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Bringing together diverse scholars to represent the full historical
breadth of the early modern period, and a wide range of disciplines
(literature, women's studies, folklore, ethnomusicology, art
history, media studies, the history of science, and history),
Ballads and Broadsides in Britain, 1500-1800 offers an
unprecedented perspective on the development and cultural practice
of popular print in early modern Britain. Fifteen essays explore
major issues raised by the broadside genre in the early modern
period: the different methods by which contemporaries of the
sixteenth through nineteenth centuries collected and "appreciated"
such early modern popular forms; the preoccupation in the early
modern period with news and especially monsters; the concomitant
fascination with and representation of crime and the criminal
subject; the technology and formal features of early modern
broadside print together with its bearing on gender, class, and
authority/authorship; and, finally, the nationalizing and
internationalizing of popular culture through crossings against
(and sometimes with) cultural Others in ballads and broadsides of
the time.
Bringing together diverse scholars to represent the full historical
breadth of the early modern period, and a wide range of disciplines
(literature, women's studies, folklore, ethnomusicology, art
history, media studies, the history of science, and history),
Ballads and Broadsides in Britain, 1500-1800 offers an
unprecedented perspective on the development and cultural practice
of popular print in early modern Britain. Fifteen essays explore
major issues raised by the broadside genre in the early modern
period: the different methods by which contemporaries of the
sixteenth through nineteenth centuries collected and "appreciated"
such early modern popular forms; the preoccupation in the early
modern period with news and especially monsters; the concomitant
fascination with and representation of crime and the criminal
subject; the technology and formal features of early modern
broadside print together with its bearing on gender, class, and
authority/authorship; and, finally, the nationalizing and
internationalizing of popular culture through crossings against
(and sometimes with) cultural Others in ballads and broadsides of
the time.
This landmark collection makes a major contribution to the
burgeoning field of broadside ballad study by investigating the
hitherto unexplored treasure-trove of over 100,000 Central/Eastern
European broadside ballads of the Czech Republic, from the 16th to
the 19th century. Viewing Czech broadside ballads from an
interdisciplinary perspective, we see them as unique and regional
cultural phenomena: from their production and collecting processes
to their musicology, linguistics, preservation, and more. At the
same time, as contributors note, when viewed within a larger
perspective-extending one's gaze to take in ballad production in
bordering lands (such as Germany, Poland, and Slovakia) and as far
Northwest as Britain to as far Southwest as Brazil-we discover an
international phenomenon at work. Czech printed ballads, we see,
participated in a thriving popular culture of broadside ballads
that spoke through text, art, and song to varied interests of the
masses, especially the poor, worldwide.
In its seventeenth-century heyday, the English broadside ballad was
a single large sheet of paper printed on one side with multiple
woodcut illustrations, a popular tune title, and a poem.
Inexpensive, ubiquitous, and fugitive—individual elements
migrated freely from one broadside to another—some 11,000 to
12,000 of these artifacts pre-1701 survive, though many others have
undoubtedly been lost. Since 2003, Patricia Fumerton and a team of
associates at the University of California, Santa Barbara have been
finding, digitizing, cataloging, and recording these materials to
create the English Broadside Ballad Archive. In this magisterial
and long-awaited volume, Fumerton presents a rich display of the
fruits of this work. She tracks the fragmentary assembling and
disassembling of two unique extant editions of one broadside ballad
and examines the loose network of seventeenth-century ballad
collectors who archived what were essentially ephemeral
productions. She pays particular attention to Samuel Pepys, who
collected and bound into five volumes more than 1,800 ballads, and
whose preoccupations with black-letter print, gender, and politics
are reflected in and extend beyond his collecting practices.
Offering an extensive and expansive reading of an extremely popular
and sensational ballad that was printed at least 37 times before
1701, Fumerton highlights the ballad genre's ability to move
audiences across time and space. In a concluding chapter, she looks
to Shakespeare's The Winter's Tale to analyze the performative
potential ballads have in comparison with staged drama. A broadside
ballad cannot be "read" without reading it in relation to its
images and its tune, Fumerton argues. To that end, The Broadside
Ballad in Early Modern England features more than 80 illustrations
and directs its readers to a specially constructed online archive
where they can easily access 48 audio files of ballad music.
Renaissance Culture and the Everyday Edited by Patricia Fumerton
and Simon Hunt "A lively and illuminating collection of essays that
extends the recent trend away from a concentration on structures of
state power and religious authority and toward the domestic, the
local, and the ordinary. But the ordinary, in the skillful analyses
brought together in this volume, proves to be extraordinarily
charged with conflict, strangeness, and dramatic intensity.
Fumerton and Hunt have assembled some of the most interesting
voices in Renaissance studies today."--Stephen Greenblatt It was
not unusual during the Renaissance for cooks to torture animals
before slaughtering them in order to render the meat more tender,
for women to use needlepoint to cover up their misconduct and prove
their obedience, and for people to cover the walls of their own
homes with graffiti. Items and activities as familiar as mirrors,
books, horses, everyday speech, money, laundry baskets, graffiti,
embroidery, and food preparation look decidedly less familiar when
seen through the eyes of Renaissance men and women. In "Renaissance
Culture and the Everyday," such scholars as Judith Brown, Frances
Dolan, Richard Helgerson, Debora Shuger, Don Wayne, and Stephanie
Jed illuminate the sometimes surprising issues at stake in just
such common matters of everyday life during the Renaissance in
England and on the Continent. Organized around the categories of
materiality, women, and transgression--and constantly crossing
these categories--the book promotes and challenges readers'
thinking of the everyday. While not ignoring the aristocratic, it
foregrounds the common person, the marginal, and the domestic even
as it presents the unusual details of their existence. What results
is an expansive, variegated, and sometimes even contradictory
vision in which the strange becomes not alien but a defining mark
of everyday life. Patricia Fumerton is Associate Professor of
English at the University of California, Santa Barbara. She is the
author of "Cultural Aesthetics: Renaissance Literature and the
Practice of Social Ornament." Simon Hunt teaches English at the
Santa Catalina School in Monterey, California. New Cultural Studies
1998 344 pages 6 1/8 x 9 1/4 52 illus. ISBN 978-0-8122-1663-9 Paper
$27.50s 18.00 World Rights History Short copy: Items as familiar as
mirrors, books, horses, money, laundry baskets, graffiti,
embroidery, and food look decidedly less familiar when seen through
the eyes of Renaissance men and women. In "Renaissance Culture and
the Everyday," such scholars as Judith Brown, Frances Dolan,
Richard Helgerson, Debora Shuger, Don Wayne, and Stephanie Jed
illuminate the sometimes surprising issues at stake in just such
common matters of daily life during the Renaissance in England and
on the Continent.
A brilliant postmodern critique of Renaissance subjectivity,
"Cultural Aesthetics" explores the simultaneous formation and
fragmentation of aristocratic "selfhood" in the late sixteenth and
early seventeenth centuries. Patricia Fumerton situates the self
within its sumptuous array of "trivial" arts--including the court
literatures of chivalric romance, sonnet, and masque and the arts
of architecture, miniature painting, stage design, and cuisine. Her
integration of historicist and aesthetic perspectives makes this a
provocative contribution to the vigorous field of Renaissance
cultural studies.
Migrants made up a growing class of workers in late sixteenth- and
seventeenth- century England. In fact, by 1650, half of England's
rural population consisted of homeless and itinerant laborers.
"Unsettled" is an ambitious attempt to reconstruct the everyday
lives of these dispossessed people. Patricia Fumerton offers an
expansive portrait of unsettledness in early modern England that
includes the homeless and housed alike. Fumerton begins by building
on recent studies of vagrancy, poverty, and servants, placing all
in the light of a new domestic economy of mobility. She then looks
at representations of the vagrant in a variety of pamphlets and
literature of the period. Since seamen were a particularly large
and prominent class of mobile wage-laborers in the seventeenth
century, Fumerton turns to seamen generally and to an individual
poor seaman as a case study of the unsettled subject: Edward Barlow
(b. 1642) provides a rare opportunity to see how the laboring poor
fashioned themselves, for he authored a journal of over 225,000
words and 147 pages of drawings. Barlow's journal, studied
extensively here for the first time, vividly charts what he himself
termed his "unsettled mind" and the perpetual anxieties of
England's working and wayfaring poor. Ultimately, Fumerton explores
representations of seamen as unsettled in the broadside ballads of
Barlow's time.
Migrants made up a growing class of workers in late sixteenth- and
seventeenth- century England. In fact, by 1650, half of England's
rural population consisted of homeless and itinerant laborers.
"Unsettled" is an ambitious attempt to reconstruct the everyday
lives of these dispossessed people. Patricia Fumerton offers an
expansive portrait of unsettledness in early modern England that
includes the homeless and housed alike. Fumerton begins by building
on recent studies of vagrancy, poverty, and servants, placing all
in the light of a new domestic economy of mobility. She then looks
at representations of the vagrant in a variety of pamphlets and
literature of the period. Since seamen were a particularly large
and prominent class of mobile wage-laborers in the seventeenth
century, Fumerton turns to seamen generally and to an individual
poor seaman as a case study of the unsettled subject: Edward Barlow
(b. 1642) provides a rare opportunity to see how the laboring poor
fashioned themselves, for he authored a journal of over 225,000
words and 147 pages of drawings. Barlow's journal, studied
extensively here for the first time, vividly charts what he himself
termed his "unsettled mind" and the perpetual anxieties of
England's working and wayfaring poor. Ultimately, Fumerton explores
representations of seamen as unsettled in the broadside ballads of
Barlow's time.
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