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Art, Literature and Religion in Early Modern Sussex is an
interdisciplinary study of a county at the forefront of religious,
political and artistic developments in early-modern England.
Ranging from the schism of Reformation to the outbreak of Civil
War, the volume brings together scholars from the fields of art
history, religious and intellectual history and English literature
to offer new perspectives on early-modern Sussex. Essays discuss a
wide variety of topics: the coherence of a county divided between
East and West and Catholic and Protestant; the art and literary
collections of Chichester cathedral; communities of Catholic
gentry; Protestant martyrdom; aristocratic education; writing,
preaching and exile; local funerary monuments; and the progresses
of Elizabeth I. Contributors include Michael Questier; Nigel
Llewellyn; Caroline Adams; Karen Coke; and Andrew Foster. The
collection concludes with an Afterword by Duncan Salkeld
(University of Chichester). This volume extends work done in the
1960s and 70s on early-modern Sussex, drawing on new work on county
and religious identities, and setting it into a broad national
context. The result is a book that not only tells us much about
Sussex, but which also has a great deal to offer all scholars
working in the field of local and regional history, and religious
change in England as a whole.
Art, Literature and Religion in Early Modern Sussex is an
interdisciplinary study of a county at the forefront of religious,
political and artistic developments in early-modern England.
Ranging from the schism of Reformation to the outbreak of Civil
War, the volume brings together scholars from the fields of art
history, religious and intellectual history and English literature
to offer new perspectives on early-modern Sussex. Essays discuss a
wide variety of topics: the coherence of a county divided between
East and West and Catholic and Protestant; the art and literary
collections of Chichester cathedral; communities of Catholic
gentry; Protestant martyrdom; aristocratic education; writing,
preaching and exile; local funerary monuments; and the progresses
of Elizabeth I. Contributors include Michael Questier; Nigel
Llewellyn; Caroline Adams; Karen Coke; and Andrew Foster. The
collection concludes with an Afterword by Duncan Salkeld
(University of Chichester). This volume extends work done in the
1960s and 70s on early-modern Sussex, drawing on new work on county
and religious identities, and setting it into a broad national
context. The result is a book that not only tells us much about
Sussex, but which also has a great deal to offer all scholars
working in the field of local and regional history, and religious
change in England as a whole.
1978 witnessed the publication of Peter Burke's groundbreaking
study Popular Culture in Early Modern Europe. Now in its third
edition this remarkable book has for thirty years set the benchmark
for cultural historians with its wide ranging and imaginative
exploration of early modern European popular culture. In order to
celebrate this achievement, and to explore the ways in which
perceptions of popular culture have changed in the intervening
years a group of leading scholars are brought together in this new
volume to examine Burke's thesis in relation to England. Adopting
an appropriately interdisciplinary approach, the collection offers
an unprecedented survey of the field of popular culture in early
modern England as it currently stands, bringing together scholars
at the forefront of developments in an expanding area. Taking as
its starting point Burke's argument that popular culture was
everyone's culture, distinguishing it from high culture, which only
a restricted social group could access, it explores an intriguing
variety of sources to discover whether this was in fact the case in
early modern England. It further explores the meaning and
significance of the term 'popular culture' when applied to the
early modern period: how did people distinguish between high and
low culture - could they in fact do so? Concluded by an Afterword
by Peter Burke, the volume provides a vivid sense of the range and
significance of early modern popular culture and the difficulties
involved in defining and studying it.
William Percy's Mahomet and His Heaven (1601) is extraordinary. Not
only is it the only early modern play purportedly based upon the
Qur'an, but it is also the first to place the Prophet Muhammad on
the stage. While there existed a remarkable range of texts
concerning Islamic characters and themes in Renaissance England,
from chronicles and pamphlets to popular drama, the publication of
this edition of Mahomet and His Heaven represents a major step
forward in the study of Islam on the early modern stage. Roughly
contemporary with Shakespeare's Othello, William Percy makes the
remarkable and potentially highly provocative gesture of locating
the Prophet as its central character, presiding over an apocalyptic
drought to chastise the sins of mankind. The play takes place in
around the mosques of 'Medina' and the action mirrors early
Christian 'translations' of the Qur'an, the Islamic holy text that
was rarely available in England at the time. Furthermore, the play
provides a fascinating insight into the way that Islamic characters
were portrayed on the early modern stage, containing as it does
remarkably detailed stage directions, stipulating for example that
the Prophet wears 'all greene and greene his Turban' and that his
Angels are 'rainbow powdered'. Such details offer an entirely new
perspective upon this aspect of early modern stagecraft. Matthew
Dimmock presents here the play in its entirety, with a critical
introduction which introduces some of its key themes, and places it
in a textual and social context. A section of detailed explanatory
scholarly notes follow the play, containing a full translation of
the short Latin sections and references to the many political and
literary parallels. This book should be required reading for
historians, literary scholars and students dealing with notions of
race, religion, magic, astrology and stagecraft in early modern
England.
The Ashgate Research Companion to Popular Culture in Early Modern
England is a comprehensive, interdisciplinary examination of
current research on popular culture in the early modern era. For
the first time a detailed yet wide-ranging consideration of the
breadth and scope of early modern popular culture in England is
collected in one volume, highlighting the interplay of 'low' and
'high' modes of cultural production (while also questioning the
validity of such terminology). The authors examine how popular
culture impacted upon people's everyday lives during the period,
helping to define how individuals and groups experienced the world.
Issues as disparate as popular reading cultures, games, food and
drink, time, textiles, religious belief and superstition, and the
function of festivals and rituals are discussed. This research
companion will be an essential resource for scholars and students
of early modern history and culture.
Early Modern England was obsessed with the 'turke'. Following the
first Ottoman siege of Vienna in 1529 the printing presses brought
endless prayer sheets, pamphlets and books concerning this
'infidel' threat before the public in the vernacular for the first
time. As this body of knowledge increased, stimulated by a potent
combination of domestic politics, further Ottoman incursions and
trade, English notions of Islam and of the 'turke' became nuanced
in a way that begins to question the rigid assumptions of
traditional critical enquiry. New Turkes: Dramatizing Islam and the
Ottomans in Early Modern England explores the ways in which print
culture helped define and promulgate a European construction of
'Turkishness' that was nebulous and ever shifting. By placing in
context the developing encounters between the Ottoman and Christian
worlds, it shows how ongoing engagements reflected the nature of
the 'Turke' in sixteenth century English literature. By offering
readings of texts by artists, poets and playwrights - especially
canonical figures like Kyd, Marlowe and Shakespeare - a bewildering
variety of approaches to Islam and the 'turke' is revealed
fundamentally questioning any dominant, defining narrative of
'otherness'. In so doing, this book demonstrates how continuing
English encounters, both real and fictional, with Muslims
complicated the notion of the 'Turke'. It also shows how the
Anglo-Ottoman relationship - which was at its peak in the mid-1590s
- was viewed with suspicion by Catholic Europe, particularly the
apparent ritual and devotional similarities between England's
reformed church and Islam. That the 'new turkes' were not Ottoman
Muslims, but English Protestants, serves as a timely riposte to the
decisive rhetoric of contemporary conflicts and modern scholarly
assumption.
Now available in paperback, The intellectual culture of the English
country house is a ground-breaking collection of essays by leading
and emerging scholars, which uncovers the vibrant intellectual life
of early modern provincial England. The essays explore
architectural planning; libraries and book collecting; landscape
gardening; interior design; the history of science and scientific
experimentation; and the collection of portraits and paintings. The
volume demonstrate the significance of the English country house
(e.g. Knole House, Castle Howard, Penshurst Place) and its place
within larger local cultures that it helped to create and shape. It
provides a substantial overview of the country house culture of
early modern England and the complicated relationship between the
provinces and the national, the country and the city, in a period
of rapid social, intellectual and economic transformation. -- .
A fascinating look at how Elizabethan England was transformed by
its interactions with cultures from around the world Challenging
the myth of Elizabethan England as insular and xenophobic, this
revelatory study sheds light on how the nation's growing global
encounters-from the Caribbean to Asia-created an interest and
curiosity in the wider world that resonated deeply throughout
society. Matthew Dimmock reconstructs an extraordinary housewarming
party thrown at the newly built Cecil House in London in 1602 for
Elizabeth I where a stunning display of Chinese porcelain served as
a physical manifestation of how global trade and diplomacy had led
to a new appreciation of foreign cultures. This party was also the
likely inspiration for Elizabeth's celebrated Rainbow Portrait, an
image that Dimmock describes as a carefully orchestrated vision of
England's emerging ambitions for its engagements with the rest of
the world. Bringing together an eclectic variety of sources
including play texts, inventories, and artifacts, this extensively
researched volume presents a picture of early modern England as an
outward-looking nation intoxicated by what the world had to offer.
Distributed for the Paul Mellon Centre for Studies in British Art
Richard Eden's Decades has long been recognised as a landmark in
the translation and circulation of information concerning the
Americas in England. What is often overlooked in Eden's book is the
presence of the first two Tudor voyage accounts to have been
committed to print, assembled in haste and added late in the
printing process. Both concern English commercial ventures to the
West African coast, undertaken despite vehement Portuguese protests
and in the midst of the profound alteration of the Marian
succession. Both are complex, contradictory, and innovative
experiments in generic form and content. This Element closely
examines Eden's assembly and framing of these accounts, engaging
with issues of material culture, travel writing, new knowledge,
race, and the negotiation of political and religious change. In the
process it repositions West Africa and Eden at the heart of a lost
history of early English expansionism.
The figure of 'Mahomet' was widely known in early modern England. A
grotesque version of the Prophet Muhammad, Mahomet was a product of
vilification, caricature and misinformation placed at the centre of
Christian conceptions of Islam. In Mythologies of the Prophet
Muhammad in Early Modern English Culture Matthew Dimmock draws on
an eclectic range of early modern sources - literary, historical,
visual - to explore the nature and use of Mahomet in a period
bounded by the beginnings of print and the early Enlightenment.
This fabricated figure and his spurious biography were endlessly
recycled, but also challenged and vindicated, and the tales the
English told about him offer new perspectives on their sense of the
world - its geographies and religions, near and far - and their
place within it. This book explores the role played by Mahomet in
the making of Englishness, and reflects on what this might reveal
about England's present circumstances.
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