaginative literature, an author can accrue significant and lasting economic and cultural power. We take for granted, now, that authority dwells in literature and in being its author. This state of affairs was not naturally occurring, but deliberately invented. This book tells the story of that invention. The story's central figures are Alexander Pope and Samuel Johnson. But its narrative begins in the 1680s, with the last gasp of the bond linking literary to political authority. While Jacobite poets celebrated (and mourned) the Stuart dynasty, Whig writers traced the philosophical and aesthetic consequences of the accession of William of Orange. Both groups left behind sets of literary devices ready-made to confer and validate authority. Claude Willan challenges the continued reign of the "Scriblerian" model of the period and shows how that reign was engineered. In so doing he historicizes the relationship between "good" and "bad" writing, and suggests how we might think about literature and beauty had Pope and Johnson not taken literary authority for themselves. What might literature have looked like, and what could we use it for, he provocatively asks.Trade Review"This is an important and scholarly treatment of a significant puzzle in literary studies. Compelling, polemical, bold, maybe even dangerous, this is a book that all literary critics should read." —Joseph Hone, Newcastle University"Willan's provocative genealogy shows how prolific were the mutations in literary authority as it migrated across print cultures from the age of Pope to the age of Johnson. An authoritative rethinking of the making of modern literary authority in the eighteenth century."—Joseph Roach, Yale University"This book is an important contribution to the framing of mainstream literary authority and power in the so-called Ages of Pope and Johnson."—Emily C. Friedman, Auburn University"Literary Authority is grounded in both established and recent scholarship; it is densely argued but clearly written and often quotable. It is also thoughtfully organized, so a large argument develops over the course of the book.... Recommended."—J. T. Lynch, CHOICETable of Contents(i): Introduction 1. Whig Prose Cultures 2. I love with all my heart : Jacobite poetry in manuscript 3. Dipt in Ink: Pope without Pope in his early career 4. Pope's Moderate Ascendancy 5. Johnson's Struggle with Pope Coda: Coda
£57.60
Stanford University Press Love against Substitution: Seventeenth-Century
Book SynopsisAre we unique as individuals, or are we replaceable? Seventeenth-century English literature pursues these questions through depictions of marriage. The writings studied in this book elevate a love between two individuals who deem each other to be unique to the point of being irreplaceable, and this vocabulary allows writers to put affective pressure on the meaning of marriage as Pauline theology defines it. Stubbornly individual, love threatens to short-circuit marriage's function in directing intimate feelings toward a communal experience of Christ's love. The literary project of testing the meaning of marriage proved to be urgent work throughout the seventeenth century. Monarchy itself was put on trial in this century, and so was the usefulness of marriage in linking Christian belief with the legitimacy of hereditary succession. Starting at the end of the sixteenth century with Edmund Spenser, and then exploring works by William Shakespeare, William Davenant, John Milton, Lucy Hutchinson, and Aphra Behn, Eric Song offers a new account of how notions of unique personhood became embedded in a literary way of thinking and feeling about marriage.Trade Review"Love Against Substitution ranks among the most thoughtful and thorough works on the meaning of marriage. It's beautifully written and a joy to read."—Will Stockton, Clemson University"Eric Song's excellent new book reveals the central ideologeme of modern love to be 'Embrace me, my irreplaceable you,' a grasping for unique attachment in a world where all else is fungible. Deftly interweaving gender studies, political theology, and affect theory, Love against Substitution elegantly explores the fraught relationship between the individual and communal identities of the liberal subject."—Feisal Mohamed, Yale UniversityTable of ContentsIntroduction 1. "Beguiling Love in the Amoretti and the 1590 Faerie Queene" 2. Jealousy against Substitution in Othello and The Winter's Tale 3. "Gondibert and the Biopolitics of Marriage" 4. "Love against Succession in Paradise Lost" 5. "Lucy Hutchinson and the Imperfection of Christian Marriage" 6. "From Remarriage to Tragic Fungibility: Behn's The Forc'd Marriage and Oroonoko" Epilogue
£23.39
Stanford University Press Literary Mathematics: Quantitative Theory for
Book SynopsisAcross the humanities and social sciences, scholars increasingly use quantitative methods to study textual data. Considered together, this research represents an extraordinary event in the long history of textuality. More or less all at once, the corpus has emerged as a major genre of cultural and scientific knowledge. In Literary Mathematics, Michael Gavin grapples with this development, describing how quantitative methods for the study of textual data offer powerful tools for historical inquiry and sometimes unexpected perspectives on theoretical issues of concern to literary studies. Student-friendly and accessible, the book advances this argument through case studies drawn from the Early English Books Online corpus. Gavin shows how a copublication network of printers and authors reveals an uncannily accurate picture of historical periodization; that a vector-space semantic model parses historical concepts in incredibly fine detail; and that a geospatial analysis of early modern discourse offers a surprising panoramic glimpse into the period's notion of world geography. Across these case studies, Gavin challenges readers to consider why corpus-based methods work so effectively and asks whether the successes of formal modeling ought to inspire humanists to reconsider fundamental theoretical assumptions about textuality and meaning. As Gavin reveals, by embracing the expressive power of mathematics, scholars can add new dimensions to digital humanities research and find new connections with the social sciences.Trade Review"Literary Mathematics is a new kind of book. A project of this scope is guaranteed to be controversial, but everyone interested in literary history will find it worth their time."—Ted Underwood, University of Illinois Urbana-Champaign"This book is a timely, well-reasoned, and readable contribution to digital humanities and literary studies. Literary Mathematics will help guide the next generation of researchers in quantitative approaches to historical and literary texts."—Mel Evans, University of Leeds"Theoretically, historically, and critically informed, this is the most ambitious, and practical, book I know on the computational revolution in literary studies."—Jonathan Hope, Arizona State University"WithLiterary Mathematics, Gavin achieves what he sets forth to do: demonstrate quantitative models that can be used to describe the relationships between a corpus and its source texts, facilitating insights into the culture from which these historical documents emerged. Gavin's call for 'a curious spirit' that brings 'creative, rather than merely critical, thinking' is a welcome approach. Gavin takes risks in his corpus-level analyses and asks scholars to join him by looking at thousands of texts with an openness to the possibilities of what they may find."—Mary Learner, H-Sci-Med-TechTable of ContentsIntroduction: The Corpus as an Object of Study 1. Networks and the Study of Bibliographical Metadata 2. The Computation of Meaning 3. Conceptual Topography 4. Principles of Literary Mathematics Conclusion: Similar Words Tend to Appear in Documents with Similar Metadata
£64.80
Stanford University Press Shakespeare's Mad Men: A Crisis of Authority
Book SynopsisThis book is about a mad king and a mad duke. With original and iconoclastic readings, Richard van Oort pioneers the reading of Shakespeare as an ethical thinker of the "originary scene," the scene in which humans became conscious of themselves as symbol-using moral and narrative beings. Taking King Lear and Measure for Measure as case studies, van Oort shows how the minimal concept of an anthropological scene of origin—the "originary hypothesis"—provides the basis for a new understanding of every aspect of the plays, from the psychology of the characters to the ethical and dialogical conflicts upon which the drama is based. The result is a gripping commentary on the plays. Why does Lear abdicate and go mad? Why does Edgar torture his father with non-recognition? Why does Lucio accuse the Duke in Measure for Measure of madness and lechery, and why does Isabella remain silent at the end? In approaching these and other questions from the perspective of the originary hypothesis, van Oort helps us to see the ethical predicament of the plays, and, in the process, makes Shakespeare new again.Trade Review"This is criticism of the highest order, whose long, careful readings of King Lear and Measure for Measure are in dialogue with the finest readers of Shakespeare for the past century." —Blair Hoxby, Stanford University"A rigorous yet highly readable attempt to understand Shakespeare and neoclassical drama in general in new terms, Shakespeare's Mad Men demonstrates in admirable detail the analytical power of generative anthropology wielded by a powerful intelligence."—Eric Gans, University of California, Los Angeles"Attentive to both the ruses of bad faith and the truths disclosed by Shakespeare's language, van Oort addresses our human predicament as symbol-making creatures whose search for love is troubled by the ceaseless drive for mastery."—Julia Reinhard Lupton, University of California, Irvine"van Oort's reading is nothing less than a stunning provocation."—Amir Khan, Shakespeare Quarterly"[R]eaders... will find value and pleasure in van Oort's compelling readings, and his clear style makes complex concepts pleasingly accessible."—Molly G. Yarp, Times Literary Supplement"Eminently readable, Shakespeare's Man Men attempts to engage and explain the larger questions the plays raise, particularly why characters behave the way they do and make the choices they do. The readings are original and offer exciting ways to engage with the plays. Highly recommended."—K. J. Wetmore Jr., CHOICETable of ContentsIntroduction 1. The King's Last Potlatch 2. The Judge, the Duke, His Wife, and Her Lover Conclusion
£76.95
Stanford University Press Literary Mathematics: Quantitative Theory for
Book SynopsisAcross the humanities and social sciences, scholars increasingly use quantitative methods to study textual data. Considered together, this research represents an extraordinary event in the long history of textuality. More or less all at once, the corpus has emerged as a major genre of cultural and scientific knowledge. In Literary Mathematics, Michael Gavin grapples with this development, describing how quantitative methods for the study of textual data offer powerful tools for historical inquiry and sometimes unexpected perspectives on theoretical issues of concern to literary studies. Student-friendly and accessible, the book advances this argument through case studies drawn from the Early English Books Online corpus. Gavin shows how a copublication network of printers and authors reveals an uncannily accurate picture of historical periodization; that a vector-space semantic model parses historical concepts in incredibly fine detail; and that a geospatial analysis of early modern discourse offers a surprising panoramic glimpse into the period's notion of world geography. Across these case studies, Gavin challenges readers to consider why corpus-based methods work so effectively and asks whether the successes of formal modeling ought to inspire humanists to reconsider fundamental theoretical assumptions about textuality and meaning. As Gavin reveals, by embracing the expressive power of mathematics, scholars can add new dimensions to digital humanities research and find new connections with the social sciences.Trade Review"Literary Mathematics is a new kind of book. A project of this scope is guaranteed to be controversial, but everyone interested in literary history will find it worth their time."—Ted Underwood, University of Illinois Urbana-Champaign"This book is a timely, well-reasoned, and readable contribution to digital humanities and literary studies. Literary Mathematics will help guide the next generation of researchers in quantitative approaches to historical and literary texts."—Mel Evans, University of Leeds"Theoretically, historically, and critically informed, this is the most ambitious, and practical, book I know on the computational revolution in literary studies."—Jonathan Hope, Arizona State University"WithLiterary Mathematics, Gavin achieves what he sets forth to do: demonstrate quantitative models that can be used to describe the relationships between a corpus and its source texts, facilitating insights into the culture from which these historical documents emerged. Gavin's call for 'a curious spirit' that brings 'creative, rather than merely critical, thinking' is a welcome approach. Gavin takes risks in his corpus-level analyses and asks scholars to join him by looking at thousands of texts with an openness to the possibilities of what they may find."—Mary Learner, H-Sci-Med-TechTable of ContentsIntroduction: The Corpus as an Object of Study 1. Networks and the Study of Bibliographical Metadata 2. The Computation of Meaning 3. Conceptual Topography 4. Principles of Literary Mathematics Conclusion: Similar Words Tend to Appear in Documents with Similar Metadata
£23.39
Stanford University Press The Unknowable in Early Modern Thought: Natural
Book SynopsisEarly modern thought was haunted by the unknowable character of the fallen world. The sometimes brilliant and sometimes baffling fusion of theological and scientific ideas in the era, as well as some of its greatest literature, responds to this sense that humans encountered only an incomplete reality. Ranging from Paradise Lost to thinkers in and around the Royal Society and commentary on the Book of Job, The Unknowable in Early Modern Thought explores how the era of the scientific revolution was in part paralyzed by and in part energized by the paradox it encountered in thinking about the elusive nature of God and the unfathomable nature of the natural world. Looking at writers with scientific, literary and theological interests, from the shoemaker mystic, Jacob Boehme to John Milton, from Robert Boyle to Margaret Cavendish, and from Thomas Browne to the fiery prophet, Anna Trapnel, Kevin Killeen shows how seventeenth-century writings redeployed the rich resources of the ineffable and the apophatic—what cannot be said, except in negative terms—to think about natural philosophy and the enigmas of the natural world.Trade Review"Killeen's work brims with smart scholarship, sharp writing, and surprising discoveries. Deftly threading together the scientific and the mystical, the empirical and the unknowable, this remarkable book provides a new view of science, theology, and the literary forms tying them together."—Jess Keiser, Tufts University"Killeen corrects overly triumphant histories of science, where the new empiricism tames the old vitalism through reason, experiment, et cetera. This is an original book, eccentric in places, which is part of its charm, and full of stylistic flair."—Ryan J. Stark, Corban UniversityTable of ContentsIntroduction 1. The Jobean Apophatic and the Symphonic Unknowability of the World 2. The Theopoetics of Jacob Boehme 3. Thomas Browne's Poetics of the Unspeakable 4. The Bewildering Surface from Boyle to Cavendish 5. Anna Trapnel's Aesthetics of Incoherence 6. Miltonic Vertigo and a Theology of Disorientation Epilogue: Ordinary and Exquisite Bafflement
£64.80
Stanford University Press The Unknowable in Early Modern Thought: Natural
Book SynopsisEarly modern thought was haunted by the unknowable character of the fallen world. The sometimes brilliant and sometimes baffling fusion of theological and scientific ideas in the era, as well as some of its greatest literature, responds to this sense that humans encountered only an incomplete reality. Ranging from Paradise Lost to thinkers in and around the Royal Society and commentary on the Book of Job, The Unknowable in Early Modern Thought explores how the era of the scientific revolution was in part paralyzed by and in part energized by the paradox it encountered in thinking about the elusive nature of God and the unfathomable nature of the natural world. Looking at writers with scientific, literary and theological interests, from the shoemaker mystic, Jacob Boehme to John Milton, from Robert Boyle to Margaret Cavendish, and from Thomas Browne to the fiery prophet, Anna Trapnel, Kevin Killeen shows how seventeenth-century writings redeployed the rich resources of the ineffable and the apophatic—what cannot be said, except in negative terms—to think about natural philosophy and the enigmas of the natural world.Trade Review"Killeen's work brims with smart scholarship, sharp writing, and surprising discoveries. Deftly threading together the scientific and the mystical, the empirical and the unknowable, this remarkable book provides a new view of science, theology, and the literary forms tying them together."—Jess Keiser, Tufts University"Killeen corrects overly triumphant histories of science, where the new empiricism tames the old vitalism through reason, experiment, et cetera. This is an original book, eccentric in places, which is part of its charm, and full of stylistic flair."—Ryan J. Stark, Corban UniversityTable of ContentsIntroduction 1. The Jobean Apophatic and the Symphonic Unknowability of the World 2. The Theopoetics of Jacob Boehme 3. Thomas Browne's Poetics of the Unspeakable 4. The Bewildering Surface from Boyle to Cavendish 5. Anna Trapnel's Aesthetics of Incoherence 6. Miltonic Vertigo and a Theology of Disorientation Epilogue: Ordinary and Exquisite Bafflement
£23.39
University of Pennsylvania Press Scripts of Blackness: Early Modern Performance
Book SynopsisScripts of Blackness shows how the early modern mass media of theatre and performance culture at-large helped turn blackness into a racial category, that is, into a type of difference justifying emerging social hierarchies and power relations in a new world order driven by colonialism and capitalism. In this book, Noémie Ndiaye explores the techniques of impersonation used by white performers to represent Afro-diasporic people in England, France, and Spain in the sixteenth and seventeenth centuries, using a comparative and transnational framework. She reconstructs three specific performance techniques—black-up (cosmetic blackness), blackspeak (acoustic blackness), and black dances (kinetic blackness)—in order to map out the poetics of those techniques, and track a number of metaphorical strains that early modern playtexts regularly associated with them. Those metaphorical strains, the titular scripts of blackness of this book, operated across national borders and constituted resources, as they provided spectators and participants with new ways of thinking about the Afro-diasporic people who lived or could/would ultimately live in their midst. Those scripts were often gendered and hinged on notions of demonization, exclusion, exploitation, animalization, commodification, sexualization, consensual enslavement, misogynoir, infantilization, and evocative association with other racialized minorities. Scripts of Blackness attempts to grasp the stories that Western Europeans told themselves through performative blackness, and the effects of those fictions on early modern Afro-diasporic subjects.Trade Review"It’s not every day that you read a text that reshapes its field in extraordinary ways while opening exciting perspectives to adjacent fields of study; not every day that you read a document that you know, page after page, will be central for generations to come. Scripts of Blackness is a rigorous, interactive, beautifully-written and generous text that takes from pasts (largely understudied or unknown) to speak of and dialogue with our presents, in order to open windows to multiple futures...Scripts of Blackness is an extraordinary gift for scholars of race in contemporary France. It shines a light on the national and trans-European forges that produced the iron masks currently constraining Afro-French. The book is an exceptional tool for us and for generations to come, in our effort to indigenize and define blackness in French." * H-France *"[A] groundbreaking investigation into three modes of racialization—cosmetic, acoustic, and kinetic—that were produced in the theaters of Spain, France, and England across two centuries. The book enriches existing studies of race and performance by departing from the conventional focus on a single nation and limited period and instead highlighting the correspondences between the racial paradigms produced in these countries...[E]ssential reading for students and scholars of early modern studies." * Shakespeare Bulletin *"[R]ich [and] thought-provoking...This important book issues a compelling call to reassess early modern European performances of blackness in the harsh light of their effects on Afro-descendant subjects." * Journal 18 *"This is the first study to my knowledge that puts English, French, and Spanish early modern literatures in conversation with each other through a comparatist method that discusses the history of the African diaspora in each country’s colonial development. Noémie Ndiaye’s scholarship is the soundest I have seen on the topic of early modern race theory." * Baltasar Fra-Molinero, Bates College *"Studies of blackface performance in the early modern world have focused mostly on English plays, masques, and pageants. As Noémie Ndiaye convincingly demonstrates, those performances did not exist in isolation, and the early modern formation of blackness as a racial category was a transnational European endeavor. Scripts of Blackness is original in that it goes beyond the cosmetics and prosthetics of blackface to consider the ways black characters were made to speak and to move." * Virginia Mason Vaughan, Clark University *Table of ContentsContents Introduction. Performative Blackness in Early Modern Europe Chapter 1. A Brief History of Baroque Black-Up: Cosmetic Blackness and Religion Chapter 2. A Brief Herstory of Baroque Black-Up: Cosmetic Blackness, Gender, and Sexuality Chapter 3. Blackspeak: Acoustic Blackness and the Accents of Race Chapter 4. Black Moves: Race, Dance, and Power Post/Script. Ecologies of Racial Performance Appendix. Selection of Early Modern Plays Featuring Black Characters Notes Bibliography Index Acknowledgments
£49.30
University of Pennsylvania Press Bad Blood: Staging Race Between Early Modern
Book SynopsisBad Blood explores representations of race in early modern English and Spanish literature, especially drama. It addresses two different forms of racial ideology: one concerned with racialized religious difference—that is, the notion of having Jewish or Muslim “blood”—and one concerned with Blackness and whiteness. Shakespeare’s Othello tells us that he was “sold to slavery” in his youth, a phrase that evokes the Atlantic triangle trade for readers today. For many years, however, scholars have asserted that racialized slavery was not yet widely understood in early modern England, and that the kind of enslavement that Othello describes is related to Christian-Muslim conflict in the Mediterranean rather than the rise of the racialized enslavement of Afro-diasporic subjects. Bad Blood offers a new account of early modern race by tracing the development of European racial vocabularies from Spain to England. Dispelling assumptions, stemming from Spain’s historical exclusion of Jews and Muslims, that premodern racial ideology focused on religious difference and purity of blood more than color, Emily Weissbourd argues that the context of the Atlantic slave trade is indispensable to understanding race in early modern Spanish and English literature alike. Through readings of plays by Shakespeare, Lope de Vega, and their contemporaries, as well as Spanish picaresque fiction and its English translations, Weissbourd reveals how ideologies of racialized slavery as well as religious difference come to England via Spain, and how both notions of race operate in conjunction to shore up fantasies of Blackness, whiteness, and “pure blood.” The enslavement of Black Africans, Weissbourd shows, is inextricable from the staging of race in early modern literature.Trade Review"Essential, bracing, inspiring reading, brimming with fresh and surprising insights and groundbreaking discoveries, many hiding in plain sight but—like whiteness itself—long rendered invisible, requiring a comparative, transnational approach to race studies and the rigor, shrewdness, measure, and skepticism of Emily Weissbourd to reveal them." * Robert B. Hornback, Oglethorpe University *"Bad Blood provides the first meaningful analysis of how literary presentations of blood purity and blackness in Spain were mistranslated in an English context. Emily Weissbourd exhibits an impressive breadth and depth in her engagement with primary and secondary sources." * Christina H. Lee, Princeton University *
£41.65
University of Pennsylvania Press Death and the Body in the Eighteenth-Century
Book SynopsisDeath and the Body in the Eighteenth-Century Novel demonstrates that archives continually speak to the period’s rising funeral and mourning culture, as well as the increasing commodification of death and mourning typically associated with nineteenth-century practices. Drawing on a variety of historical discourses—such as wills, undertaking histories, medical treatises and textbooks, anatomical studies, philosophical treatises, and religious tracts and sermons—the book contributes to a fuller understanding of the history of death in the Enlightenment and its narrative transformation. Death and the Body in the Eighteenth-Century Novel not only offers new insights about the effect of a growing secularization and commodification of death on the culture and its productions, but also fills critical gaps in the history of death, using narrative as a distinct literary marker. As anatomists dissected, undertakers preserved, jewelers encased, and artists figured the corpse, so too the novelist portrayed bodily artifacts. Why are these morbid forms of materiality entombed in the novel? Jolene Zigarovich addresses this complex question by claiming that the body itself—its parts, or its preserved representation—functioned as secular memento, suggesting that preserved remains became symbols of individuality and subjectivity. To support the conception that in this period notions of self and knowing center upon theories of the tactile and material, the chapters are organized around sensory conceptions and bodily materials such as touch, preserved flesh, bowel, heart, wax, hair, and bone. Including numerous visual examples, the book also argues that the relic represents the slippage between corpse and treasure, sentimentality and materialism, and corporeal fetish and aesthetic accessory. Zigarovich’s analysis compels us to reassess the eighteenth-century response to and representation of the dead and dead-like body, and its material purpose and use in fiction. In a broader framework, Death and the Body in the Eighteenth-Century Novel also narrates a history of the novel that speaks to the cultural formation of modern individualism.
£49.30
University of Pennsylvania Press Sex Lives: Intimate Infrastructures in Early
Book SynopsisIn Sex Lives, Joseph Gamble draws from literature, art, and personal testimonies from sixteenth- and seventeenth-century Europe to uncover how early moderns learned to have sex. In the early modern period, Gamble contends, everyone from pornographers to Shakespeare recognized that sex requires knowledge of both logistics (how to do it) and affect (how to feel about it). And knowledge, of course, takes practice. Gamble turns to a wide range of early modern texts and images from England, France, and Italy, ranging from personal accounts to closet dramas to visual art in order to excavate and analyze a variety of sexual practices in early modernity. Using an intersectional, phenomenological approach to bring historical light to the quotidian sexual experiences of early modern subjects, the book develops the critical concept of the “sex life”—a colloquialism that opens up methodological avenues for understanding daily lived experience in granular detail, both in the distant past and today. Through this lens, Gamble explores how sex organized and permeated everyday life and experiences of gender and race in early modernity. He shows how affects around sex structure the plays of Shakespeare and his contemporaries, revealing the role of sexual feeling and sexual racism in early modern English drama. Sex Lives reshapes how we understand Renaissance literature, the history of sexuality, and the meaning of sex in both early modern Europe and our own moment.Trade Review"With verve and exactitude, Sex Lives unpacks the epistemological and affective infrastructures that undergird a ‘sex life.’ Boldly moving beyond the discursive paradigm that has long governed the history of sexuality, it lingers on the process of learning how to have sex—exploring both sexual ‘know-how’ and sexual ‘feel-how’ through an impassioned commitment to queer thriving." * Valerie Traub, author of Thinking Sex with the Early Moderns *"Original, wry, and winningly earnest, Sex Lives reveals a highly provocative truth often made invisible, that sex, like other quotidian acts that shape our experience and sense of self, is a learned practice." * Patricia Akhimie, author of Shakespeare and the Cultivation of Difference *
£41.65
MT - University of Pennsylvania Press Ghosts Holes Rips and Scrapes
Book SynopsisFour years before the publication of the First Folio, a group of London printers and booksellers attempted to produce a "collected works" of William Shakespeare, not in an imposingly large format but as a series of more humble quarto pamphlets. For mysterious reasons, perhaps involving Shakespeare's playing company, the King's Men, the project ran into trouble. In an attempt to salvage it, information on the title pages of some of the playbooks was falsified, making them resemble leftover copies of earlier editions. The deception worked for nearly three hundred years, until it was unmasked by scholars in the early twentieth century. The discovery of these "Pavier Quartos," as they became known, was a landmark success for the New Bibliography and played an important role in establishing the validity and authority of that method of analysis. While more recent scholars have reassessed the traditional narrative that the New Bibliographers wrote, no one has gone back to look at the primary evidence: the quartos themselves. In Ghosts, Holes, Rips and Scrapes Zachary Lesser undertakes a completely fresh study of these playbooks. Through an intensive bibliographical analysis of over three hundred surviving quartos, Lesser reveals evidence that has gone entirely unseen before: "ghosts" (faint, oily impressions produced when one book is bound next to another); "holes" (the tiny remains of the first simple stitching that held pamphlets together); and "rips and scrapes" (post-production alterations of title pages). This new evidence-much of it visible only with the aid of enhanced photographic methods-suggests that the "Pavier Quartos" are far more mysterious, with far more consequential ramifications for book history and Shakespeare scholarship than we have thought.
£21.59
University of Pennsylvania Press Heroines and Local Girls
Book SynopsisOver the course of the long eighteenth century, a network of some fifty women writers, working in French, English, Dutch, and German, staked out a lasting position in the European literary field. These writers were multilingual and lived for many years outside of their countries of origin, translated and borrowed from each others'' works, attended literary circles and salons, and fashioned a transnational women''s literature characterized by highly recognizable codes. Drawing on a literary geography of national types, women writers across Western Europe read, translated, wrote, and rewrote stories about exceptional young women, literary heroines who transcend the gendered destiny of their distinctive cultural and national contexts. These transcultural heroines struggle against the cultural constraints determining the sexualized fates of local girls.In Heroines and Local Girls, Pamela L. Cheek explores the rise of women''s writing as a distinct, transnational category in
£21.59
University of Minnesota Press Everywhere and Nowhere: Anonymity and Mediation
Book SynopsisA fascinating analysis of anonymous publication centuries before the digital ageEverywhere and Nowhere considers the ubiquity of anonymity and mediation in the publication and circulation of eighteenth-century British literature—before the Romantic creation of the “author”—and what this means for literary criticism. Anonymous authorship was typical of the time, yet literary scholars and historians have been generally unable to account for it as anything more than a footnote or curiosity. Mark Vareschi shows the entangled relationship between mediation and anonymity, revealing the nonhuman agency of the printed text. Drawing richly on quantitative analysis and robust archival work, Vareschi brings together philosophy, literary theory, and media theory in a trenchant analysis, uncovering a history of textual engagement and interpretation that does not hinge on the known authorial subject.In discussing anonymous poetry, drama, and the novel along with anonymously published writers such as Daniel Defoe, Frances Burney, and Walter Scott, he unveils a theory of mediation that renews broader questions about agency and intention. Vareschi argues that textual intentionality is a property of nonhuman, material media rather than human subjects alone, allowing the anonymous literature of the eighteenth century to speak to contemporary questions of meaning in the philosophy of language. Vareschi closes by exploring dubious claims about the death of anonymity and the reexplosion of anonymity with the coming of the digital. Ultimately, Everywhere and Nowhere reveals the long history of print anonymity so central to the risks and benefits of the digital culture.Trade Review"Literary critics, asked to summarize their research, are often asked, ‘Who are your authors?’ Everywhere and Nowhere cleverly baffles this question and turns our attention to anonymity. Bracketing out the author, Mark Vareschi brings into sight other features of publication: namely, networks of writing and reception and a complex of print and performance. He works impressively with bibliographic records, booksellers’ catalogs, advertisements, and paratextual material, like tables of contents. His careful bibliometric work establishes changing percentages of anonymous publication across decades and genres. This is fresh, compelling, detail-rich scholarship and essential reading."—Brad Pasanek, author of Metaphors of Mind: An Eighteenth-Century Dictionary"Everywhere and Nowhere is that rare thing: a genuinely interdisciplinary study, capacious and illuminating, of how anonymous authorship impacts meaning across genres and media. In Mark Vareschi’s hands, anonymity is transformed into a lens for reexamining the most fundamental literary concepts (authorship and intention, medium, textuality) and renovating them—not just in the domain of print, but across the rich media ecologies of the eighteenth century."—Michael Gamer, University of Pennsylvania"Vareschi’s intelligent and well-argued book opens up intriguing questions about the relationships between authors, texts, and readers, and he makes excellent use of bibliometric data to support his claims. It serves as a valuable reminder that eighteenth-century conceptions of authorship were often very different from our own and provides a wealth of data that should help to recontextualize the decisions of so many canonical eighteenth-century authors to publish at least some of their works anonymously."—Journal of British Studies"This revelatory study provides a new interdisciplinary examination of the notion of anonymity in the eighteenth century."—Modern Language Notes"Even as it defines anonymous and attributed works as part of a shared discourse, criticism often cordons them off from one another by making anonymous works serve as examples of a discourse that then warrants a more extensive reading in the attributed text. By drawing attention to the literary networks in which anonymous publication was enmeshed, Everywhere and Nowhere convincingly illustrates how much we miss about the eighteenth century when we treat anonymous works as second-class citizens."—Eighteenth Century Fiction"Vareschi’s book employs a variety of tools and disciplines to consider how authorial anonymity sheds light on processes of mediation in the long eighteenth century."—The BARS Review Table of ContentsIntroduction: Everywhere and Nowhere1. Anonymous as Author2. “Acting Plays” and “Reading Plays”: Intermediation and Anonymity3. Attribution, Circulation, and “Defoe”4. Motive, Intention, AnonymityEpilogue: Anonymity and Media ShiftAcknowledgmentsAppendixNotesIndex
£72.00
University of Minnesota Press Everywhere and Nowhere: Anonymity and Mediation
Book SynopsisA fascinating analysis of anonymous publication centuries before the digital ageEverywhere and Nowhere considers the ubiquity of anonymity and mediation in the publication and circulation of eighteenth-century British literature—before the Romantic creation of the “author”—and what this means for literary criticism. Anonymous authorship was typical of the time, yet literary scholars and historians have been generally unable to account for it as anything more than a footnote or curiosity. Mark Vareschi shows the entangled relationship between mediation and anonymity, revealing the nonhuman agency of the printed text. Drawing richly on quantitative analysis and robust archival work, Vareschi brings together philosophy, literary theory, and media theory in a trenchant analysis, uncovering a history of textual engagement and interpretation that does not hinge on the known authorial subject.In discussing anonymous poetry, drama, and the novel along with anonymously published writers such as Daniel Defoe, Frances Burney, and Walter Scott, he unveils a theory of mediation that renews broader questions about agency and intention. Vareschi argues that textual intentionality is a property of nonhuman, material media rather than human subjects alone, allowing the anonymous literature of the eighteenth century to speak to contemporary questions of meaning in the philosophy of language. Vareschi closes by exploring dubious claims about the death of anonymity and the reexplosion of anonymity with the coming of the digital. Ultimately, Everywhere and Nowhere reveals the long history of print anonymity so central to the risks and benefits of the digital culture.Trade Review"Literary critics, asked to summarize their research, are often asked, ‘Who are your authors?’ Everywhere and Nowhere cleverly baffles this question and turns our attention to anonymity. Bracketing out the author, Mark Vareschi brings into sight other features of publication: namely, networks of writing and reception and a complex of print and performance. He works impressively with bibliographic records, booksellers’ catalogs, advertisements, and paratextual material, like tables of contents. His careful bibliometric work establishes changing percentages of anonymous publication across decades and genres. This is fresh, compelling, detail-rich scholarship and essential reading."—Brad Pasanek, author of Metaphors of Mind: An Eighteenth-Century Dictionary"Everywhere and Nowhere is that rare thing: a genuinely interdisciplinary study, capacious and illuminating, of how anonymous authorship impacts meaning across genres and media. In Mark Vareschi’s hands, anonymity is transformed into a lens for reexamining the most fundamental literary concepts (authorship and intention, medium, textuality) and renovating them—not just in the domain of print, but across the rich media ecologies of the eighteenth century."—Michael Gamer, University of Pennsylvania"Vareschi’s intelligent and well-argued book opens up intriguing questions about the relationships between authors, texts, and readers, and he makes excellent use of bibliometric data to support his claims. It serves as a valuable reminder that eighteenth-century conceptions of authorship were often very different from our own and provides a wealth of data that should help to recontextualize the decisions of so many canonical eighteenth-century authors to publish at least some of their works anonymously."—Journal of British Studies"This revelatory study provides a new interdisciplinary examination of the notion of anonymity in the eighteenth century."—Modern Language Notes"Even as it defines anonymous and attributed works as part of a shared discourse, criticism often cordons them off from one another by making anonymous works serve as examples of a discourse that then warrants a more extensive reading in the attributed text. By drawing attention to the literary networks in which anonymous publication was enmeshed, Everywhere and Nowhere convincingly illustrates how much we miss about the eighteenth century when we treat anonymous works as second-class citizens."—Eighteenth Century Fiction"Vareschi’s book employs a variety of tools and disciplines to consider how authorial anonymity sheds light on processes of mediation in the long eighteenth century."—The BARS Review Table of ContentsIntroduction: Everywhere and Nowhere1. Anonymous as Author2. “Acting Plays” and “Reading Plays”: Intermediation and Anonymity3. Attribution, Circulation, and “Defoe”4. Motive, Intention, AnonymityEpilogue: Anonymity and Media ShiftAcknowledgmentsAppendixNotesIndex
£21.59
University of Minnesota Press The Shapes of Fancy: Reading for Queer Desire in
Book SynopsisExploring forms of desire unaccounted for in previous histories of sexuality What can the Renaissance tell us at our present moment about who and what is “queer,” as well as the political consequences of asking? In posing this question, The Shapes of Fancy offers a powerful new method of accounting for ineffable and diffuse forms of desire, mining early modern drama and prose literature to describe new patterns of affective resonance.Starting with the question of how and why readers seek traces of desire in texts from bygone times and places, The Shapes of Fancy demonstrates a practice of critical attunement to the psychic and historical circulations of affect across time within texts, from texts to readers, and among readers. Closely reading for uncharted desires as they recur in early modern drama, witchcraft pamphlets, and early Atlantic voyage narratives and demonstrating how each is structured by qualities of secrecy, impossibility, and excess, Christine Varnado follows four “shapes of fancy”: the desire to be used to others’ ends; indiscriminate, bottomless appetite; paranoid self-fulfilling suspicion; and melancholic longings for impossible transformations and affinities. These affective dynamics go awry in atypical and perverse ways. In other words, argues Varnado, these modes of feeling are recognizable on the page or stage as “queer” because of how, and not by whom, they are expressed.This new theorization of desire expands the notion of queerness in literature, decoupling the literary trace of queerness from the binary logics of same-sex versus opposite-sex and normative versus deviant that have governed early modern sexuality studies. Providing a set of methods for analyzing affect and desire in texts from any period, The Shapes of Fancy stages an impassioned defense of the inherently desirous nature of reading, making a case for readerly investment and identification as vital engines of meaning making and political insight.Trade Review"The Shapes of Fancy pursues an innovative expansion of the lexicon of queer desire. Christine Varnado forges links between early modern and contemporary thinkers, and she engages a constellation of affective modes, from mediation and consumption to paranoia and melancholia. Her supple analyses illuminate the intricate, often unexpected vectors, artifacts, and afterlives of erotic connection."—Kathryn Schwarz, Vanderbilt University"Christine Varnado’s book makes a surprising and incisive intervention into early modern studies. In its queerest moments, The Shapes of Fancy argues for a capacious theory of desire, expanding scholarly understanding of sexuality in the past to include forgotten, ambivalent, and challenging forms of pleasure."—Holly Dugan, The George Washington University"An incredibly useful touchstone for queer studies."—Modern Philology "This powerful book brings important and fresh insight to the literature." —CHOICETable of ContentsContentsIntroduction: Reading for Desire1. Getting Used, and Liking It: Erotic Instrumentality and the Go-Between2. Everything That Moves: Promiscuous Fancy and Carnival Longing3. It Takes One to Know One: Paranoid Suspicion and the Witch Hunt4. Lost Worlds, Lost Selves: Queer Colonial MelancholiaConclusion: The Persistence of FancyAcknowledgmentsNotesIndex
£86.40
University of Minnesota Press The Shapes of Fancy: Reading for Queer Desire in
Book SynopsisExploring forms of desire unaccounted for in previous histories of sexuality What can the Renaissance tell us at our present moment about who and what is “queer,” as well as the political consequences of asking? In posing this question, The Shapes of Fancy offers a powerful new method of accounting for ineffable and diffuse forms of desire, mining early modern drama and prose literature to describe new patterns of affective resonance.Starting with the question of how and why readers seek traces of desire in texts from bygone times and places, The Shapes of Fancy demonstrates a practice of critical attunement to the psychic and historical circulations of affect across time within texts, from texts to readers, and among readers. Closely reading for uncharted desires as they recur in early modern drama, witchcraft pamphlets, and early Atlantic voyage narratives and demonstrating how each is structured by qualities of secrecy, impossibility, and excess, Christine Varnado follows four “shapes of fancy”: the desire to be used to others’ ends; indiscriminate, bottomless appetite; paranoid self-fulfilling suspicion; and melancholic longings for impossible transformations and affinities. These affective dynamics go awry in atypical and perverse ways. In other words, argues Varnado, these modes of feeling are recognizable on the page or stage as “queer” because of how, and not by whom, they are expressed.This new theorization of desire expands the notion of queerness in literature, decoupling the literary trace of queerness from the binary logics of same-sex versus opposite-sex and normative versus deviant that have governed early modern sexuality studies. Providing a set of methods for analyzing affect and desire in texts from any period, The Shapes of Fancy stages an impassioned defense of the inherently desirous nature of reading, making a case for readerly investment and identification as vital engines of meaning making and political insight.Trade Review"The Shapes of Fancy pursues an innovative expansion of the lexicon of queer desire. Christine Varnado forges links between early modern and contemporary thinkers, and she engages a constellation of affective modes, from mediation and consumption to paranoia and melancholia. Her supple analyses illuminate the intricate, often unexpected vectors, artifacts, and afterlives of erotic connection."—Kathryn Schwarz, Vanderbilt University"Christine Varnado’s book makes a surprising and incisive intervention into early modern studies. In its queerest moments, The Shapes of Fancy argues for a capacious theory of desire, expanding scholarly understanding of sexuality in the past to include forgotten, ambivalent, and challenging forms of pleasure."—Holly Dugan, The George Washington University"An incredibly useful touchstone for queer studies."—Modern Philology "This powerful book brings important and fresh insight to the literature." —CHOICETable of ContentsContentsIntroduction: Reading for Desire1. Getting Used, and Liking It: Erotic Instrumentality and the Go-Between2. Everything That Moves: Promiscuous Fancy and Carnival Longing3. It Takes One to Know One: Paranoid Suspicion and the Witch Hunt4. Lost Worlds, Lost Selves: Queer Colonial MelancholiaConclusion: The Persistence of FancyAcknowledgmentsNotesIndex
£23.39
Fordham University Press A Grammar of the Corpse: Necroepistemology in the
Book SynopsisNo matter when or where one starts telling the story of the battle of al-Qasr al-Kabir (August 4, 1578), the precipitating event for the formation of the Iberian Union, one always stumbles across dead bodies—rotting in the sun on abandoned battlefields, publicly displayed in marketplaces, exhumed and transported for political uses. A Grammar of the Corpse: Necroepistemology in the Early Modern Mediterranean proposes an approach to understanding how dead bodies anchored the construction of knowledge within early modern Mediterranean historiography. A Grammar of the Corpse argues that the presence of the corpse in historical narrative is not incidental. It fills a central gap in testimonial narrative: providing tangible evidence of the narrator’s reliability while provoking an affective response in the audience. The use of corpses as a source of narrative authority mobilizes what cultural historians, philosophers, and social anthropologists have pointed to as the latent power of the dead for generating social and political meaning and knowledge. A Grammar of the Corpse analyzes the literary, semiotic, and epistemological function these bodies serve within text and through language. It finds that corpses are indexically present and yet disturbingly absent, a tension that informs their fraught relationship to their narrators’ own bodies and makes them useful but subversive tools of communication and knowledge. A Grammar of the Corpse complements recent work in medieval and early modern Iberian and Mediterranean studies to account for the confessional, ethnic, linguistic, and political diversity of the region. By reading Arabic texts alongside Portuguese and Spanish accounts of this key event, the book responds to the fundamental provocation of Mediterranean studies to work beyond the linguistic limitations of modern national boundaries.Table of ContentsPreface | vii Introduction: Necroepistemology | 1 1 Presence: Here Are the Dead | 25 2 Absence: Disappearing the Royal Dead | 45 3 Vitality: Wounded Narrators and the Living Dead | 69 4 Assemblage: Recovering Diplomatic Power with Corpses | 89 5 Erasure: Corpse Desecration for Narrative Control | 110 Epilogue | 135 Acknowledgments | 141 Notes | 145 Bibliography | 195 Index | 215
£84.15
Fordham University Press A Grammar of the Corpse: Necroepistemology in the
Book SynopsisNo matter when or where one starts telling the story of the battle of al-Qasr al-Kabir (August 4, 1578), the precipitating event for the formation of the Iberian Union, one always stumbles across dead bodies—rotting in the sun on abandoned battlefields, publicly displayed in marketplaces, exhumed and transported for political uses. A Grammar of the Corpse: Necroepistemology in the Early Modern Mediterranean proposes an approach to understanding how dead bodies anchored the construction of knowledge within early modern Mediterranean historiography. A Grammar of the Corpse argues that the presence of the corpse in historical narrative is not incidental. It fills a central gap in testimonial narrative: providing tangible evidence of the narrator’s reliability while provoking an affective response in the audience. The use of corpses as a source of narrative authority mobilizes what cultural historians, philosophers, and social anthropologists have pointed to as the latent power of the dead for generating social and political meaning and knowledge. A Grammar of the Corpse analyzes the literary, semiotic, and epistemological function these bodies serve within text and through language. It finds that corpses are indexically present and yet disturbingly absent, a tension that informs their fraught relationship to their narrators’ own bodies and makes them useful but subversive tools of communication and knowledge. A Grammar of the Corpse complements recent work in medieval and early modern Iberian and Mediterranean studies to account for the confessional, ethnic, linguistic, and political diversity of the region. By reading Arabic texts alongside Portuguese and Spanish accounts of this key event, the book responds to the fundamental provocation of Mediterranean studies to work beyond the linguistic limitations of modern national boundaries.Table of ContentsPreface | vii Introduction: Necroepistemology | 1 1 Presence: Here Are the Dead | 25 2 Absence: Disappearing the Royal Dead | 45 3 Vitality: Wounded Narrators and the Living Dead | 69 4 Assemblage: Recovering Diplomatic Power with Corpses | 89 5 Erasure: Corpse Desecration for Narrative Control | 110 Epilogue | 135 Acknowledgments | 141 Notes | 145 Bibliography | 195 Index | 215
£23.79
Purdue University Press Being Portuguese in Spanish: Reimagining Early
Book SynopsisAmong the many consequences of Spain's annexation of Portugal from 1580 to 1640 was an increase in the number of Portuguese authors writing in Spanish. One can trace this practice as far back as the medieval period, although it was through Gil Vicente, Jorge de Montemayor, and others that Spanish-language texts entered the mainstream of literary expression in Portugal. Proficiency in both languages gave Portuguese authors increased mobility throughout the empire. For those with literary aspirations, Spanish offered more opportunities to publish and greater readership, which may be why it is nearly impossible to find a Portuguese author who did not participate in this trend during the dual monarchy. Over the centuries these authors and their works have been erroneously defined in terms of economic opportunism, questions of language loyalty, and other reductive categories. Within this large group, however, is a subcategory of authors who used their writings in Spanish to imagine, explore, and celebrate their Portuguese heritage. Manuel de Faria e Sousa, ngela de Azevedo, Jacinto Cordeiro, António de Sousa de Macedo, and Violante do Céu, among many others, offer a uniform yet complex answer to what it means to be from Portugal, constructing and claiming their Portuguese identity from within a Castilianized existence. Whereas all texts produced in Iberia during the early modern period reflect the distinct social, political, and cultural realities sweeping across the peninsula to some degree, Portuguese literature written in Spanish offers a unique vantage point from which to see these converging landscapes. Being Portuguese in Spanish explores the cultural cross-pollination that defined the era and reappraises a body of works that uniquely addresses the intersection of language, literature, politics, and identity.Table of Contents Acknowledgments Introduction: Portuguese Pens, Spanish Words: Remembering the Annexation Chapter One: Portugalidade and the Nation: Toward a Conceptual Framework Chapter Two: Vicente, Camões, and Company: Immortalizing Portugal through the Written Word Chapter Three: Epitome of an Era: The Life and Writings of Manuel de Faria e Sousa Chapter Four: Staging the Nation: Cordeiro, Azevedo, and the Portuguese Comedia Chapter Five: Anticipating and Remembering the Restoration: Sousa de Macedo, Violante do Céu and Manuel de Melo Conclusion: In Praise of the In-Between:Reimagining Early Modern Iberian Literature Notes Works Cited Index
£33.11
Boydell & Brewer Ltd Adapting the Eighteenth Century: A Handbook of
Book SynopsisA collection of pedagogical essays that presents proven strategies for the teaching of adaptation and eighteenth-century texts The eighteenth century was a golden age of adaptation: classical epics were adapted to contemporaneous mock-epics, life writing to novels, novels to plays, and unauthorized sequels abounded. In our own time, cultural products of the long eighteenth century continue to be widely adapted. Early novels such as Robinson Crusoe and Gulliver's Travels, the founding documents of the United States, Jane Austen's novels, Mary Shelley's Frankenstein-all of these have been adapted so often that they are ubiquitous cultural mythoi, even for people who have never read them. Eighteenth-century texts appear in consumer products, comics, cult mashups, fan fiction, films, network and streaming shows, novels, theater stagings, and web serials. Adapting the Eighteenth Century provides innovative, hands-on pedagogies for teaching eighteenth-century studies and adaptation across disciplines and levels. Among the works treated in or as adaptations are novels by Austen, Defoe, and Shelley, as well as the current worldwide musical sensation Hamilton. Essays offer tested models for the teaching of practices such as close reading, collaboration, public scholarship, and research; in addition, they provide a historical grounding for discussions of such issues as the foundations of democracy, critical race and gender studies, and notions of genre. The collection as a whole demonstrates the fruitfulness of teaching about adaptation in both period-specific and generalist courses across the curriculum.Trade ReviewAs someone who teaches widely in eighteenth-century literature but also Shakespeare and the Victorian novel, I find that being able to connect with students through their familiarity with remixed versions of literary texts is invaluable. This book not only offers various case studies in how to pursue such connections, but it also provides useful reminders and suggestions for further reading within adaption theory and practice. * EIGHTEENTH-CENTURY INTELLIGENCER *The 18 essays in this collection are by accomplished teachers of 18th-century literature and culture. ...Though the essays describe courses that have been successfully taught, the strategies delineated are adaptable to other formats and contexts. * CHOICE *Table of ContentsAcknowledgments Introduction Sharon R. Harrow and Kirsten T. Saxton 1 "Je suis Voltaire," or, Appropriating the Philosophe in the Social Media Age Maria Park Bobroff 2 "Who Lives, Who Dies, Who Tells Your Story?": The Uses of Hamilton in Special Collections Pedagogy and Public Engagement Jeremy Brett and Cait Coker 3 Performing Frankenstein in the South: Sex, Race, and Science across the Disciplines Chase Bringardner, Lindsay Doukopoulos, and Emily C. Friedman 4 French Fairy Tales and Adaptations in the Twenty-First-Century Classroom Peggy Schaller Elliott 5 Select Trials at the Sessions-House in the Old-Bailey (1742) and Mark Ravenhill's Mother Clap's Molly House (2001) Jason Gieger 6 Teaching with The Pilgrim's Progress Video Game Jason J. Gulya 7 Eliza Haywood's "Bad Habits": Teaching Adaptations of Fantomina: or, Love in a Maze and The Distress'd Orphan; or, Love in a Madhouse Sharon R. Harrow 8 Teaching Eighteenth-Century Literature through Eighteenth Century Adaptations: Adaptive Structures Aleksondra Hultquist 9 "A Private Had Been Flogged": Adaptation and the "Invisible World" of Jane Austen Catherine Ingrassia 10 Fifty Shades of Pamela in the Undergraduate Classroom Ula Lukszo Klein 11 Teaching the Austen-Monster-Mashup: Sense and Sensibility and Sea Monsters Misty Krueger 12 Learning to Adapt: Teaching Pride and Prejudice and Its Adaptations in General Education Courses Nora Nachumi and Heather King 13 Race and Romance: Adapting Free Women of Color in the Long Eighteenth Century Robin Runia 14 The Crusoeiana: Material Crusoe Rivka Swenson 15 Adaptation in Strange Places: Terrence Malick's To the Wonder and the Narrative Effect and Form of Samuel Richardson's Pamela Kathleen E. Urda 16 Adapting the Tombeaux des Princes: A Study in Media Variations Anne Betty Weinshenker 17 Experiential Pedagogy to Join the Thread of Conversation with Paul et Virginie Servanne Woodward 18 "Lookin' for a Mind at Work": Hamilton, Adaptation, and Enlightenment Ideals for the Core Curriculum Jodi L. Wyett Notes on the Contributors Index
£38.00
St Augustine's Press In Fielding′s Wake
Book SynopsisIn the second volume of The Weight of Words Series, Jeremy Black continues his efforts to present and preserve Britain's literary genius. Its intelligence and enduring influence is in large part reliant on the underlining conservatism that has motivated authors such as Agatha Christie (Black's earlier subject) and Henry Fielding alike. Fielding's epic comic novel, Tom Jones, is unforgettable for many reasons, but the author must be credited with an aptitude for documenting contemporary cultural history and his contribution to a new species of writing. Black's treatment of Fielding draws to the fore a man who was of his time but not confined to it. "Philosophy in practice encompassed his stance as a man of action as well as a reflective writer of genius." Fielding is shown to provide across the breadth of his work extensive and invaluable commentary on issues as diverse as law and order, marriage, women, and the interplay of urban and rural life. Black, an historian, is here a student of storytelling and recovers Fielding's rich descriptions of the human heart and call to defy the vices with which circumstances might taunt it. Black has done a service along many fronts at once: the science of the novel and genre, the history of a people and the figure of a memorable writer.
£17.10
Modern Language Association of America Approaches to Teaching The Plum in the Golden
Book SynopsisThe Plum in the Golden Vase (also known as The Golden Lotus) was published in the early seventeenth century and may be the first long work of Chinese fiction written by a single (though anonymous) author. Featuring both complex structural features and psychological and emotional realism, the novel centers on the rich merchant Ximen Qing and his household and describes the physical surroundings and material objects of a Ming Dynasty city. In part a social, political, and moral critique, the novel reflects on hierarchical power relations of family and state and the materialism of life at the time.The essays in this volume provide ideas for teaching the novel from a variety of approaches, from questions of genre, intertextuality, and the novel's reception to material culture, family and social dynamics, and power structures in sexual relations. Insights into the novel's representation of Buddhism, Chinese folk religion, legal culture, class, slavery, and obscenity are offered throughout the volume.Trade ReviewA stellar crew of senior scholars contributed essays for this volume." —David Rolston, University of Michigan, Ann Arbor
£33.11
Modern Language Association of America Approaches to Teaching The Plum in the Golden
Book SynopsisThe Plum in the Golden Vase (also known as The Golden Lotus) was published in the early seventeenth century and may be the first long work of Chinese fiction written by a single (though anonymous) author. Featuring both complex structural features and psychological and emotional realism, the novel centers on the rich merchant Ximen Qing and his household and describes the physical surroundings and material objects of a Ming Dynasty city. In part a social, political, and moral critique, the novel reflects on hierarchical power relations of family and state and the materialism of life at the time.The essays in this volume provide ideas for teaching the novel from a variety of approaches, from questions of genre, intertextuality, and the novel's reception to material culture, family and social dynamics, and power structures in sexual relations. Insights into the novel's representation of Buddhism, Chinese folk religion, legal culture, class, slavery, and obscenity are offered throughout the volume.
£72.80
Chelsea House Publishers John Donne
Book SynopsisThe poetry of John Donne, Andrew Marvell, George Herbert, Robert Herrick, and Richard Crashaw has fascinated critics for centuries. Ambivalently received but inescapably influential, their tradition can be traced through some of the best poets of our time. This new volume from the ""Bloom's Classic Critical Views"" series features insightful essays from the 17th and early 20th centuries that offer students of literature historical insights into these significant poets.
£38.21
Chelsea House Publishers Hamlet - William Shakespeare
Book SynopsisIn Shakespeare's powerful drama of destiny and revenge, ""Hamlet"", the troubled prince of Denmark, must overcome his own self-doubt and avenge the murder of his father. This study guides to one of Shakespeare's greatest plays. It contains a selection of contemporary criticism of ""Hamlet"".
£38.21
Chelsea House Publishers Much Ado About Nothing - William Shakespeare
Book SynopsisWith ""Much Ado About Nothing"", Shakespeare advanced his art, rendering the romantic comedy with greater elegance of composition and expression. The vividly depicted Beatrice and Benedick make it a play of character rather than situation, as the threats to romance are eventually banished and obstacles are overcome. The characters experience a psychological shift, rather than a change in their circumstances, in order to arrive at the love and mutual respect awaiting them at the play's conclusion. The critical essays in this study guide will help those studying Shakespeare's work.
£42.46
Chelsea House Publishers All's Well That Ends Well - William Shakespeare
Book SynopsisIn this romantic reconciliation comedy, the sweetly mischievous Helena plots and plans her way to winning the aloof Bertram's hand in marriage. While the lovers are united by the close of the final act, Shakespeare pokes fun at the fantasy, wish fulfillment, and conventions of romantic comedy with the play's ambiguous resolution, which has intrigued scholars, readers, and theatergoers for centuries. This invaluable new study guide to one of Shakespeare's greatest plays contains a selection of the finest criticism through the centuries, plus an introduction by Harold Bloom, an accessible summary of the plot, a comprehensive list of characters, a biography of Shakespeare, and more.
£42.46
Chelsea House Publishers A Midsummer Night's Dream - William Shakespeare
Book SynopsisShakespeare imbued ""A Midsummer Night's Dream"" with extraordinary complexity. This ethereal fantasy involves four different levels of representation, which intermingle but never wholly fuse. This invaluable new literary reference presents a selection of the best contemporary criticism of one of Shakespeare's greatest plays, introduced by an essay from esteemed scholar Harold Bloom and featuring a bibliography, index, and chronology of the Bard's life. Volumes in the ""Bloom's Modern Critical Interpretations"" series are intended for in-depth study of literary classics through eight to 12 full-length essays that represent the best criticism available on a specific work.
£38.21
Chelsea House Publishers Othello - William Shakespeare
Book SynopsisThe most striking difference between Othello and Shakespeare's other tragedies is its more intimate scale. Since the play focuses on personal rather than public life, Othello's private descent into jealous obsession is rendered all the more chilling to behold. This invaluable literary reference guide to one of Shakespeare's greatest plays contains a selection of the finest contemporary criticism, an introductory essay by Shakespearean scholar Harold Bloom, an index for easy reference, a bibliography, and a chronology of the playwright's life. Volumes in the ""Bloom's Modern Critical Interpretations"" series are intended for in-depth study of literary classics through eight to 12 full-length essays that represent the best criticism available on a specific work.
£38.21
Clemson University Digital Press Abraham Cowley (1618-1667): A Seventeenth-Century
Book Synopsis
£110.00
Clemson University Digital Press Reading Samuel Johnson: Reception and
Book Synopsis
£95.00
Clemson University Digital Press Tobias Smollett After 300 Years:: Life, Writing,
Book Synopsis
£95.00
Boydell & Brewer Ltd Edinburgh German Yearbook 12: Repopulating the
Book SynopsisIn essays that examine particular non-canonical works and writers in their wider cultural context, this volume "repopulates" the German Enlightenment. German literature and thought flourished in the eighteenth century, when a culture considered a European backwater came to assert worldwide significance. This was an age in which repeated attempts to reform German literary and philosophical culture were made - often only to be overtaken within a few decades. It ushered in generations of exceptionally gifted poets and thinkers including Klopstock, Lessing, Goethe, Kant, and Schiller, whose names still dominate our understanding of the German Enlightenment. Yet the period also brought with it new means of accessing and disseminating culture and a rapid increase in cultural production. The leading lights of eighteenth-century German culture operated against the backdrop of a yet more diverse and vivid cast of literary and philosophical figures since consigned to the second tier of German culture. Through essays that examine particular non-canonical works and writers in their wider cultural context, this collection repopulates the German Enlightenment with these largely forgotten movements, writers, and literary circles. It offers new insights into the development of genres such as thenovel, the fable, and the historical drama, and assesses the dynamics that led to individual authors, circles, and schools of thought being left behind in their time and passed over or inadequately understood to this day. Contributors: Johannes Birgfeld, Stephanie Blum, Julia Bohnengel, Kristin Eichhorn, Sarah Vandegrift Eldridge, Jonathan Blake Fine, J. C. Lees, Leonard von Morzé, Ellen Pilsworth, Joanna Raisbeck, Ritchie Robertson, Michael Wood. Michael Wood is British Academy Postdoctoral Fellow in German at the University of Edinburgh. Johannes Birgfeld teaches Modern German Literature at the University of the Saarland.Table of ContentsIntroduction: Literary Historiography, the Canon, and the Rest - Johannes Birgfeld and Michael Wood PART 1. POETRY Curing both Body and Soul. The Physician as Poet in the Works of Daniel Wilhelm Triller - Kristin Eichhorn Daniel Stoppe's Fables: A "Second-Tier" Version of the Genre in the Early Enlightenment? - Stephanie Blum "Nicht unsrer Lesewelt, und nicht der Ewigkeit": Late Style in Gleim's Zeit- and Sinngedichte (1792-1803) - Ellen Pilsworth PART 2. THE NOVEL Difficulties of a Statesman: Johann Michael von Loen and Der redliche Mann am Hofe - Ritchie Robertson Expanding the Eighteenth-Century Novel between England and Germany: Sentiment, Experience, and the Self - Sarah Vandegrift Eldridge An Unoriginal Modernity: The Novelist-Translator Friedrich von Oertel - Leonard von Morze PART 3. DRAMA AND THEATER Theater for an Urban Audience: Adam Gottfried Uhlichs Der Jungfernstieg and Der Götterkrieg - Johannes Birgfeld Stepping Out of Götz's Shadow: Jacob Maier, the Ritterstück, and the Historical Drama - Michael Wood "You can go to hell with your Chinese bridge": August von Kotzebue's Most Successful Play Menschenhaß und Reue and the European Garden Revolution - Julia Bohnengel PART 4. PHILOSOPHY AND CRITICISM A Troll Emerges: The Beginning of August Friedrich Cranz's Career as a Provocateur - Jonathan Blake Fine Second-Tier Writing in Catholic Germany: Eulogius Schneider (1756-1794) as Professor of Aesthetics and Poet - J. C. Lees Performativity and "Poetic" Epistemology: Ludwig Gotthard Kosegarten's Response to Moses Mendelssohn's Aesthetics - Joanna Raisbeck
£81.00
Boydell & Brewer Ltd Goethe Yearbook 29
Book SynopsisVolume 29 features articles on Anton Reiser; the legacies of German romanticism; Goethe's morphology and computational analysis; Goethe commemorations in Argentina; and Goethe's Weltliteratur in the context of trade with China, along with two special sections and the book review. Volume 29 features articles on Anton Reiser; the legacies and myths of German romanticism; Goethe's morphology as antecedent to computational analysis; on Goethe commemorations in Argentina; and a reconsideration of Goethe's Weltliteratur in the context of Handelsverkehr (trade) with China. Additionally, volume 29 features two special sections. The first commemorates an anniversary, Hölderlin's 250th birthday, with work devoted to "Reading and Exhibiting," compiled by Meike Werner. The other special section, on movement and edited by Heidi Schlipphacke, further explores research featured at MLA 2021 and revisits many questions of sentimentalism, visuality, and narration that are at the core of canon formation and eighteenth-century thresholds of modernity. As always, the book review section, edited by Sean Franzel, concludes the volume.Table of ContentsEditors' Preface Patricia Anne Simpson and Birgit Tautz "Hypochondria, Sentimental Friendship, and Same-Sex Desire in Anton Reiser" Edward Potter "The Witch in His Head: Rupturing the Patriarchal Discourse in Eichendorff's Ballad 'Waldgespräch'" Birgit A. Jensen "The Contemporary Legacy of Goethean Morphology: From Anschauende Urteilskraft to Algorithmic Pattern Recognition, Generation, and Exploration" Oriane Petteni "The Worldliness of Weltliteratur: Goethe's 'Handelsverkehr' between China and Weimar" Barry Murnane "Fleeting Hope in Foreboding Times: The 1932 Goethe Year in Argentina" Robert Kelz Special Section I: Hölderlin 2020 "Introduction Hölderlin 2020: Reading and Exhibiting" Meike Werner "Wie man Hölderlin in einer Ausstellung lesen kann" Heike Gfrereis "Die Saitenspiele ergossen sich über mein Innres": Hölderlin's Auditory Atmospheres Rolf Goebel "Eine andere Klarheit: Hölderlin, Philology, and the Idea of Rigor in Literary Study" James McFarland "Hölderlin's Hyperion as Eros: Between Symposiast and Hermit" Eleanor ter Horst "Articulate Precision and Ineffable Meaning in Hölderlin: A Commentary" Mark W. Roche Special Section II: "Movement" "Introduction: Movement and the Modern" Heidi Schlipphacke "Medien- und Emotionspolitik der Rührung: Rührung im Brief und auf der Bühne bei Christian Fürchtegott Gellert" Yulia Mevissen Discipline and Theatricality: Tableaux Vivants and the Vicissitudes of Movement in Goethe's Die Wahlverwandtschaften" Matthew Feminella "The Discovery of Self and Others Through Movement in Goethe's Lehrjahre and Wanderjahre" Susan Gustafson "'Was bedeutet die Bewegung?': Authorship as Movement in Goethe's West-östlicher Divan" Eleanor ter Horst Book Reviews Translations and Editions Monographs and Edited Volumes
£67.50
Boydell & Brewer Ltd Goethe Yearbook 30
Book SynopsisThe Goethe Yearbook is a publication of the Goethe Society of North America, showcasing North American and international scholarship on Goethe and other authors and aspects of the late eighteenth and early nineteenth centuries. Volume 30 seeks to prompt discussion of new directions in eighteenth-century scholarship with special sections on Enlightenment legacies of race and on the robust scholarship that rethinks the eighteenth-century body beyond the human organism. Beyond the two special sections there are articles on Wieland's Alceste, several essays on sex and gender (e.g., on Goethe's Werther; on gender, genre, and authorship in La Roche and Goethe; and on continued gender bias in scholarship on the German eighteenth century), a co-authored article on Goethe's Roman elegies, and an article on performativity and gestures in Kleist. The customary book review section rounds out the volume.Table of ContentsEditors' Preface Patricia Anne Simpson and Birgit Tautz ESSAYS Wielands Singspiel Alceste, ein Stein des Anstoßes für Goethe? Hans Hahn Lotte's Bird, Female Desire, and the Language of 'Sexuality' in Leiden des jungen Werthers Carl Niekerk La Roche and Goethe: Gender, Genre, and Authorship Maryann Piel The Persistence of Bias in Eighteenth-Century Studies Margaretmary Daley Things of Art and Amor: Mediation in Goethe's Römische Elegien Sebastian Meixner and Carolin Rocks Reading Performatively: Disruptive Gestures in Heinrich von Kleist Katherine Pollock NEW DIRECTIONS Re-Examining (White) Enlightenment Legacies Through a German Lens Birgit Tautz and Patricia Anne Simpson Fractured Visions, New Horizons: Debates in Eighteenth-Century Studies Beyond German Studies Birgit Tautz Black Actors: Eighteenth-Century Cultures and Decolonial Fantasies Patricia Anne Simpson Interior Whiteness: Race and the "Rise of the Novel" Sarah V. Eldridge Racial Classification, Slavery, and Human Rights: The Impacts of the Transatlantic Order in Eighteenth-Century Germany Sigrid Köhler and Claudia Nitzschke FORUM Unexpected Bodies in the Eighteenth Century Introduction and Select Bibliography Patricia Anne Simpson and Birgit Tautz Mind over Body? Stigma, Staring, and the Self Anna C. Spafford Unexpected Bodies of Water: On the "Blue" Goethezeit Benjamin D. Schluter Queering Material Nature: Bewitched Bodies and the Limits of the Enlightenment Melissa Sheedy Plants as Unexpected Bodies Heather Sullivan Euphorion as an Aesthetic Body Heidi Grek Book Reviews
£67.50
Arc Humanities Press A Companion to the Cavendishes
Book Synopsis
£167.88
Arc Humanities Press Antonio Latini’s The Modern Steward, or The Art
Book Synopsis
£175.79
Arc Humanities Press Milton’s Scriptural Theology: Confronting De
Book Synopsis
£112.51
Arc Humanities Press A Companion to the Cavendishes
Book Synopsis
£38.30
University of Delaware Press Innovation in the Italian Counter-Reformation
Book SynopsisThe enduring "black legend" of the Italian Counter-Reformation, which has held sway in both scholarly and popular culture, maintains that the Council of Trent ushered in a cultural dark age in Italy, snuffing out the spectacular creative production of the Renaissance. As a result, the decades following Trent have been mostly overlooked in Italian literary studies, in particular. The thirteen essays of Innovation in the Italian Counter-Reformation present a radical reconsideration of literary production in post-Tridentine Italy. With particular attention to the much-maligned tradition of spiritual literature, the volume’s contributors weave literary analysis together with religion, theater, art, music, science, and gender to demonstrate that the literature of this period not only merits study but is positively innovative. Contributors include such renowned critics as Virginia Cox and Amedeo Quondam, two of the leading scholars on the Italian Counter-Reformation. Published by University of Delaware Press. Distributed worldwide by Rutgers University Press. Trade Review"The essays in this collection aim at revisiting and problematizing in an interdisciplinary context the output of the Counter-Reformation period. As the brilliant contribution by Virginia Cox argues, the time has come to reevaluate the output of both men and women of the period, and to make room for the highly forgotten religious production. The other essays in the book maintain that it is time to stop judging the period as one of cultural involution. Instead we should start seeing it as one of creative innovation, a period in which the response to the Church’s desire for purging sensuality and licentiousness fostered the rewriting of various genres into more spiritual venues." -- Valeria Finucci, Duke University, author of The Prince’s Body: Vincenzo Gonzaga and Renaissance MedicineTable of ContentsAcknowledgments Foreword by Amedeo Quondam IntroductionPart I: Foundations Re-Thinking Counter-Reformation Literature by Virginia Cox Scientific Discovery in Florentine Painting of the Counter-Reformation: Cigoli's Martyrdom of St. Lawrence (1590) and Stigmatizations of St. Francis (1596 and 1602) by Lisa BourlaPart II: Gender The Armed Maiden of the Sixteenth Century and the Unmaking of Tasso's Clorinda by Gerry Milligan The Fair Warrior in the City of Florence: Maddalena Salvetti's Poems to Christine of Lorraine by Anna Wainwright Devotion, Desire, and Masculinity in the Spiritual Verse of Angelo Grillo by Shannon McHughPart III: Theater Performing Drama: Theater as Spiritual Practice in the Works of Fabio Glissenti by Eugenio Refini "Deggio ferma tener la santa fede": Representing the Priest in Pastoral Drama in Counter-Reformation Italy by Lisa Sampson Playing Milan: Secular Drama, Sacred Reform, and the Family Andreini by Sarah Gwyneth RossPart IV: Bologna: A City Case Study Bologna, Marian City in the Drawings of Francesco Cavazzoni (1559-1616) by Gabriella Zarri Violence in Early Modern Bologna: A Provisional Appraisal by Monica CalabrittoPart V: Emotion and Expression Tasso's Poetic Self-Commentary, His Dialogues, and a New Philosophical Syncretism: The Last Phase of the Renaissance Love Treatises by Armando Maggi Girolamo Mei, Early Opera, and Experience by Joseph Perna "Sottoporsi agli occhi del mondo nelle stampe": Sarra Copia Sulam and the Venetian Press by Lynn Lara Westwater Contributors Index
£107.20
University of Delaware Press Comparative Essays on the Poetry and Prose of
Book SynopsisThis book brings together ten essays on John Donne and George Herbert composed by an international group of scholars. The volume represents the first collection of its kind to draw close connections between these two distinguished early modern thinkers and poets who are justly coupled because of their personal and artistic association. The contributors' distinctive new approaches and insights illuminate a variety of topics and fields while suggesting new directions that future study of Donne and Herbert might take. Some chapters explore concrete instances of collaboration or communication between Donne and Herbert, and others find fresh ways to contextualize the Donnean and Herbertian lyric, carefully setting the poetry alongside discourses of apophatic theology or early modern political theory, while still others link Herbert's verse to Donne's devotional prose. Several chapters establish specific theological and aesthetic grounds for comparison, considering Donne and Herbert's respective positions on religious assurance, comic sensibility, and virtuosity with poetic endings. Table of ContentsAcknowledgements Russell M. Hillier and Robert W. Reeder, Introduction Part I: Negative Theology, Political Theory, and the Lyric Chapter 1: Kirsten Stirling, “Donne’s Negative Theology of the Cross” Chapter 2: Angela Balla, “Prayer as Political Theory: Conscience, Sovereignty, and Natural Law in Donne and Herbert” Part II: Encounters: Exchange and Collaboration Chapter 3: Anne-Marie Miller-Blaise, “‘Resplendence of women, men’s means to zeal’: Fashioning Female Sanctity in Donne and Herbert’s Commemoration of Lady Danvers” Chapter 4: Kimberly Johnson, “Crossings: Sacramental Signs Across the Verse of Donne and Herbert” Chapter 5: Greg Miller, “Crucifying Craft: A Donne-Herbert Dialogue” Part III: Sin, Salvation, and Assurance Chapter 6: Robert W. Reeder, “‘Extreme Audacity of Penitential Humility’: Devotions 10 and the Donne-Herbert Dichotomy” Chapter 7: Kate Narveson, “Imagining Prayer in Donne’s Devotions and Herbert’s Poems of Complaint” Chapter 8: Danielle A. St. Hilaire, “Recuperating the Incapacities of the Fallen Self in Donne and Herbert: Possibility and Promise” Part IV: Appraisals Chapter 9: Christopher Hodgkins, “Donne’s ‘Comedy of Eros’ and Herbert’s ‘World of Mirth’” Chapter 10: Helen Wilcox, “‘The dot over the i’: How Donne and Herbert Close Their Poems” Appendix: Catherine R. Freis, Richard Freis, and Greg Miller, trans., “Donne and Herbert’s Latin Poems on the Seal of Christ on the Anchor” About the Contributors Index
£40.00
