"Revenge Drama in European Renaissance and Japanese Theatre" is a collection of essays that both explores the tradition of revenge drama in Japan and compares that tradition with that in European Renaissance drama. Why are the two great plays of each tradition, plays regarded as defining their nations and eras, "Kanadehon Chushingura "and "Hamlet," both revenge plays? What do the revenge dramas of Europe and Japan tell us about the periods that produced them and how have they been modernized to speak to contemporary audiences? By interrogating the manifestation of evil women, ghosts, satire, parody, and censorship, contributors such as Leonard Pronko, J. Thomas Rimer, Carol Sorgenfrei, Laurence Kominz explore these issues.

The Taming of the Shrew has puzzled, entertained and angered audiences, and it has been reinvented many times throughout its controversial history. Offering a focused overview of key emerging ideas and discourses surrounding Shakespeare's problematic comedy, the volume reveals and debates how contemporary readings and adaptions of the play have sought to reconsider and resolve the play's contentious portrayal of gender, power and identity. Each chapter has been carefully selected for its originality and relevance to the needs of students, teachers and researchers. Key themes and issues include: * Gender and Power * History and Early Modern Contexts * Performance and Politics * Adaptation and Afterlife All the essays offer new perspectives and combine to give readers an up-to-date understanding of what's exciting and challenging about The Taming of the Shrew.

The literary virgin is eighteenth-century England's most enduring and unlikely celebrity. Despite her ignominious association with Catholicism and her incorrigibility with respect to the methods of the new science, the virgin emerges, by the middle of the eighteenth century, as the triumphant heroine of sentimental fiction as well as a muse for both satire and pornography. This book explores how and why the virgin turns out to be such a highly contested character at the center of many enlightenment debates. By focusing on the figure and fate of the virgin, the book offers new arguments about the relationship of novelist epistemologies to other modes of knowing, about the significance of virginity to patriarchy, and about the feminization of the novel.

How did Renaissance literature affect readers' minds, bodies and souls? In what ways did the history of literary experience overlap with the history of humours and emotions? This book argues that a new aesthetic vocabulary based on the theory of the passions was formulated in the Renaissance to describe the affective power of literature.

The early reception of Laurence Sterne in France was vocal and controversial, reflecting the literary and social upheaval of the period. This monograph is the first recent full-length study of the topic, and offers original readings of Sterne and his French interpreters, such as Voltaire, Diderot, Suard, and Julie de Lespinasse, placing them within the context of eighteenth-century French culture, its critical debates and Anglo-French literary relations. Drawing on contemporary reception theory, Lana Asfour analyzes the criticism, translations and imitations of "Tristram Shandy" and "A Sentimental Journey from 1760 to 1800", and stresses key moments at which both texts were read against the expectations of audiences familiar with comic, satiric, picaresque and sentimental traditions.She also explores the role of literary celebrity, theories of translation, and ideas of originality and imagination. Recent criticism has debated whether Sterne's work should be considered in relation to older, comic-satiric forms of writing or within the context of the genre of the novel. This study shows that such a divide was already present in early French responses and yet, in presenting their diversity and complexity, it suggests that the dichotomy is reductive, and that Sterne's reception history in France can contribute to modern readings of his work.

Best known for his guide on writing and recognizing good prose, Style (1955), F.L. Lucas addresses four of the most popular 18th-century English poets and writers in this book: Samuel Johnson, Lord Chesterfield, James Boswell and Oliver Goldsmith. Knowledgeably, conversationally, and often amusing, he sketches the images of men who greatly influenced 18th century England and its literary landscape.

Hamlin's study provides the first full-scale account of the reception and literary appropriation of ancient scepticism in Elizabethan and Jacobean England (c. 1570-1630). Offering abundant archival evidence as well as fresh treatments of Florio's Montaigne and Bacon's career-long struggle with the challenges of epistemological doubt, Hamlin's book explores the deep connections between scepticism and tragedy in plays ranging from Doctor Faustus and Troilus and Cressida to The Tragedy of Mariam , The Duchess of Malfi , and 'Tis Pity She's a Whore .

On the morning of May 30, 1593, Christopher Marlowe met with three associates in the English intelligence network. Later that evening the Queen's coroner was summoned to their meeting place. A body lay on the floor. After an inquest, the dead man was taken to a nearby churchyard busy at the time receiving victims of the plague. According to the official report, England's foremost playwright was interred without fanfare or marker. Soon, plays attributed to William Shakespeare began to appear on the London stage, plays so undeniably similar to Marlowe's that noted scholars have since declared that Shakespeare wrote as if he had been Marlowe's apprentice.

"Marlowe's Ghost: The Blacklisting of the Man Who Was Shakespeare" explores the possibility that persecution of a writer who dared to question authority may have led to the greatest literary cover-up of all time.

Offering a fresh approach to the study of the figure of the diplomat in the early modern period, this collection of diverse readings of archival texts, objects and contexts contributes a new analysis of the spaces, activities and practices of the Renaissance embassy.

This expansive, inter-disciplinary guide to Renaissance plays and the world they played to gives readers a colorful overview of England's great dramatic age.

In its pages, today's best Renaissance scholars chart the cross-currents of belief and daily experience that illuminate the meaning of works by Marlowe, Jonson, Middleton or Webster, as it has changed over time, place and audience. They explain why the plays do or say what they do, and raise provocative possibilities of what the plays might have said to Tudor and Stuart playgoers by discussing values, attitudes, and the material conditions of performance, along with the lives and particular ideas of individual playwrights.

On 19 April 1621, a woman named Elizabeth Sawyer was hanged at Tyburn. Her story was on the bookstalls within days and within weeks was adapted for the stage as The Witch of Edmonton. The devil stalks Edmonton in the shape of a large black dog and, just as Elizabeth Sawyer makes her demonic pact, the newlywed Frank Thorney enters into his own dark bargain in the shape of a second, bigamous marriage. Torn between sympathy for Sawyer and Thorney and a clear-eyed assessment of their crimes, the play was the finest and most nuanced treatment of witchcraft that the stage would see for centuries. Lucy Munro's introduction provides students and scholars with a detailed understanding of this complex play.

Richard C. Sha's revealing study considers how science shaped notions of sexuality, reproduction, and gender in the Romantic period.

Through careful and imaginative readings of various scientific texts, the philosophy of Immanuel Kant and Longinus, and the works of such writers as William Blake, Percy Bysshe Shelley, Mary Wollstonecraft, and Lord Byron, Sha explores the influence of contemporary aesthetics and biology on literary Romanticism.

Revealing that ideas of sexuality during the Romantic era were much more fluid and undecided than they are often characterized in the existing scholarship, Sha's innovative study complicates received claims concerning the shift from perversity to perversion in the nineteenth century. He observes that the questions of perversity--or purposelessness--became simultaneously critical in Kantian aesthetics, biological functionalism, and Romantic ideas of private and public sexuality. The Romantics, then, sought to reconceptualize sexual pleasure as deriving from mutuality rather than from the biological purpose of reproduction.

At the nexus of Kantian aesthetics, literary analysis, and the history of medicine, "Perverse Romanticism" makes an important contribution to the study of sexuality in the long eighteenth century.

The first major socio-cultural study of manuscript letters and letter-writing practices in early modern England. Daybell examines a crucial period in the development of the English vernacular letter before Charles I's postal reforms in 1635, one that witnessed a significant extension of letter-writing skills throughout society.

"Before the Empire of English" offers a broad re-examination of eighteenth-century British literary culture, centered around issues of language, nationalism, and provinciality. It revises our tendency to take for granted the metropolitan centrality of English-language writers of this period and shows, instead, how deeply these writers were conscious of the inherited marginality of their literary tradition in the European world of culture. The book focuses attention on crucial but largely overlooked aspects of eighteenth-century English literary culture: the progress of English topos since the death of Cowley and the cultural aspirations and anxieties it condenses; the concept of the republic of letters and its implications for issues of cultural centrality and provinciality; and the importance of cultural nationalist emphases in "Augustan" poetics in the context of these concerns about provinciality. The book examines imperial aspirations and imaginings in the English literary culture of the period, but it shows how such aspirations are responses to provincial anxieties more so than they are marks of imperial self-assurance. In doing so, the book offers a way of understanding the resonances between the cultural politics of the postcolonial world and those of the earlier history of the English tradition itself.

Even in an age of emerging nationhood, English men and women still thought very much in terms of their parishes, towns, and counties. This book examines the vitality of early modern local consciousness and its deployment by writers to mediate the larger political, religious, and cultural changes of the sixteenth and seventeenth centuries.

British salons, with guests such as Byron, Moore, Thackeray, and Baillie, were veritable hothouses of political and cultural agitation. In this comprehensive study of the British salon between the 1780s and the 1840s, Schmid traces the activities of three" salonnieres" Mary Berry, Lady Holland, and the Countess of Blessington. Mapping out the central place these circles held in London, this study explains to what extent they shaped intellectual debate and publishing ventures. Using a large number of sources - diaries, letters, silver-fork novels, satires, travel writing, Keepsakes, and imaginary conversations - the book establishes sociable networks of days gone by.

The Renaissance woman, whether privileged or of the artisan or the middle class, was trained in the expressive arts of needlework and painting, which were often given precedence over writing. "Pens and Needles" is the first book to examine all these forms as interrelated products of self-fashioning and communication.Because early modern people saw verbal and visual texts as closely related, Susan Frye discusses the connections between the many forms of women's textualities, including notes in samplers, alphabets both stitched and penned, initials, ciphers, and extensive texts like needlework pictures, self-portraits, poetry, and pamphlets, as well as commissioned artwork, architecture, and interior design. She examines works on paper and cloth by such famous figures as Elizabeth I, Mary, Queen of Scots, and Bess of Hardwick, as well as the output of journeywomen needleworkers and miniaturists Levina Teerlinc and Esther Inglis, and their lesser-known sisters in the English colonies of the New World. Frye shows how traditional women's work was a way for women to communicate with one another and to shape their own identities within familial, intellectual, religious, and historical traditions. "Pens and Needles" offers insights into women's lives and into such literary texts as Shakespeare's "Othello" and "Cymbeline" and Mary Sidney Wroth's "Urania."

This innovative book offers an interdisciplinary analysis of Shakespearean theatre, presented in a series of imaginative readings of plays from every period of the playwright's career, from Two Gentlemen of Verona and The Taming of the Shrew to King Lear and The Tempest , mapping a new approach to ideas of the theatre as an institution.

Gary Waller surveys Spenser's career in terms of the material conditions of its production - the often overlooked material factors of race, gender, class, agency - and the resonant 'places' which influenced his career - court, church, nation, colony. The book includes an original account of the gender politics of Spenser's work and his difficult position between Ireland and England, the 'homes' about which he held ambivalent feelings. Waller also discusses the 'place' the biographer occupies in writing a literary life.

"The Feminization of Fame 1750-1830" addresses the literary, cultural and historical questions surrounding the reconceptualization of fame between 1750-1830. As the first sustained scholarly analysis of fame in this period, this interdisciplinary book examines genres from history writing to literature, public and private memoirs to political treatises in English and in French in order to explore 'The age of personality's' obsession with instantaneous publicity. In an age of expanding print culture, the classical notion of posthumous reward was becoming increasingly open to question, as the need 'to be brilliant', as Hazlitt put it, in the contemporary moment became all.

Although haiku is well known throughout the world, few outside Japan are familiar with its precursor, haikai (comic linked verse). Fewer still are aware of the role played by the Chinese Daoist classics in turning haikai into a respected literary art form. Basho and the Dao examines the haikai poets' adaptation of Daoist classics, particularly the Zhuangzi, in the seventeenth century and the eventual transformation of haikai from frivolous verse to high poetry. The author analyzes haikai's encounter with the Zhuangzi through its intertextual relations with the works of Basho and other major haikai poets, and also the nature and characteristics of haikai that sustained the Zhuangzi's relevance to haikai poetic construction. She demonstrates how the haikai poets' interest in this Daoist work was rooted in the intersection of deconstructing and reconstructing the classical Japanese poetic tradition. Well versed in both Chinese and Japanese scholarship, Qiu explores the significance of Daoist ideas in Basho's and others' conceptions of haikai. Her method involves an extensive hermeneutic reading of haikai texts, an in-depth analysis of the connection between Chinese and Japanese poetic terminology, and a comparison of Daoist traits in both traditions. The result is a penetrating study of key ideas that have been instrumental in defining and rediscovering the poetic essence of haikai verse. Basho and the Dao adds to an increasingly vibrant area of academic inquiry - the complex literary and cultural relations between Japan and China in the early modern era. Researchers and students of East Asian literature, philosophy, and cultural criticism will find this book a valuable contribution to cross-cultural literary studies and comparative aesthetics.

An exploration of how Malory deals with the themes of love, marriage and adultery, revealing the socially conservative vantage of the gentry and nobility. Marriage in the Middle Ages encompassed two crucial but sometimes conflicting dimensions: a private companionate relationship, and a public social institution, the means whereby heirs were produced and land, wealth, power and political rule were transferred. This study examines the concept of marriage as seen in the Morte Darthur, moving beyond it to look at "adulterous" and other male/female relationships, and their impact on the world of the RoundTable in general. Key points addressed are the compromise achieved in the "Tale of Sir Gareth" between natural, youthful passion and the gentry's pragmatic view of marriage; the problems of King Arthur's marriage in light of bothpolitical need and the difficulty of the queen's infertility and adultery; and the repercussions of Lancelot's adultery in the tragedies of two marriageable daughters, Elaine of Astolat and Elaine of Corbin. Finally, the author reveals and considers in detail (focusing on dynastic dysfunction in three generations of Pendragon men: Uther, Arthur and Mordred) the myth of benevolent paternity by which men, whether born legitimate of bastard, were united through the Round Table. KAREN CHEREWATUK is Professor of English at St Olaf College, Minnesota.

This book redefines the plays and theatrical culture of the years 1625 to 1642 as something more than simply post-Shakespearean in character. Scholars reveal the drama's mixture of political engagement, urbane cosmopolitanism, and commercial ingenuity. They urge us to recalibrate our histories to account for the innovations of the Caroline period.

This book provides provocative information on poetry written in response to the most revolutionary set of events seen in Britain since the 1640s: "Peterloo," a peaceful protest that became a massacre; "Cato Street," a government scripted rebellion; and the "Queen Caroline Controversy," when the estranged wife of George IV tried to claim her crown.

Before the 1969 Stonewall Riots ushered in the contemporary gay liberation movement, overt representations of same-sex desire in American literature and the arts were few and far between. Even in the 1970s, when gay and lesbian cultures began to register on our national consciousness, such work was still quite rare.

In the 1980s and 90s, however, all that changed. The Queer Renaissance puts a name to the unprecedented outpouring of creative work by openly lesbian and gay novelists, poets, and playwrights in the past two decades. This volume is one of the first to analyze critically this cultural awakening and is one of the only books to consider the work of gay male and lesbian writers together. Most importantly, The Queer Renaissance is the first book to consider how this wave of creative activity has worked in tandem with a flourishing of radical queer politics.

The Queer Renaissance explores the work of such important figures as Audre Lorde, Edmund White, Randall Kenan, Gloria Anzalda, Tony Kushner, and Sarah Schulman to question the dichotomy between art and activism. In addition, The Queer Renaissance interrogates the ways queer theory deploys, intersects with, and contests contemporary theoretical movements such as cultural studies, feminist theory, African American theory, and Chicano/a theory.