The English Reformation in the Spanish Imagination examines early modern Spanish literary works that represent English Catholics and figures from the English Reformation, including Henry and Elizabeth Tudor, Anne Boleyn, Catherine of Aragon, Sir Francis Drake, and Mary Stuart. Deborah R. Forteza compares these texts to assess how rhetorical and genre distinctions open and constrain the Spanish representations and how these exchanges inform Anglo-Spanish perceptions and relations. The book focuses on the literary representation of characters as classical and biblical monsters and saints and considers how these images were transformed and deployed in lesser-known poems, plays, and novels in order to capture the Spanish imagination. Through these sources, Forteza reveals the complex fraternal and antagonistic links between England and Spain, including Black Legend and Counter-Reformation exchanges. In examining the works that shaped Spain's view of England at the time, The English Reformation in the Spanish Imagination demonstrates the importance of transnational study and why it is essential for a more nuanced understanding of Spanish literature.

This is the fifth volume in a ten-volume series of the critical old-spelling texts of the plays in the Beaumont and Fletcher canon, in which the texts are established on modern bibliographical principles. Each play is introduced by a discussion of the text, has variant readings in footnotes, and is followed by full textual notes and lists of press-variants, emendations of accidentals and historical collations.

This is the ninth volume in the definitive series of critical, old-spelling texts of the plays in the Beaumont and Fletcher canon, in which the texts are established on modern bibliographical principles. This volume contains six plays written by Fletcher and his collaborators, Philip Massinger and William Rowley. Each play is introduced by a discussion of the text and authorship, and is accompanied by detailed textual notes, a list of press-variants, emendations of accidentals and a historical collation. The plays are The Sea Voyage, The Double Marriage, The Prophetess, The Little French Lawyer, The Elder Brother and The Maid in the Mill.

This book argues that the female philosopher, a literary figure brought into existence by Mary Wollstonecraft's A Vindication of the Rights of Woman, embodied the transformations of feminist thought during the transition from the Enlightenment to the Romantic period. By imagining a series of alternate lives and afterlives for the female philosopher, women authors of the early Romantic period used the resources of the novel to evaluate Wollstonecraft's ideas and legacy. This book examines how these writers' opinions converged on such issues as progress, education, and ungendered virtues, and how they diverged on a fundamental question connected to Wollstonecraft's life and feminist thought: whether the enlightened, intellectual woman should live according to her own principles, or sacrifice moral autonomy in the interest of pragmatic accommodation to societal expectations.

What does it mean to write the city? How could the myriad experiences of life in early modern London be translated into textual form? In a detailed study of works ranging from little known manuscript accounts to major canonical texts from the pen of Thomas Middleton and Isabella Whitney, Writing Early Modern London pursues these questions. Arguing that the impulse to record and reflect upon the early modern city was fuelled by the process of religious reformation, it traces the profound impact of these upheavals upon how community was experienced and imagined. The authors studied here show how rites of community were appropriated and re-imagined in texts which responded creatively to the transformation of urban life. Contesting London's future involved contesting the past, and Writing Early Modern London demonstrates how memory became a key cultural battleground, one in which writing itself was implicated, as a far-reaching 'reformation of the archive' challenged the habits of memory within early modern culture.

This book features a collection of essays, shedding subversively new light on Romanticism and its canon of big-six, white, male Romantics by focusing on marginalised, forgotten and lost writers and their long-neglected works. Probing the realms of literary and cultural lostness, this book identifies different strata of oblivion and shows how densely the net of contacts and rivalries was woven around the ostensibly monolithic stars of the Romantic age. It reveals how the lost poets inspired the production of anthologised poetry, that they served as indispensable muses, sidekicks and interlocutors of the big six and that their relevance for the literary scene has been continuously underrated. This is also surprisingly true for some creators of famous one-hit wonders (Frankenstein, The Vampyre) who were suddenly rocketed to fame or notoriety, but could not help seeing their other works of fiction turning into abortive flops.

Many people today first encounter staged Shakespeare in an open-air setting. In Australia, picnic Shakespeares seem particularly suited to the predilections of contemporary audiences and the plays have been performed in a remarkably varied range of sites. Shakespeare has been transported to gardens, parks, caves, mountains and beaches all over the country, in a place that for Shakespeare and his contemporaries was completely unknown. Why does the anomaly of performing Shakespeare in Australian space exert such a strong appeal? This book traces the history of open-air Shakespeare production in Australia from the beginning of the twentieth century to the present day and suggests that the industry reflects important changes in the ways contemporary Australians relate to both their environment and to Shakespeare. It provides striking evidence of the diversity of localised responses to Shakespeare that exist outside Britain, and contributes to our understanding of Shakespeare's changing global impact.

The Scotnotes booklets are a series of study guides to major Scottish writers and literary texts for senior pupils in secondary schools and students in further education. Each booklet in the series is written by a person who is not only an authority on the particular writer or text but also experienced in teaching at the relevant levels in schools or colleges. Furthermore, the editorial board, composed of members of the ASLS Schools and Further Education Committee, considers the suitability of each booklet for the students in question. For many years there has been a shortage of readily accessible critical notes for the general student of Scottish literature. Now that Scottish Literature is an important part of the curriculum, Scotnotes has grown as a series to meet this need, and provides students with valuable aids to the key writers and major texts within the Scottish literary tradition.

Originally published in 1990 by Routledge, Dictionary of Riddles is a collection of nearly 1500 of the most cryptic and entertaining riddles from history. Drawn from sources throughout the world, the collection ranges from earthy medieval jokes about fleas, worms and vegetables to the sophisticated puzzles composed by literary figures from Schiller, Swift, Voltaire, Rousseau and Cervantes to Edgar Allan Poe, Lewis Carroll and J.R.R. Tolkien. The book traces the history of riddles from their origins in antiquity through the golden age of the Renaissance, to their decline into the nursery and the first few signs of their modern revival, and draws together all the strands of the riddling art. Dictionary of Riddles received a Special Commendation in Reference Review's Best Specialist Reference Books of 1990 Awards.

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.

The letters of the great eighteenth-century historian of music and man of letters, Dr Charles Burney (1726-1814), friend of Samuel Johnson and Joseph Haydn, are here collected and published in chronological order for the first time. This initial instalment of a projected four-volume edition of the Letters, edited from manuscript and other sources, opens with the earliest surviving letter, written in 1751 when Burney was an obscure country organist. It concludes in December 1784 with the death of Samuel Johnson. These are the letters of the active years which saw Burney's remarkable rise to the head of his chosen profession, music. They chronicle his musical travels in Europe, and his literary activities as a scholar and author of the Continental Tours, the first two volumes of his famous History of Music, and the Commemoration of Handel, written at the behest of George III. They also document Burney's membership in the celebrated literary coterie at Streatham, and the emergence as a novelist of his daughter Fanny, whose Evelina and Cecilia appeared in these years.

This fasincating new book seeks to explain an important and unanswered question: how consumption - a horrible disease - came to be the glamorous and artistic Romantic malady. It argues that literary works (cultural media) are not secondary in our perceptions of disease, but are among the primary determinants of physical experience. In order to explain the apparent disparity between literary myth and bodily reality, Lawlor examines literature and medicine from the Renaissance to the late Victorian period, and covers a wide range of authors and characters, major and minor, British and American (Shakespeare, Sterne, Mary Tighe, Keats, Amelia Opie).

In this, the first full-length study of Vico's highly original autobiography, Verene discusses its place in the history of autobiography generally, and shows it to be the first work of modern intellectual autobiography which uses a genetic method. The author views the autobiography as a work in which Vico applies the principles of human history discussed in New Science, making the telling of his own life an application and verification of his own philosophy. He places Vico's autobiography within the general development of the genre, considering it in relation to Augustine's Confessions, Descartes's Discourse, and Rousseau's Confessions. The author shows Vico to be not only the founder of the philosophy of history, but also the originator of a philosophical art of self-narrative which is the response by a modern thinker to the ancient problem of self-knowledge.

In 1816, the British government did something no one had ever done before: it introduced the first official gold standard in history. Through a close analysis of the pamphlets, reviews, lectures, journalism, editorials, poems, and novels surrounding the gold standard, this book examines its significance to the culture and literature of Romantic-era Britain. The gold standard was not a material object or universal concept, but a self-reflexive discourse that raised fundamental questions about knowledge, value, and social life. While politicians and financial experts believed that gold was the key to the nation's economic confidence, writers such as Ricardo, Malthus, Coleridge, Shelley, Austen, and Scott transformed the debates on the standard into a new disposition reflecting the difficulties and ambivalence of modern commerce: embarrassment. In this comprehensive and authoritative study, the author demonstrates the importance of monetary controversies to the story of Romanticism and of literary analysis to our understanding of money.

The primary aim of Knowing Faith is to uncover the intervention of literary texts and approaches in a wider conversation about religious knowledge: why we need it, how to get there, where to stop, and how to recognise it once it has been attained. Its relative freedom from specialised disciplinary investments allows a literary lens to bring into focus the relatively elusive strands of thinking about belief, knowledge and salvation, probing the particulars of affect implicit in the generalities of doctrine. The essays in this volume collectively probe the dynamic between literary form, religious faith and the process, psychology and ethics of knowing in early modern England. Addressing both the poetics of theological texts and literary treatments of theological matter, they stretch from the Reformation to the early Enlightenment, and cover a variety of themes ranging across religious hermeneutics, rhetoric and controversy, the role of the senses, and the entanglement of justice, ethics and practical theology. The book should appeal to scholars of early modern literature and culture, theologians and historians of religion, and general readers with a broad interest in Renaissance cultures of knowing.

In this 2007 book, Kate Chedgzoy explores the ways in which women writers of the early modern British Atlantic world imagined, visited, created and haunted textual sites of memory. Asking how women's writing from all parts of the British Isles and Britain's Atlantic colonies employed the resources of memory to make sense of the changes that were refashioning that world, the book suggests that memory is itself the textual site where the domestic echoes of national crisis can most insistently be heard. Offering readings of the work of poets who contributed to the oral traditions of Wales, Scotland and Ireland, and analysing poetry, fiction and life-writings by well-known and less familiar writers such as Hester Pulter, Lucy Hutchinson and Aphra Behn, this book explores how women's writing of memory gave expression to the everyday, intimate consequences of the major geopolitical changes that took place in the British Atlantic world in the seventeenth century.

Aphra Behn??'s novel Oroonoko (1688) is one of the most widely studied works of seventeenth-century literature, because of its powerful representation of slavery and complex portrayal of ways in which differing races and cultures - European, Black African, and Native American - observe and misinterpret each other. This edition presents a new edition of Oroonoko, with unprecedentedly full and informative commentary, along with complete texts of three major British seventeenth-century works concerned with race and colonialism: Henry Neville??'s The Isle of Pines (1668), Behn??'s Abdelazer (1676), and Thomas Southerne??'s tragedy Oroonoko (1696). It combines these with a rich anthology of European discussions of slavery, racial difference, and colonial conquest from the mid-sixteenth century to the time of Behn??'s death. Many are taken from important works that have not hitherto been easily available, and the collection offers an unrivaled resource for studying the culture that produced Britain??'s first major fictions of slavery.

This study analyzes how the imagination of the epic genre as legitimately legitimating community also unleashes an ambivalence between telling coherent - and hence legitimating - stories of political community and narrating open-ended stories of contingency that might de-legitimate political power. Manifest in eighteenth-century poetics above all in the disjunction between programmatic definitions of the epic and actual experiments with the genre, this ambivalence can also arise within a single epic over the course of its narrative. The present study thus traces how particular eighteenth-century epics explore an originary incompleteness of political power and its narrative legitimations. The first chapter sketches an overview of how eighteenth-century writers construct an imaginary epic genre that is assigned the task of performing the cultural work of legitimating political communities by narrating their allegedly unifying origins and borders. The subsequent chapters, however, explore how the practice of epic storytelling in works by Klopstock, Goethe, Wieland, and, in an epilogue, Brentano enact the disruptive potential of poetic language and narrative to question the legitimations of imaginary political origins and unities.

In the Kitchen insists that the preparation of food, whether imaginative, physical, or spatial, is central to a deeper understanding of early modern food cultures and practices. Devoted to the arts of cooking and medicine, early modern kitchens concentrated on producing, processing, and preserving materials necessary for nourishment and survival; yet they also fed social and economic networks and nurtured a sense of physical, spiritual, and political connection to surrounding lands and their cultures. The essays in this volume illuminate this expansive view of cooking and aspire to show how the kitchen's inner workings prove tightly, though often invisibly, interwoven with local, national, and, increasingly, global surroundings. Engaging with literary and historical methodologies, including close reading, recipe analysis, and perspectives on gender, class, race, and colonialism, we begin to develop a shared theoretical and practical language for the art of cooking that combines the physical with the intellectual, the local with the global, and the domestic with the political.

The courtship and remarriage of a rich widow was a popular motif in early modern comic theatre. Jennifer Panek brings together a wide variety of texts, from ballads and jest-books to sermons and court records, to examine the staple widow of comedy in her cultural context and to examine early modern attitudes to remarriage. She persuasively challenges the critical tendency to see the stereotype of the lusty widow as a tactic to dissuade women from second marriages, arguing instead that it was deployed to enable her suitors to regain their masculinity, under threat from the dominant, wealthier widow. The theatre, as demonstrated by Middleton, Dekker, Beaumont and Fletcher and others, was the prime purveyor of a fantasy in which a young man's sexual mastery of a widow allowed him to seize the economic opportunity she offered.

This study explores the relationship between the poetic language of Donne, Herbert, Milton and other British poets, and the choral music and part-songs of composers including Tallis, Byrd, Gibbons, Weelkes and Tomkins. The seventeenth century was the time in English literary history when music was most consciously linked to words, and when the mingling of Renaissance and 'new' philosophy opened new discovery routes for the interpretation of art. McColley offers close readings of poems and the musical settings of analogous texts, and discusses the philosophy, performance, and disputed political and ecclesiastical implications of polyphony. She also enters into the discourse about the nature of language, relating poets' use of language and composers' use of music to larger questions concerning the arts, politics and theology.

Traces the processes and paradoxes at work in the late parodic poetry of Luis de Gongora and Lope de Vega, illuminating correlations and connections. Co-Winner of the 2014 Publication Prize awarded by the Association of Hispanists of Great Britain and Ireland Kerr traces the processes and paradoxes at work in the late parodic poetry of Luis de Gongora and Lope de Vega, illuminating the correlations and connections between two poets who have more often than not been presented as enemies.The analysis follows the parallel development of the complex parodic genre through Gongora's late mythological parody, from his 1589 Hero and Leander romance through to his culminating parody, La fabula de Piramo y Tisbe (1618) and Lope de Vega's alter ego Tome de Burguillos, whose anthology, Rimas humanas y divinas del licenciado Tome de Burguillos, was published a year before Lope's death, in 1634. Working from the premise that parody provides a Derridean supplement to exhausted, dominant genres (e.g. pastoral, lyric, epic), this study asks: what do these texts achieve by their supplementarity, and how do they achieve it?, and, the overarching question, why do these erudite poets turn to parody in an age of decline? Lindsay Kerr received her PhDin Spanish at Queen's University Belfast.

This volume collects original essays from a wide range of international scholars in the field of Dante Studies. All essays address the current persistence of Dante's presence in contemporary popular culture. Studied fields are as varied as the visual arts, the music scene (independent as well as experimental rock and pop music), film, theater and television productions (both high-brow and commercial), the political rhetoric of American and European personalities, commercial advertisements, video- and boardgames. The volume offers a large number of previously unpublished illustrations reacting to the Divine Comedy. The collection expands the scope of previous scholarship on the topic and updates the critical approach. It balances cutting-edge scholarly research with helpful insights and tools for teaching Dante in a variety of contexts. All source material is made available in English translation.

The documents contained in Reading Mistress Elizabeth Bourne: Marriage, Separation, and Legal Controversies tell a story of Mistress Bourne's petition for divorce, its resolution, and the ongoing dispute between Mistress Bourne and her husband about their marriage and separation, and subsequently between Mistress Bourne and Sir John Conway both for custody of her daughters and her financial security. The letters capture the contradiction between married women's official legal limitations and the often messy and complicated avenues of redress available to them. Elizabeth's narratives and desire for divorce challenge literary representations of patient endurance where appropriate feminine behavior restores a husband's devotion. The Bourne case offers a unique set of documents heretofore unavailable except through the British Library, National Archives' State Papers, and Hatfield House. Reading Mistress Elizabeth Bourne is tremendously important to early modern scholars and our knowledge about and view of women's negotiations for legal autonomy in the sixteenth century.

Originally published in 1915, the essays in this book deal with 9 English writers - as diverse in outlook and temperament as Bunyan and Boswell; poets and Puritans and men who were neither. The book examines each writer in his historical and social context - facing problems in art or religion and life in general.