This book explores the cultural and intellectual stakes of medieval and renaissance Britain's sense of itself as living in the shadow of Rome: a city whose name could designate the ancient, fallen, quintessentially human power that had conquered and colonized Britain, and also the alternately sanctified and demonized Roman Church. Wallace takes medieval texts in a range of languages (including Latin, medieval Welsh, Old English and Old French) and places them in conversation with early modern English and humanistic Latin texts (including works by Gildas, Bede, Chaucer, Shakespeare, Bacon, St. Augustine, Dante, Erasmus, Luther and Montaigne). 'The Ordinary', 'The Self', 'The Word', and 'The Dead' are taken as compass points by which individuals lived out their orientations to, and against, Rome, isolating important dimensions of Rome's enduring ability to shape and complicate the effort to come to terms with the nature of self and the structure of human community.

This book explores shifting representations and receptions of the arms-bearing woman on the British stage during a period in which she comes to stand in Britain as a striking symbol of revolutionary chaos. The book makes a case for viewing the British Romantic theatre as an arena in which the significance of the armed woman is constantly remodelled and reappropriated to fulfil diverse ideological functions. Used to challenge as well as to enforce established notions of sex and gender difference, she is fashioned also as an allegorical tool, serving both to condemn and to champion political and social rebellion at home and abroad. Magnifying heroines who appear on stage wielding pistols, brandishing daggers, thrusting swords, and even firing explosives, the study spotlights the intricate and often surprising ways in which the stage amazon interacts with Anglo-French, Anglo-Irish, Anglo-German, and Anglo-Spanish debates at varying moments across the French revolutionary and Napoleonic campaigns. At the same time, it foregrounds the extent to which new dramatic genres imported from Europe -notably, the German Sturm und Drang and the French-derived melodrama- facilitate possibilities at the turn of the nineteenth century for a refashioned female warrior, whose degree of agency, destructiveness, and heroism surpasses that of her tragic and sentimental predecessors.

Alongside Spenser, Sidney and the early Donne, Shakespeare is the major poet of the 16th century, largely because of the status of his remarkable sequence of sonnets. Professor Cousins' new book is the first comprehensive study of the Sonnets and narrative poems for over a decade. He focuses in particular on their exploration of self-knowledge, sexuality, and death, as well as on their ambiguous figuring of gender. Throughout he provides a comparative context, looking at the work of Shakespeare's contemporaries. The relation between Shakespeare's non-dramatic verse and his plays is also explored.

In essays that examine particular non-canonical works and writers in their wider cultural context, this volume "repopulates" the German Enlightenment. German literature and thought flourished in the eighteenth century, when a culture considered a European backwater came to assert worldwide significance. This was an age in which repeated attempts to reform German literary and philosophical culture were made - often only to be overtaken within a few decades. It ushered in generations of exceptionally gifted poets and thinkers including Klopstock, Lessing, Goethe, Kant, and Schiller, whose names still dominate our understanding of the German Enlightenment. Yet the period also brought with it new means of accessing and disseminating culture and a rapid increase in cultural production. The leading lights of eighteenth-century German culture operated against the backdrop of a yet more diverse and vivid cast of literary and philosophical figures since consigned to the second tier of German culture. Through essays that examine particular non-canonical works and writers in their wider cultural context, this collection repopulates the German Enlightenment with these largely forgotten movements, writers, and literary circles. It offers new insights into the development of genres such as thenovel, the fable, and the historical drama, and assesses the dynamics that led to individual authors, circles, and schools of thought being left behind in their time and passed over or inadequately understood to this day. Contributors: Johannes Birgfeld, Stephanie Blum, Julia Bohnengel, Kristin Eichhorn, Sarah Vandegrift Eldridge, Jonathan Blake Fine, J. C. Lees, Leonard von Morze, Ellen Pilsworth, Joanna Raisbeck, Ritchie Robertson, Michael Wood. Michael Wood is British Academy Postdoctoral Fellow in German at the University of Edinburgh. Johannes Birgfeld teaches Modern German Literature at the University of the Saarland.

Routledge is now re-issuing this prestigious series of 204 volumes originally published between 1910 and 1965. The titles include works by key figures such asC.G. Jung, Sigmund Freud, Jean Piaget, Otto Rank, James Hillman, Erich Fromm, Karen Horney and Susan Isaacs. Each volume is available on its own, as part of a themed mini-set, or as part of a specially-priced 204-volume set. A brochure listing each title in the "International Library of Psychology" series is available upon request.

Writing and Society is a stunning exploration of the relationship between the growth in popular literacy and the development of new readerships and the authors addressing them. It is the first single volume to provide a year-by-year chronology of political events in relation to cultural production.
This overview of debates in literary critical theory and historiography includes facsimile pages with commentary from the most influential books of the period. The author describes and analyses:
* the development of literacy by status, gender and region in Britain
* structures of patronage and censorship
* the fundamental role of the publishing industry
* the relation between elite literary and popular cultures
* and the remarkable growth of female literacy and publication.

Writing and Society is a stunning exploration of the relationship between the growth in popular literacy and the development of new readerships and the authors addressing them. It is the first single volume to provide a year-by-year chronology of political events in relation to cultural production.
This overview of debates in literary critical theory and historiography includes facsimile pages with commentary from the most influential books of the period. The author describes and analyses:
* the development of literacy by status, gender and region in Britain
* structures of patronage and censorship
* the fundamental role of the publishing industry
* the relation between elite literary and popular cultures
* the remarkable growth of female literacy and publication.

Revels stuff. . . .|This Edition of George Chapman's tragedy differs from all other modern editions in being primarily based on the Quarto of 1607 in preference to the much revised Quarto of 1641. N. S. Brooke believes that the earlier text gives a more certain indication of Chapman's intentions and he has supported this view in an introduction and by a bibliographical and critical study of the play. The divergence between the texts of 1607 and 1641 are set out clearly in this volume, which includes the usual textual and critical apparatus found in the Revels series. -- .

Shakespeare and the Young Writer presents fascinating and impressive accounts of primary school children encountering Shakespeare's work for the first time.
Fred Sedgwick shows how careful selection of scenes, lines and images from the plays and sonnets - in their original language - can be used to great effect as the starting point for children's writing. Examples of children's work show just how powerful the stimulus can be. The book will be of great value to all teachers looking for new ideas to improve their practice in teaching literacy.

With its fantasy of magical travel and inexhaustible riches, Thomas Dekker's Old Fortunatus is the quintessential early modern journeying play. The adventures of Fortunatus and his sons, aided by a magical purse and wishing-hat, offers the period's most overt celebration of the pleasures of travel, as well as a sustained critique of the dangers of intemperance and prodigality. Written following a period of financial difficulty for Dekker, the play is also notable for its fascination with the symbolic, mercantile and ethical uses of gold. This Revels Plays edition is the first fully annotated, single-volume critical edition of Old Fortunatus. It offers scholarly discussion of the play's performance and textual history, including attention to the German version printed and performed in the early seventeenth century. It provides a long overdue critical reappraisal of this unjustly neglected play. -- .

'York Notes Advanced' offer an accessible approach to English Literature. This series has been completely updated to meet the needs of today's A-level and undergraduate students. Written by established literature experts, York Notes Advanced introduce students to more sophisticated analysis, a range of critical perspectives and wider contexts.

A careful re-evaluation of pastoral poetics in the early modern Hispanic literature of Spain and Latin America. In her analysis of the verse of representative poets of the Hispanic Baroque, Holloway demonstrates how these writers occupy an Arcadia which is de-familiarised and yet remains connected to the classical origins of the mode. Herstudy includes recent manuscript discoveries from the Spanish Baroque (Fabula de Alfeo y Aretusa, now attributed to the Gongorist poet Pedro Soto de Rojas), the poetry of Luisa de Carvajal y Mendoza and Francisco de Quevedo. The study considers pastoral as a global cultural phenomenon of the Early Modern period, its reverberations reaching as far as Viceregal Peru. The tradition of the pastoral as a site for the discussion of 'great matters in theforest' has deep roots, and re-emerges to praise the urban hearts of empire. Furthermore, it proves to be a site of spiritual encounter--a poetic space that frames the staging of indigenous conversion in the poetry of Diego Mexiaand Fernando de Valverde. Within the intricacies of this literary construct, surface artistry sustains an effect of artless innocence that is vibrantly contested across the secular, sacred, parodic and colonial text. Anne Holloway is a Lecturer in Spanish, Queen's University Belfast.

Dante, the pilgrim, is the image of an author who stubbornly looks ahead, seeking and building the "Great Beyond" (Manguel). Following in his footsteps is therefore not a return to the past, going a rebours, but a commitment to the future, to exploring the potential of humanity to "transhumanise". This dynamic of self-transcendence in Dante's humanism (Ossola), which claims for European civilisation a vocation for universalism (Ferroni), is analysed in the volume at three crucial moments: Firstly, the establishment of an emancipatory relationship between author and reader (Ascoli), in which authorship is authority and not power; secondly, the conception of vision as a learning process and horizon of eschatological overcoming (Mendonca); finally, the relationship with the past, which is never purely monumental, but ethically and intertextually dynamic, in an original rewriting of the original scriptural, medieval, and classical culture (Nasti, Bolzoni, Bartolomei). A second group of contributions is dedicated to the reconstruction of Dante's presence in Portuguese literature (Almeida, Espirito Santo, Figueiredo, Marnoto, Vaz de Carvalho): they attest to the innovative impact of Dante's work even in literary traditions more distant from it.

This three-volume set brings together all that Samuel Richardson himself published on the composition, printing and interpretation of "Clarissa". The various short works reveal Richardson's reactions to the concerns and issues raised by contemporary readers.

This wide-ranging "Companion" reflects the dramatic transformation that has taken place in the study of eighteenth-century poetry over the past two decades. New essays by leading scholars in the field address an expanded poetic canon that now incorporates verse by many women poets and other formerly marginalized poetic voices. The volume engages with topical critical debates such as the production and consumption of literary texts, the constructions of femininity, sentiment and sensibility, enthusiasm, politics and aesthetics, and the growth of imperialism.

The "Companion" opens with a section on contexts, considering eighteenth-century poetry's relationships with such topics as party politics, religion, science, the visual arts, and the literary marketplace. A series of close readings of specific poems follows, ranging from familiar texts such as Pope's "The Rape of the Lock" to slightly less well-known works such as Swift's "Stella" poems and Lady Mary Wortley Montagu's "Town Eclogues," Essays on forms and genres, and a series of more provocative contributions on significant themes and debates, complete the volume.

The" Companion" gives readers a thorough grounding in both the background and the substance of eighteenth-century poetry, and is designed to be used alongside David Fairer and Christine Gerrard's "Eighteenth-century Poetry: An Annotated Anthology" (Blackwell, second edition, 2004).

John Thelwall and the Materialist Imagination reassesses Thelwall's eclectic body of work from the perspective of his heterodox materialist arguments about the imagination, political reform, and the principle of life itself, and his contributions to Romantic-era science.

The volume explores Elizabeth I's impact on English and European culture during her life and after her death, through her own writing as well as through contemporary and later writers. The contributors are codicologists, historians and literary critics, offering a varied reading of the Queen and of her cultural inheritance.

This book focuses on the different forms in which authorship came to be expressed in eighteenth-century Italian publishing. It analyses both the affirmation of the "author function", and, above all, its paradoxical opposite: the use of anonymity, a centuries-old practice present everywhere in Europe but often neglected by scholarship. The reasons why authors chose to publish their works anonymously were manifold, including prudence, fear of censorship, modesty, fear of personal criticism, or simple divertissement. In many cases, it was an ethical choice, especially for ecclesiastics. The Italian case provides a key perspective on the study of anonymity in the European context, contributing to the analysis of an overlooked topic in academic studies.

In critical history, Shakespeare's The Tempest has been interpreted as a reticent play, a fascinating and yet mysterious blend of magic and verisimilitude, narrative and drama, spectacle and meditation on death. The Tempest seems to raise fundamental issues without ever exhausting them, it captures and appropriates existing motifs and modes, and allows for later appropriations and re-mediations. Is its signifying potential still alive in the third millennium? Does it still speak to us? Revisiting The Tempest aims to explore that potential and examine the play's more 'intractable material' as a fertile source of significance.The essays that make up this collection range from investigations of the play's position within the European early modern dramatic heritage to its 'domestic' re-writings and/or adaptations in diverse theatrical contexts and media, while also interrogating the play's own resistance to interpretation. Rather than providing new meanings, Revisiting The Tempest explores how this drama makes meaning and reanimates it through time.

This study explores why women in the English Renaissance wrote so few sonnet sequences, in comparison with the traditions of Continental women writers and of English male authors. In this focus on a single genre, Rosalind Smith examines the relationship between gender and genre in the early modern period, and the critical assumptions currently underpinning questions of feminine agency within genre.

What did it mean to be happy in early modern Europe? Positive emotions in early modern literature and culture includes essays that reframe historical understandings of emotional life in the Renaissance, focusing on under-studied feelings such as mirth, solidarity, and tranquillity. Methodologically diverse and interdisciplinary, these essays draw from the history of emotions, affect theory and the contemporary social and cognitive sciences to reveal rich and sustained cultural attention in the early modern period to these positive feelings. The book also highlights culturally distinct negotiations of the problematic binary between what constitutes positive and negative emotions. A comprehensive introduction and afterword open multiple paths for research into the histories of good feeling and their significances for understanding present constructions of happiness and wellbeing. -- .

Henry Fielding (1707-54) began his writing career as a playwright and before the age of 30 produced a great number of comedies, farces and burlesques. His wit was already apparent, and his admirers included Swift who particularly enjoyed his "Tom Thumb". His "Pasquin, A Dramatick Satire on the Times" was in part responsible for the ensuing restrictive censorship of plays with the Licensing Act of 1737. Fielding practised at law, wrote essays and poems, ran a few journals - but remains most famous for his novels. He began "Joseph Andrews" as a parody of the sentimentalism of Richardson's "Pamela", and quickly developed his humourous and satirical style in "Tom Jones", "Jonathan Wild" and "Amelia". Admired by writers and readers alike, Fielding is one of the true founders of the English novel whose influence can be traced into the 19th century and the works of Dickens and Thackeray. This boxed collection of ten volumes includes all his work and a biographical essay.

This scholarly study presents a new political Wordsworth: an artist interested in "autonomous" poetry's redistribution of affect. No slave of Whig ideology, Wordsworth explores emotion for its generation of human experience and meaning. He renders poetry a critical instrument that, through acute feeling, can evaluate public and private life.

Shakespeare and Lost Plays returns Shakespeare's dramatic work to its most immediate and (arguably) pivotal context; by situating it alongside the hundreds of plays known to Shakespeare's original audiences, but lost to us. David McInnis reassesses the value of lost plays in relation to both the companies that originally performed them, and to contemporary scholars of early modern drama. This innovative study revisits key moments in Shakespeare's career and the development of his company and, by prioritising the immense volume of information we now possess about lost plays, provides a richer, more accurate picture of dramatic activity than has hitherto been possible. By considering a variety of ways to grapple with the problem of lost, imperceptible, or ignored texts, this volume presents a methodology for working with lacunae in archival evidence and the distorting effect of Shakespeare-centric narratives, thus reinterpreting our perception of the field of early modern drama.

Sir Francis Bacon, statesman, essayist and philosopher, studied law and rose to high office as Lord Chancellor. He had enormous influence on the change of direction for scientific method from speculative and philosophical in the Aristotelian tradition to experimental and factual. Bacon's philosophical influence extended to Locke and through him to subsequent English schools of psychology and ethics. Abroad, his influence also extended to Leibniz, Huygens and Voltaire who called him 'le pere de la philosophie experimentale'.
This edition contains all Bacon's philosophical works as well as translations, plus literary and professional works, and includes illuminating introductions and explanatory footnotes by the three editors as well as a new introduction by Graham Rees.