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Includes a variety of women's political writings from the
Seventeenth Century. This collection highlights the principles
inherent in female political action in its many and varied forms,
from women's Civil War petitioning, to the efforts of Quaker women
to reform prisons.
Includes a variety of women's political writings from the
Seventeenth Century. This collection highlights the principles
inherent in female political action in its many and varied forms,
from women's Civil War petitioning, to the efforts of Quaker women
to reform prisons.
Includes a variety of women's political writings from the
Seventeenth Century. This collection highlights the principles
inherent in female political action in its many and varied forms,
from women's Civil War petitioning, to the efforts of Quaker women
to reform prisons.
Includes a variety of women's political writings from the
Seventeenth Century. This collection highlights the principles
inherent in female political action in its many and varied forms,
from women's Civil War petitioning, to the efforts of Quaker women
to reform prisons.
What is, what was the human? This book argues that the making of the human as it is now understood implies a renogotiation of the relationship between the self and the world. The development of Renaissance technologies of difference such as mapping, colonialism and anatomy paradoxically also illuminated the similarities between human and non-human. This collection considers the borders between humans and their imagined others: animals, women, native subjects, machines. It examines border creatures (hermaphrodites, wildmen, and cyborgs) and border practices (science, surveying, and pornography).
This collection of multi-authored essays not only refashions and
revises critical understandings of the early modern dramatist Ben
Jonson and his canon of work, but is also self-reflexive about the
process. It includes original essays by both established and
emergent Jonson scholars, and employs materialist, feminist and
queer theory in the production of its readings of Jonsonian
playtexts and masques, familiar and otherwise. It is intended to
encourage new approaches by students to this central figure from
the Renaissance.
This collection of multi-authored essays not only refashions and
revises critical understandings of the early modern dramatist Ben
Jonson and his canon of work, but is also self-reflexive about the
process. It includes original essays by both established and
emergent Jonson scholars, and employs materialist, feminist and
queer theory in the production of its readings of Jonsonian
playtexts and masques, familiar and otherwise. It is intended to
encourage new approaches by students to this central figure from
the Renaissance.
Viewing the poem as a social agent and product in women's lives,
the essays in this collection examine factors influencing the
relationships between writers and readers of poetry in
seventeenth-century England and Scotland. The archival and
theoretical research on literary authorship, textual transmission
and socio-literary networks invites a re-examination of the
production and reception of poetry, and alters our understanding of
the way poetry participated in social, literary and political life.
The volume takes account of the expansion and changes to the canon
of women's poetry and emerging research on key aspects of literary
production and reception. It builds on and responds to both recent
critical emphasis on literary form and on archival scholarship in
women's writing, understanding the two emphases to be mutually
informative. -- .
What is, what was the human? This book argues that the making of
the human as it is now understood implies a renegotiation of the
relationship between the self and the world. The development of
Renaissance technologies of difference such as mapping, colonialism
and anatomy paradoxically also illuminated the similarities between
human and non-human. This collection considers the borders between
humans and their imagined others: animals, women, native subjects,
machines. It examines border creatures (hermaphrodites, wildmen and
cyborgs) and border practices (science, surveying and pornography).
Viewing the poem as a social agent and product in women's lives,
the essays in this collection examine factors influencing the
relationships between writers and readers of poetry in
seventeenth-century England and Scotland. The archival and
theoretical research on literary authorship, textual transmission
and socio-literary networks invites a re-examination of the
production and reception of poetry, and alters our understanding of
the way poetry participated in social, literary and political life.
The volume takes account of the expansion and changes to the canon
of women's poetry and emerging research on key aspects of literary
production and reception. It builds on and responds to both recent
critical emphasis on literary form and on archival scholarship in
women's writing, understanding the two emphases to be mutually
informative. This book explores the way women understood the poem,
examines how the poem was shared, circulated and rewritten, and
traces its path through wider social relations. It will appeal to
any scholar of literature and gender working in Renaissance and
seventeenth century studies. -- .
Taking Ovid's Metamorphoses as its starting point, this book
analyses fantastic creatures including werewolves, bear-children
and dragons in English literature from the Reformation to the late
seventeenth century. Susan Wiseman tracks the idea of
transformation through classical, literary, sacred, physiological,
folkloric and ethnographic texts. Under modern disciplinary
protocols these areas of writing are kept apart, but this study
shows that in the Renaissance they were woven together by shared
resources, frames of knowledge and readers. Drawing on a rich
collection of critical and historical studies and key philosophical
texts including Descartes' Meditations, Wiseman outlines the
importance of metamorphosis as a significant literary mode. Her
examples range from canonical literature, including Shakespeare's A
Midsummer Night's Dream and The Tempest, to Thomas Browne on
dragons, together with popular material, arguing that the
seventeenth century is marked by concentration on the potential of
the human, and the world, to change or be changed.
Taking Ovid's Metamorphoses as its starting point, this book
analyses fantastic creatures including werewolves, bear-children
and dragons in English literature from the Reformation to the late
seventeenth century. Susan Wiseman tracks the idea of
transformation through classical, literary, sacred, physiological,
folkloric and ethnographic texts. Under modern disciplinary
protocols these areas of writing are kept apart, but this study
shows that in the Renaissance they were woven together by shared
resources, frames of knowledge and readers. Drawing on a rich
collection of critical and historical studies and key philosophical
texts including Descartes' Meditations, Wiseman outlines the
importance of metamorphosis as a significant literary mode. Her
examples range from canonical literature, including Shakespeare's A
Midsummer Night's Dream and The Tempest, to Thomas Browne on
dragons, together with popular material, arguing that the
seventeenth century is marked by concentration on the potential of
the human, and the world, to change or be changed.
In 1642 an ordinance closed the theatres of England. Critics and
historians have assumed that the edict was to be firm and
inviolate. Susan Wiseman challenges this assumption and argues that
the period 1640 to 1660 was not a gap in the production and
performance of drama nor a blank space between 'Renaissance drama'
and the 'Restoration stage'. Rather, throughout the period, writers
focused instead on a range of dramas with political perspectives,
from republican to royalist. This group included the short pamphlet
dramas of the 1640s and the texts produced by the writers of the
1650s, such as William Davenant, Margaret Cavendish and James
Shirley. In analysing the diverse forms of dramatic production of
the 1640s and 1650s, Wiseman reveals the political and generic
diversity produced by the changes in dramatic production, and
offers insights into the theatre of the Civil War.
In 1642 an ordinance closed the theatres of England. Critics and
historians have assumed that the edict was to be firm and
inviolate. Susan Wiseman challenges this assumption and argues that
the period 1640 to 1660 was not a gap in the production and
performance of drama nor a blank space between 'Renaissance drama'
and the 'Restoration stage'. Rather, throughout the period, writers
focused instead on a range of dramas with political perspectives,
from republican to royalist. This group included the short pamphlet
dramas of the 1640s and the texts produced by the writers of the
1650s, such as William Davenant, Margaret Cavendish and James
Shirley. In analysing the diverse forms of dramatic production of
the 1640s and 1650s, Wiseman reveals the political and generic
diversity produced by the changes in dramatic production, and
offers insights into the theatre of the Civil War.
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