Literary scholars, theorists, and historians deploy New Economic techniques to illuminate English Renaissance literature in fresh ways. Contributors variously explore poetry's precarious perch between gift and commodity; the longing for family in The Comedy of Errors as symbolically expressing the alienating pressures of mercantilism; Measure for Measure's representation of singlewomen and the feminization of poverty; the collision between two views of money in a possible collaboration between Shakespeare and Middleton; the cultural spread of an accounting mentality and quantitative thinking; and money as it crosses the frontier between price and pricelessness, from early bodily-injury insurance schemes to The Merchant of Venice.

First published in 1969, The Novel in Letters is a collection of nine novels in letters, representative of certain tendencies in narrative technique and subject-matter between 1678 and 1740. The editor shows how the narrative attitude of the letter writer, his humorous or sentimental viewpoint, give the events the flavour of personal experience. Motifs such as the arranged betrothal, or the gradual decline of an innocent girl to a common whore thus become more immediate. The increasing importance of the narrator, the use of the point-of-view technique, sentimental analysis, and a new interest in characterisation through direct or indirect self-revelation, all mark the transition from the romance to the 'realistic novel.' In the introduction, the editor traces the structure of the epistolary novel back to the sub-literary forms which it most resembles and illustrates how the novel is rooted in journalism and other forms of non-literary writing such as the genuine letter, the diary, autobiography, manuals and didactic literature. There is also an examination of the problem of differentiating between historical reality and literary fiction. This book will be of interest to students and teachers of literature.

Self-reflection, as the hallmark of the modern age, originates more profoundly with Dante than with Descartes. This book rewrites modern intellectual history, taking Dante's lyrical language in Paradiso as enacting a Trinitarian self-reflexivity that gives a theological spin to the birth of the modern subject already with the Troubadours. The ever more intense self-reflexivity that has led to our contemporary secular world and its technological apocalypse can lead also to the poetic vision of other worlds such as those experienced by Dante. Facing the same nominalist crisis as Duns Scotus, his exact contemporary and the precursor of scientific method, Dante's thought and work indicate an alternative modernity along the path not taken. This other way shows up in Nicholas of Cusa's conjectural science and in Giambattista Vico's new science of imagination as alternatives to the exclusive reign of positive empirical science. In continuity with Dante's vision, they contribute to a reappropriation of self-reflection for the humanities.

Shakespeare's Sublime Ethos: Matter, Stage, Form breaks new ground in providing a sustained, demystifying treatment of its subject and looking for answers to basic questions regarding the creation, experience, aesthetics and philosophy of Shakespearean sublimity. More specifically, it explores how Shakespeare generates a sublime mood or ethos which predisposes audiences intellectually and emotionally for the full experience of sublime pathos, explored in the companion volume, Shakespeare's Sublime Pathos. To do so, it examines Shakespeare's invention of sublime matter, his exploitation of the special characteristics of the Elizabethan stage, and his dramaturgical and formal simulacra of absolute space and time. In the process, it considers Shakespeare's conception of the universe and man's place in it and uncovers the epistemological and existential implications of key aspects of his art. As the argument unfolds, a case is made for a transhistorically baroque Shakespeare whose "bastard art" enables the dramatic restoration of an original innocence where ignorance really is bliss. Taken together, Shakespeare's Sublime Ethos and Shakespeare's Sublime Pathos show how Shakespearean drama integrates matter and spirit on hierarchical planes of cognition and argue that, ultimately, his is an immanent sublimity of the here-and-now enfolding a transcendence which may be imagined, simulated or evoked, but never achieved.

Eternity in British Romantic Poetry explores the representation of the relationship between eternity and the mortal world in the poetry of the period. It offers an original approach to Romanticism that demonstrates, against the grain, the dominant intellectual preoccupation of the era: the relationship between the mortal and the eternal. The project's scope is two-fold: firstly, it analyses the prevalence and range of images of eternity (from apocalypse and afterlife to transcendence) in Romantic poetry; secondly, it opens up a new and more nuanced focus on how Romantic poets imagined and interacted with the idea of eternity. Every poet featured in the book seeks and finds their uniqueness in their apprehension of eternity. From Blake's assertion of the Eternal Now to Keats's defiance of eternity, Wordsworth's 'two consciousnesses' versus Coleridge's capacious poetry, Byron's swithering between versions of eternity compared to Shelleyan yearning, and Hemans's superlative account of everlasting female suffering, each poet finds new versions of eternity to explore or reject. This monograph sets out a paradigm-shifting approach to the aesthetic and philosophical power of eternity in Romantic poetry.

The book centres around an historical figure that has received little critical attention in the past, broaching a relatively new field of masculinity studies. It traverses both unstudied material and recognisable works by constating the artefacts of Robert against those of more famous contemporaries (Philip Sidney, Robert Devereaux, Prince Henry Frederick). As part of its contribution to the emerging discourse on Renaissance masculinity, this book provides a point of view of manly reputation that goes beyond a binary comparison to femininity, or a contrast between the behaviours of men of different social classes. By keeping the focus narrow (only titled peerage), masculinity is understood in terms of historical influence, monarchical power and progressions of philosophy, morality and self-reflection. Such a text is ideal for students of Early Modern literature or history because it provides them necessary context of the period as well as specific information which will help them in the interpretive analysis of literary and visual texts. This is not just a work of literary analysis - it is an interdisciplinary study which includes forays into miniature portraits, masques, clothing as well as works of literature.

This book contributes to the development of contemporary historical fiction studies by analysing neo-Georgian fiction, which, unlike neo-Victorian fiction, has so far received little critical attention. The essays included in this collection study the ways in which the selected twentieth- and twenty-first-century novels recreate the Georgian period in order to view its ideologies through the lens of such modern critical theories as performativity, post-colonialism, feminism or visual theories. They also demonstrate the rich repertoire of subgenres of neo-Georgian fiction, ranging from biographical fiction, epistolary novels to magical realism. The included studies of the diverse novelistic conventions used to re-contextualise the Georgian reality reflect the way we see its relevance and relation to the present and trace the indebtedness of the new forms of the contemporary novel to the traditional novelistic genres.

Oliver Goldsmith arrived in England in 1756 a penniless Irishman. He toiled for years in the anonymity of Grub Street-already a synonym for impoverished hack writers-before he became one of literary London's most celebrated authors. Norma Clarke tells the extraordinary story of this destitute scribbler turned gentleman of letters as it unfolds in the early days of commercial publishing, when writers' livelihoods came to depend on the reading public, not aristocratic patrons. Clarke examines a network of writers radiating outward from Goldsmith: the famous and celebrated authors of Dr. Johnson's "Club" and those far less fortunate "brothers of the quill" trapped in Grub Street. Clarke emphasizes Goldsmith's sense of himself as an Irishman, showing that many of his early literary acquaintances were Irish emigres: Samuel Derrick, John Pilkington, Paul Hiffernan, and Edward Purdon. These writers tutored Goldsmith in the ways of Grub Street, and their influence on his development has not previously been explored. Also Irish was the patron he acquired after 1764, Robert Nugent, Lord Clare. Clarke places Goldsmith in the tradition of Anglo-Irish satirists beginning with Jonathan Swift. He transmuted troubling truths about the British Empire into forms of fable and nostalgia whose undertow of Irish indignation remains perceptible, if just barely, beneath an equanimous English surface. To read Brothers of the Quill is to be taken by the hand into the darker corners of eighteenth-century Grub Street, and to laugh and cry at the absurdities of the writing life.

"Women and Material Culture" comprises twelve illustrated, interdisciplinary essays on gender and material culture across the long eighteenth century. Written by an international group of scholars working in the fields of visual culture, dress history and literary criticism, these essays point to the manifold ways in which gender mediated and was shaped by the consumption and production of goods (from clothing and artworks to books) and elucidate the complex, shifting relationships between material and social practice in the period.

Violence was an inescapable part of people's daily lives in eighteenth-century France. The Revolution in general and the Terror in particular were marked by intense outbursts of political violence, whilst the abuse of wives, children and servants was still rife in the home. But the representation of violence in its myriad forms remains aesthetically troublesome. Drawing on correspondence, pamphlets, novels and plays, authors analyse the portrayal of violence as a rational act, the basis of (re)written history, an expression of institutional power, and a challenge to morality. Contributions include explorations of: the use of the dream sequence in fiction to comprehend violence; how rhetoric can manipulate violent historical truth as documented by Burke in his Reflections on the Revolution in France; the political implications of commemorating the massacre at the Tuileries of 10 August 1792; how Sade's graphic descriptions of violence placed the reader in a morally ambivalent position; the differing responses of individuals subjected to brutal incarceration at Vincennes and the Bastille; the constructive force of violence as a means of creating a sense of self.

This book explores the role of government in the governing process of Bangladesh. It primarily focuses on the dilemmas and constraints faced by the successive democratic governments elected since the early 1990s. Bangladesh has had a new democratic beginning since the early 1990s and formally remained a democracy for the last the three decades. Despite impressive performance in the economic and social fields, the country has lagged far behind most of the new democracies in the political realm. This book identifies how representative institutions of governance have gradually declined under democratic governments in Bangladesh, and how disagreements on the 'basic rules of the game' have made the task of governing extremely difficult and democratic consolidation problematic. This book is a significant and comprehensive analysis that identifies and explains the implications of the crises in governance for democratic consolidation in Bangladesh. It will be of interest to academics studying Area Studies, in particular South Asian Studies, and the increasingly researched areas of governance, public policy, and administration.

This collection of essays by experts in Renaissance and Gothic studies tracks the lines of connection between Gothic sensibilities and the discursive network of the Renaissance. The texts covered encompass poetry, epic narratives, ghost stories, prose dialogues, political pamphlets and Shakespeare's texts, read alongside those of other playwrights. The authors show that the Gothic sensibility addresses subversive fantasies of transgression, be this in regard to gender (troubling stable notions of masculinity and femininity), social orders (challenging hegemonic, patriarchal or sovereign power), or disciplinary discourses (dictating what is deemed licit and what illicit or deviant). They relate these issues back to the early modern period as a moment of transition, in which categories of individual, gendered, racial and national identity began to emerge, and connect the religious and the pictorial turn within early modern textual production to a reassessment of Gothic culture. -- .

Arden Early Modern Drama Guides offer students and academics practical and accessible introductions to the critical and performance contexts of key Elizabethan and Jacobean plays. Essays from leading international scholars give invaluable insight into the text by presenting a range of critical perspectives, making the books ideal companions for study and research. Key features include: Essays on the plays' critical and performance history A keynote essay on current research and thinking about the play A selection of new essays by leading scholars A survey of resources to direct students' further reading about the play in print and online The blockbuster Tamburlaine plays (1587) instantly established Marlowe's reputation for experimenting with subversive, outrageous and immoral material. The plays follow the meteoric rise of a Scythian shepherd-turned-warlord, whose conquests of eastern emperors soon sees him established as the most powerful man in the world. The visual tableaux featured in the plays are iconic. He uses his enemy Bajazeth as a footstool, and has other emperors pull his chariot like horses. He burns the Qur'an on stage. The plays were memorable, too, for how they sounded: they showcased the power and variability of iambic pentameter, the meter that Shakespeare would go on to perfect. No history of Shakespeare's theatre is complete without understanding the influence and significance of Marlowe's Tamburlaine plays. Tamburlaine: A Critical Reader offers the definitive introduction to these plays and new perspectives on these seminal works. It provides an overview of their reception on stage and by critics, and offers fresh insights into the teaching of these plays in the classroom.

Analyses a wide range of early modern literary works and their references to Islam Includes analyses of some iconic works. Draws attention to the significance of some less well-known known works. Examines interface between literature, politics, and culture. Uses a range of theoretical tools to identify trends against their sociopolitical background. Critiques assumptions of racial and religious superiority. Draws out contemporary implications for today's world.

A. This is the first book systematically to examine the intrusion of personal voice into the poetry of landscape in Britain in the long eighteenth century. B. The argument of the book proceeds from the premise that strong conventions, such as those that inhere in topographical verse of the period, stimulate original writers to overstep those bounds, resulting in verse that engages issues and energies far deeper than those of pictorial description. C. The book makes a strong claim for the autobiographical emphasis of much eighteenth-century poetry of place. D. The book hews to close readings as the soundest way to identify the often subtle shifts of tone and structure that betray the workings of agendae that may be operating under cover of conventional landscape poetry. E. The book supplements traditionally aesthetic and political readings of eighteenth-century British landscape poetry, suggesting not only that the autobiographical impulse is a distinctive and innovative feature of much great eighteenth-century poetry of place but also that the correlation of self and place, a topic of current interest to humanist geographers, is powerfully manifested in the landscape poetry of this period.

"Of Essays and Reading in Early Modern Britain" traces the co-evolution of the essay and the mode of literacy it enabled. Focusing on the interactive processes of reading captured by the form, "Of Essays" offers a new approach to early modern textuality. It shows how the genre served to record, test and disseminate the readerly skills required by a developing print culture, and how the essay was adopted as a mechanism of natural science, the public sphere, and the novel.

Violent liminalities in Early Modern Culture is a methodologically innovative book combining the twin disciplines of queer theory and disability studies. It investigates the violence feared from, and directed at, inhabitants of the 'betwixt and between' spaces of early modern literature and culture, through a focus on the perpetuated metamorphic states of Shakespeare's and Spenser's liminal figures including Lavinia, Puck, and Britomart. With chapters on gender, sexuality, adolescence, madness, and physical disability, Kaye McLelland applies a bi-theoretical lens to interrogate the ways in which being simultaneously 'neither' and 'both' brings to bear the non-normative disruption identified by queer theory in ways that use binary systems against themselves. For many of Spenser's and Shakespeare's characters, the 'in-between' state, whether ritually or otherwise induced, transforms the instantaneous binary threshold of the limen into a permanent 'habitation'. This created space is one of great power that is feared and violently countered by those who would shut it down. Set against the literary history of Spenser's and Shakespeare's Ovidianism and festivity, and the historical context of the post-Reformation transformation from a tertiary to a binary model of the afterlife, this volume identifies a persistent positioning of liminal literary figures in proximity to the liminality of the dead and dying, whilst simultaneously tracing the positive ways in which these inhabitants of the powerful 'betwixt and between' are depicted.

Reading life writing that runs from Tracey Emin, Faith Ringgold and Judy Chicago to Marie Bashkirtseff, Benvenuto Cellini and beyond, Artists and Their Autobiographies from Today to the Renaissance and Back investigates the intriguing doubled truths of artists' autobiographies: truth in life and truth in art; authorial truth/s and the truth of their art as they saw it. However, this book focuses specifically on the truth of sincerity, which here-following classic discussions by Reindert Dhondt, Philippe Lejeune and Lionel Trilling-appears as a truth to self that floats free from facts to link avowal and feeling. From there, this volume merges autobiography studies with a history of ideas approach to art to trace sincerity's constancy and variability across times and cultures. Through this pre-disciplinary dialogue, this book shows that recent and historical artists' autobiographies differ in how, not if, they intertwine sincerity in life and art. Along the way, this volume leverages the foregrounding of sincerity caused by this doubling to explore such key issues of autobiography studies as autobiography's relation to fiction, serial autobiography, "as-told-to" narrative and what happens when liars claim to tell all.

This volume explores Shakespeare's interest in pity, an emotion that serves as an important catalyst for action within the plays, even as it generates one of the audience's most common responses to tragic drama in the theater. For Shakespeare, the word "pity" contained a broader range of meaning than it does in modern English, and was often associated with ideas such as mercy, compassion, charity, pardon, and clemency. This cluster of ideas provides Shakespeare's characters with a rich range of possibilities for engaging some of humanity's deepest emotional commitments, in which pity can be seen as a powerful stimulus for fostering social harmony, love, and forgiveness. However, Shakespeare also dramatizes pity's potential for deception, when the appeal to pity is not genuine, and conceals contrary motives of vengeance and cruelty. As Shakespeare's works remain relevant for modern audiences and readers, so too does his dramatization of the powerful ways in which emotions such as pity remain essential to our understanding of our shared humanity and of our awareness of compassion's role in our own private and civic lives.

Postmodern society seems incapable of elaborating an ethical critique of the market economy. Early modern society showed no such reticence. Between 1580 and 1680, Aristotelian teleology was replaced as the dominant mode of philosophy in England by Baconian empiricism. This was a process with implications for every sphere of life: for politics and theology, economics and ethics, and aesthetics and sexuality. Through nuanced and original readings of Shakespeare, Herbert, Donne, Milton, Traherne, Bunyan, and the antitheatrical controversy, David Hawkes sheds light on early modern debates over idolatry, financial value, and trade. Hawkes argues that the people of Renaissance England believed that the decline of telos resulted in a reified, fetishistic mode of consciousness which manifests itself in such phenomena as religious idolatry, commodity fetishism, and carnal sensuality. He suggests that the resulting early modern critique of the market economy has much to offer postmodern society.

The sermons of John Donne are seen to embody the tensions and pressure on public religious discourse 1621 - 25. This book considers the professional contribution of John Donne to an emerging homiletic public sphere in the last years of the Jacobean English Church (1621-25), arguing that his sermons embody the conflicts, tensions, and pressures on public religious discourse in this period; while they are in no way "typical" of any particular preaching agenda or style, they articulate these crises in their most complex forms and expose fault lines in the late JacobeanChurch. The study is framed by Donne's two most pointed contributions to the public sphere: his sermon defending James I's Directions to Preachers and his first sermon preached before Charles I in 1625. These two sermons emerge from the crises of controversy, censorship, and identity that converged in the late Jacobean period, and mark Donne's clearest professional interventions in the public debate about the nature and direction of the Church of England. In them, Donne interrogates the boundaries of the public sphere and of his conformity to the institutions, authorities, and traditions governing public debate in that sphere, modelling for his audience an actively engagedconformist identity. Professor JEANNE SHAMI teaches in the Department of English at the University of Regina.

1798 is a significant date in literary history: in that year the Lyrical Ballads were published anonymously by Joseph Cottle, the Bristol bookseller. But this is a volume not about the Lyrical Ballads , but about their year. It is an attempt to re-create and examine the literary culture of 1798, the culture on which Wordsworth and Coleridge decided to make their 'experiment'. It is a book in which Wordsworth and Coleridge vie for attention, as they did in 1798, with many other writers, including Schleiermacher, John Thelwall, Mary Hays, the Abbe Barruel, Walter Savage Landor, Mary Wollstonecraft, Thomas Malthus, Joanna Baillie, George Canning, Robert Sothey and the Reverend T.J. Mathias. The chapters of this book work together to define a single historical moment that marked the beginning of romanticism in England.

Sovereign Power and the Enlightenment examines the role of the novelists and historians of the eighteenth century in developing a vision of political modernity that questions traditional narratives about the rise of liberalism and the decline of sovereign power. It provides a new way to link the literature and philosophy of the eighteenth century with the meditations on violence and sovereignty that have preoccupied much of the political philosophy of the first years of the twenty first century. Focusing on the novelists Daniel Defoe, Samuel Richardson, and Ann Radcliffe, and on the historians David Hume and Edward Gibbon, DeGabriele shows how these authors use the resources of their respective genres to expose the persistence of sovereign violence and to outline a type of political subject who could resist the violence more effectively than the individual beloved of modern liberalism.

Beginning with an analysis of Shakespeare's "The Tempest" and building to a new reading of Milton's "Paradise Lost," author Seth Lobis charts a profound change in the cultural meaning of sympathy during the seventeenth century. Having long referred to magical affinities in the universe, sympathy was increasingly understood to be a force of connection between people. By examining sympathy in literary and philosophical writing of the period, Lobis illuminates an extraordinary shift in human understanding.

Ruling Women is a two-volume study devoted to an analysis of the conflicting discourses concerning government by women in seventeenth-century France. In this second volume, Configuring the Female Prince in Seventeenth-Century French Drama, Conroy analyzes over 30 plays published between 1637 and 1691, examining the range of constructions of queenship that are thrown into relief. The analysis focuses on the ways in which certain texts strive to manage the cultural anxiety produced by female rule and facilitate the diminution of the uneasy cultural reality it represents, while others dramatize the exercise of political virtue by women, explode the myth of gender-differentiated sexual ethics, and suggest alternative constructions of gender relations to those upheld by the normative discourses of sexual difference. The approach is underpinned by an understanding of theatre as fundamentally political, a cultural institution implicated in the maintenance of, and challenge to, societal power relations. Innovative and stimulating, Conroy's work will appeal to scholars of seventeenth-century drama and history of ideas, in addition to those interested in the history of women in political thought and the history of feminism.