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Why was the Renaissance also the golden age of forgery? Forgery is
an eternal problem. In literature and the writing of history,
suspiciously attributed texts can be uniquely revealing when
subjected to a nuanced critique. False and spurious writings
impinge on social and political realities to a degree rarely
confronted by the biographical criticism of yesteryear. They
deserve a more critical reading of the sort far more often bestowed
on canonical works of poetry and prose fiction. The first
comprehensive treatment of literary and historiographical forgery
to appear in a quarter of a century, Literary Forgery in Early
Modern Europe, 1450-1800 goes well beyond questions of authorship,
spotlighting the imaginative vitality of forgery and its sinister
impact on genuine scholarship. This volume demonstrates that early
modern forgery was a literary tradition in its own right, with
distinctive connections to politics, Greek and Roman classics,
religion, philosophy, and modern literature. The thirteen essays
draw immediate inspiration from Johns Hopkins University's
acquisition of the Bibliotheca Fictiva, the world's premier
research collection dedicated exclusively to the subject of
literary forgery, which consists of several thousand rare books and
unique manuscript materials from the early modern period and
beyond. The early modern explosion in forgery of all
kinds-particularly in the kindred documentary fields of literary
and archaeological falsification-was the most visible symptom of a
dramatic shift in attitudes toward historical evidence and in the
relation of texts to contemporary society. The authors capture the
impact of this evolution within many fundamental cultural
transformations, including the rise of print, changing tastes and
fortunes of the literary marketplace, and the Protestant and
Catholic Reformations. Contributors: Frederic Clark, James Coleman,
Richard Cooper, Arthur Freeman, Anthony Grafton, A. Katie Harris,
Earle A. Havens, Jack Lynch, Shana D. O'Connell, Ingrid Rowland,
Walter Stephens, Elly Truitt, Kate Tunstall
With Love Enamored and Driven Mad, Lucrezia Marinella puts her mark
on classical mythology and literary antecedents. She transforms
Cupid from all-powerful god to wayward adolescent who falls to his
own haughtiness while having female characters (such as Venus) take
on distinctly positive roles. From the literary standpoint, she
demonstrates her deep knowledge of classical and vernacular
authors, from Ovid to Apuleius and Prudentius, and from Dante to
Tasso, with numerous forays into Petrarchan poetics. The Other
Voice in Early Modern Europe - The Toronto Series, volume 72
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