This book provides an expansive view of celebrity's intimate dimensions. In the process, it offers a timely reassessment of how notions of private and public were negotiated by writers, readers, actors and audiences in the early to mid-eighteenth century. The essays assembled here explore the lives of a wide range of figures: actors and actresses, but also politicians, churchmen, authors and rogues; some who courted celebrity openly and others who seemed to achieve it almost inadvertently. At a time when the topic of celebrity's origins is attracting unprecedented scholarly attention, this collection is an important, pioneering resource.

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.

How did Britons understand their relationship with the East in the late eighteenth and early nineteenth centuries? James Watt's new study remaps the literary history of British Orientalisms between 1759, the 'year of victories' in the Seven Years' War, and 1835, when T. B. Macaulay published his polemical 'Minute on Indian Education'. It explores the impact of the war on Britons' cultural horizons, and the different and shifting ways in which Britons conceived of themselves and their nation as 'open' to the East across this period. Considering the emergence of new forms and styles of writing in the context of an age of empire and revolution, Watt examines how the familiar 'Eastern' fictions of the past were adapted, reworked, and reacted against. In doing so he illuminates the larger cultural conflict which animated a nation debating with itself about its place in the world and relation to its others.

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 Pathos: Person, Audience, Language 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 experiences of sublime pathos, for which audiences have been prepared by the sublime ethos described in the companion volume, Shakespeare's Sublime Ethos. To do so, it examines Shakespeare's model of mutualistic character, in which "entangled" language brokers a psychic communion between fictive persons and real-life audiences and readers. In the process, Sublime Critical platitudes regarding Shakespeare's liberating ambiguity and invention of the human are challenged, while the sympathetic imagination is reinstated as the linchpin of the playwright's sublime effects. As the argument develops, the Shakespearean sublime emerges as an emotional state of vulnerable exhilaration leading to an ethically uplifting openness towards others and an epistemologically bracing awareness of human unknowability. Taken together, Shakespeare's Sublime Pathos and Shakespeare's Sublime Ethos 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.

Sixteenth-century English speakers understood identity in radically different terms than ours. "The Interpersonal Idiom" explores the ways early modern usage figures selves as a function of other selves, particularly in the tropes of humoralism, visual perception, and sexual constancy. Challenging the current critical preoccupation with subjectivity, Selleck argues that Shakespeare, Donne, and other early modern writers often emphatically resist emerging conventions of subjective authority and cast selfhood instead as the experience of others. Analyzing a diverse range of texts -- from treatises on medicine, faculty psychology, and the controversy over women to drama, poetry, and devotional literature -- Selleck's study proposes a new theoretical understanding of identity in early modern culture.

This volume is the first attempt to establish a body of work representing English thinking about the practice of translation in the early modern period. The texts assembled cover the long sixteenth century from the age of Caxton to the reign of James 1 and are divided into three sections: 'Translating the Word of God', 'Literary Translation' and 'Translation in the Academy'. They are accompanied by a substantial introduction, explanatory and textual notes, and a glossary and bibliography. Neil Rhodes is Professor of English Literature and Cultural History at the University of St Andrews and Visiting Professor at the University of Granada. Gordon Kendal is an Honorary Research Fellow in the School of English, University of St Andrews. Louise Wilson is a Leverhulme Early Career Fellow in the School of English, University of St Andrews

Women's poetry of the Spanish early modern period. This collection of fourteen scholarly essays on women's poetry from Spain's early modern period shows that women did indeed have a Golden Age, and that they were significant cultural actors in the realms of poetic production. Thestudies of secular verse demonstrate how female poets of this period devised strategies to confront the dominant masculine poetic discourse, while the essays on sacred poetry explore the multiple manifestations of female piety andmysticism. The women's words are brought to life and modern readers helped to understand the socio-cultural, interpersonal, and aesthetic components of the poets' oeuvre. The volume, a companion to Julian Olivares' and ElizabethBoyce's revised anthology "Tras el espejo la musa escribe": Lirica femenina de los Siglos de Oro, constitutes an authoritative critical enterprise focused on the recuperation of the female literary voice, and marks an important step forward in the battle to include women's writing as part of Spain's literary canon. Contributors: Electa Arenal, Aranzazu Borrachero Mendibil, Anne J. Cruz, Adrienne L. Martin, Rosa Navarro Duran, Julian Olivares, Inmaculada Osuna, Amanda Powell, Elizabeth Rhodes, Stacey Schlau, Lia Schwartz, Alison Weber, Judith Whitenack. JULIAN OLIVARES is Professor of Spanish at the University of Houston and editor of Caliope, Journal ofthe Society for Renaissance and Baroque Hispanic Poetry.

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.

The Early Stuart Masque: Dance, Costume, and Music studies the complex impact of movements, costumes, words, scenes, music, and special effects in English illusionistic theatre of the Renaissance. Drawing on a massive amount of documentary evidence relating to English productions as well as spectacle in France, Italy, Germany, and the Ottoman Empire, the book elucidates professional ballet, theatre management, and dramatic performance at the early Stuart court. Individual studies take a fresh look at works by Ben Jonson, Samuel Daniel, Thomas Carew, John Milton, William Davenant, and others, showing how court poets collaborated with tailors, designers, technicians, choreographers, and aristocratic as well as professional performers to create a dazzling event. Based on extensive archival research on the households of Queen Anne and Queen Henrietta Maria, special chapters highlight the artistic and financial control of Stuart queens over their masques and pastorals. Many plates and figures from German, Austrian, French, and English archives illustrate accessibly-written introductions to costume conventions, early dance styles, male and female performers, the dramatic symbolism of colors, and stage design in performance. With splendid costumes and choreographies, masques once appealed to the five senses. A tribute to their colorful brilliance, this book seeks to recover a lost dimension of performance culture in early modern England.

This monograph studies how, across the Folio of 1681, Marvell's poems engage not merely with different kinds of loss and aspiration, but with experiences of both that were, in mid-seventeenth-century England, disturbingly new and unfamiliar. It particularly examines Marvell's preoccupation with the search for home, and with redefining the homeland, in times of civil upheaval. In doing so it traces his progression from being a poet who plays sophisticatedly with received myth to being one who is a national mythmaker in rivalry with his poetic contemporaries such as Waller and Davenant. Although focusing primarily on poems in the Folio of 1681, this book considers those poems in relation to others from the Marvell canon, including the Latin poems and the satires from the reign of Charles II. It closely considers them as well in relation to verse by poets from the classical past and the European, especially English, present.

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.

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.

Tombs in Shakespearean Drama explores the rhetorical deployment of tombs and monuments on the early modern stage, demonstrating their historiographic power and mythmaking potential. By analyzing references to tombs in plays by Shakespeare and others in conjunction with extant monuments, this volume demonstrates how these references function in two overlapping ways in period drama: monuments act as repositories of information about the past, and they allow the living to construct and preserve fictive narratives. The stage exposes the flimsy materiality of paper, placing less value on the written word than period poetry. In this way, critics have perhaps oversold as universal Shakespeare's poetic praise of stone. Tombs within plays act as a powerful historical and narrative medium, raising the stakes to provide the stage with the illusion of permanency. Playwrights use tombs to anchor the stage action, giving a sense of lasting importance to dramatic events and combatting the ephemeral nature of the playhouse. In drama, Shakespeare and others drew on the persona preserved on tombs; this volume widens our view of how these representations interacted in the commemorative economy of early modern England. Within the playhouse, it was the tomb, not the tome, that stood as a symbol of permanence.

Britain's Bloodless Revolutions explores the relationship of the emerging category of Literature to the emerging threat of popular violence between the Bloodless Revolution and the Romantic turn from revolution to reform. The book argues that at a time when the political nature of the Bloodless Revolution became a subject of debate - in the period defined by France's famously bloody revolution - 'Literature' emerged as a kind of political institution and constituted a bloodless revolution in its own right.

During the eighteenth century, British critics applied terms of gender to literature according to the belief that masculine values represented the best literature and feminine terms signified less important works or authors. Laura Runge contends however that the meaning of gendered terms like 'manly' or 'effeminate' changes over time, and that the language of eighteenth-century criticism cannot be fully understood without careful analysis of the gendered language of the era. She examines conventions in various fields of critical language - Dryden's prose, the early novel, criticism by women, and the developing aesthetic - to show how gendered epistemology shaped critical 'truths'. Her exploration of critical commonplaces, such as regarding the heroic and the sublime as masculine modes and the novel as a feminine genre, addresses issues central to eighteenth-century studies.

Devils, witches and evil - the insubstantial but terrifying world of the supernatural as it was seen by Robert Burns and his contemporaries is examined in this new book, brought out for the 250th anniversary of the poet's birth. Several of Burns' poems dealt with the supernatural, the most famous of which, "Tam o Shanter", is examined in detail. It is from this poem that the book's title comes: 'And roars out, "Weel done, Cutty-sark!" And in an instant all was dark And scarcely had he Maggie rallied When out the hellish legion sallied.' In contrast with the 'other world' was the everyday lives of the country people and the nature of the material world in which they lived; the book also examines this and the changes that were taking place in Burns' time.

This book presents a historically and critically nuanced study of George Herbert's biblical poetics. Situating Herbert's work in the context of shifting ideas of biblical mystery, Gary Kuchar shows how Herbert negotiated two competing impulses within post-reformation thought-two contrary aspects of reformation spirituality as he inherited it: the impulse to certainty, assurance, and security and the impulse to mystery, wonder, and wise ignorance. Through subtle and richly contextualized readings, Kuchar places Herbert within a trans-historical tradition of biblical interpretation while also locating him firmly within the context of the early Stuart church. The result is a wide ranging book that is sure to be of interest to students and scholars across several different fields, including seventeenth-century studies, poetry and the bible, and literature and theology.

This book provides an approachable exposition of the rationale of textual editing with special reference to texts from between 1550-1800. The volume explains how manuscript and printed texts were produced, indicating the implications of this for their editorial treatment and giving practical advice on how texts should be prepared and presented.

Margaret Cavendish (1623 - 1673) was a philosopher, poet, scientist, novelist, and playwright of the seventeenth century. Her work is important for a number of reasons. It presents an early and compelling version of the naturalism that is found in current-day philosophy; it offers important insights that bear on recent discussions of the nature and characteristics of intelligence and the question of whether or not the bodies that surround us are intelligent or have an intelligent cause; it anticipates some of the central views and arguments that are more commonly associated with figures like Thomas Hobbes and David Hume. This is the first full account of Cavendish's philosophy and covers the whole span of her work. David Cunning begins with an overview of Cavendish's life and work before assessing her contribution to a wide range of philosophical subjects, including her arguments concerning materialism, experimentation, the existence of God, social and political philosophy and free will and compatibilism. Setting Cavendish in both historical and philosophical context, he argues that like Spinoza she builds on central tenets of Descartes' philosophy and develops them in a direction that Descartes himself would avoid. She defends a plenum metaphysics according to which all individuals are causally interdependent, and according to which the physical universe is a larger individual that constitutes all of reality. Cavendish is essential reading for students of seventeenth-century philosophy, early modern philosophy and seventeenth-century literature.

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.

The facts of John Milton's life are well documented, but what of the person Milton -- the man whose poetic and prose works have been deeply influential and are still the subject of opposing readings? John Shawcross's "different" biography depicts the man against a psychological backdrop that brings into relief who he was -- in his works and from his works. While the theories of Freud, Lacan, Kohut, and others underlie this pursuit of Milton's "self," Jung and some of his followers provide the basic understanding by which Shawcross places Milton in the panorama of history. His explorations of the psychological underpinnings of Milton's decision to become a poet, of the homoerotic dimensions of his personality, and of his relationships with father and mother demonstrate the extent to which psychobiography proves itself invaluable as a means to appreciate this complex writer and his complex writings. This biography combines the traditional chronological narrative with a technique akin to that of fiction, "a mixture of times and a triggering of remembrances from various time frames without time differentiations." Such an approach offers a view of Milton "not only in being but in process of being." Shawcross's examination of two current concerns, gender attitudes and political ideologies, ranges Milton's work against the self he exhibits. Specialists and nonspecialists alike will find in this magisterial biography a wealth of new insight into one of the greatest of English poets.

Gothic Romanticism: Wordsworth, Architecture, Politics, Form offers a revisionist account of both Wordsworth and the politics of antiquarianism in the late eighteenth and early nineteenth centuries. As a historically-driven study that develops a significant critique and revision of genre- and theory-based approaches to the Gothic, it covers many key works by Wordsworth and his fellow "Lake Poets" Samuel Taylor Coleridge and Robert Southey. The second edition incorporates new materials that develop the argument in new directions opened up by changes in the field over the last decade. The book also provides a sustained reflection upon Romantic conservatism, including the political thought and lasting influence of Edmund Burke. New material places the book in wider and longer context of the political and historical forms seen developing in Wordsworth, and proposes Gothic Romanticism as the alternative line of cultural development to Victorian Medievalism.

In the decades after its publication, Goethe's Wilhelm Meister's Apprenticeship served as a touchstone for such major philosophical and literary figures as Schopenhauer, Schleiermacher, and Schlegel, and was widely understood to be one of the greatest novels of the German canon. But in the decades and centuries following, the attention it has received in both disciplines has diminished in comparison to either Goethe's Sorrows of Young Werther or his Elective Affinities. This volume follows the impetus of its early respondents to examine deeply what exactly Goethe's long and complicated novel is doing, and how it engages with problems and themes of human life. An interdisciplinary group of eminent scholars grapple with the novel's engagement with central philosophical questions such as individuality, development, and authority; aesthetic formation and narrative (and human) contingency; and gender, sexuality, and marriage. That these questions and their working-through in Wilhelm Meisters Lehrjahre are in tension with one another speaks ultimately to how literature explores philosophical questions in ways that are open-ended, creative, and contain potential for new and different solutions to living with them. This unique philosophical approach to the form and purpose of a literary masterpiece illuminates new inroads into a novel at once famously complex and influential, and into the projects of one Germany's greatest writers.