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As the first comprehensive volume devoted entirely to women of both
the Spanish and Austrian Habsburg royal dynasties spanning the
sixteenth and the seventeenth centuries, this interdisciplinary
collection illuminates their complex and often contradictory
political functions and their interrelations across early modern
national borders. The essays in this volume investigate the lives
of six Habsburg women who, as queens consort and queen regent,
duchesses, a vicereine, and a nun, left an indelible mark on the
diplomatic and cultural map of early modern Europe. Contributors
examine the national and transnational impact of these notable
women through their biographies, and explore how they transferred
their cultural, religious, and political traditions as the women
moved from one court to another. Early Modern Habsburg Women
investigates the complex lives of Philip II's daughter, the Infanta
Catalina Micaela (1567-1597); her daughter, Margherita of Savoy,
Vicereine of Portugal (1589-1655); and Maria Maddalena of Austria,
Grand Duchess of Florence (1589-1631). The second generation of
Habsburg women that the volume addresses includes Philip IV's first
wife, Isabel of BorbA(3)n (1602-1644), who became a Habsburg by
marriage; Rudolph II's daughter, Sor Ana Dorotea (1611-1694), the
only Habsburg nun in the collection; and Philip IV's second wife,
Mariana of Austria (1634-1696), queen regent and mother to the last
Spanish Habsburg. Through archival documents, pictorial and
historical accounts, literature, and correspondence, as well as
cultural artifacts such as paintings, jewelry, and garments, this
volume brings to light the impact of Habsburg women in the broader
historical, political, and cultural contexts. The essays fill a
scholarly need by covering various phases of the lives of early
modern royal women, who often struggled to sustain their family
loyalty while at the service of a foreign court, even when
protecting and preparing their heirs for rule a
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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