Scandal and Reputation at the Court of Catherine de Medici explores Catherine de Medici's 'flying squadron', the legendary ladies-in-waiting of the sixteenth-century French queen mother who were alleged to have been ordered to seduce politically influential men for their mistress's own Machiavellian purposes. Branded a 'cabal of cuckoldry' by a contemporary critic, these women were involved in scandals that have encouraged a perception, which continues in much academic literature, of the late Valois court as debauched and corrupt. Rather than trying to establish the guilt or innocence of the accused, Una McIlvenna here focuses on representations of the scandals in popular culture and print, and on the collective portrayal of the women in the libelous and often pornographic literature that circulated information about the court. She traces the origins of this material to the all-male intellectual elite of the parlementaires: lawyers and magistrates who expressed their disapproval of Catherine's political and religious decisions through misogynist pamphlets and verse that targeted the women of her entourage. Scandal and Reputation at the Court of Catherine de Medici reveals accusations of poisoning and incest to be literary tropes within a tradition of female defamation dating to classical times that encouraged a collective and universalizing notion of women as sexually voracious, duplicitous and, ultimately, dangerous. In its focus on manuscript and early print culture, and on the transition from a world of orality to one dominated by literacy and textuality, this study has relevance for scholars of literary history, particularly those interested in pamphlet and libel culture.

Scandal and Reputation at the Court of Catherine de Medici explores Catherine de Medici's 'flying squadron', the legendary ladies-in-waiting of the sixteenth-century French queen mother who were alleged to have been ordered to seduce politically influential men for their mistress's own Machiavellian purposes. Branded a 'cabal of cuckoldry' by a contemporary critic, these women were involved in scandals that have encouraged a perception, which continues in much academic literature, of the late Valois court as debauched and corrupt. Rather than trying to establish the guilt or innocence of the accused, Una McIlvenna here focuses on representations of the scandals in popular culture and print, and on the collective portrayal of the women in the libelous and often pornographic literature that circulated information about the court. She traces the origins of this material to the all-male intellectual elite of the parlementaires: lawyers and magistrates who expressed their disapproval of Catherine's political and religious decisions through misogynist pamphlets and verse that targeted the women of her entourage. Scandal and Reputation at the Court of Catherine de Medici reveals accusations of poisoning and incest to be literary tropes within a tradition of female defamation dating to classical times that encouraged a collective and universalizing notion of women as sexually voracious, duplicitous and, ultimately, dangerous. In its focus on manuscript and early print culture, and on the transition from a world of orality to one dominated by literacy and textuality, this study has relevance for scholars of literary history, particularly those interested in pamphlet and libel culture.

Across Europe, from the dawn of print until the early twentieth century, the news of crime and criminals' public executions was printed in song form on cheap broadsides and pamphlets to be sold in streets and marketplaces by ballad-singers. Singing the News of Death: Execution Ballads in Europe 1500-1900 looks at how and why song was employed across Europe for centuries as a vehicle for broadcasting news about crime and executions, exploring how this performative medium could frame and mediate the message of punishment and repentance. Examining ballads in English, French, Dutch, German, and Italian across four centuries, author Una McIlvenna offers the first multilingual and longue duree study of the complex and fascinating phenomenon of popular songs about brutal public death. Ballads were frequently written in the first-person voice, and often purported to be the last words, confession or 'dying speech' of the condemned criminal, yet were ironically on sale the day of the execution itself. Musical notation was generally not required as ballads were set to well-known tunes. Execution ballads were therefore a medium accessible to all, regardless of literacy, social class, age, gender or location. A genre that retained extraordinary continuities in form and content across time, space, and language, the execution ballad grew in popularity in the nineteenth century, and only began to fade as executions themselves were removed from the public eye. With an accompanying database of recordings, Singing the News of Death brings these centuries-old songs of death back to life.