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Expanding the scholarly conversation about anonymity in Renaissance England, this essay collection explores the phenomenon in all its variety of methods and genres as well as its complex relationship with its alter ego, attribution studies. Contributors address such questions as these: What were the consequences of publishing and reading anonymous texts for Renaissance writers and readers? What cultural constraints and subject positions made anonymous publication in print or manuscript a strategic choice? What are the possible responses to Renaissance anonymity in contemporary classrooms and scholarly debate? The volume opens with essays investigating particular texts-poetry, plays, and pamphlets-and the inflection each genre gives to the issue of anonymity. The collection then turns to consider more abstract consequences of anonymity: its function in destabilizing scholarly assumptions about authorship, its ethical ramifications, and its relationship to attribution studies.
Conversational Exchanges in Early Modern England (1549–1640) presents an opportunity to understand how texts, performances, politics, and historical topics intersected and informed cultural productions during this period. These analyses of conversational exchanges across genres permit readers to grasp how conversation functioned as both a compositional methodology and an interpretive hermeneutic in early modern England. The essays gathered here adopt eclectic critical approaches from the perspectives of historicism, gender studies, print culture studies, performance studies, object-oriented ontologies, and the digital humanities to collectively argue that “conversation” is not only a site of reproductive intercourse, but one of metamorphic between-ness. As this book demonstrates, conversation extends what is conventionally thought of as “source study” by treating multiple sources as active interlocutors. These essays discuss how writers of this period push the boundaries of conventional, diachronic imitation by engaging with ancient and/or contemporary sources to lend a sense of immediacy to the subject at hand. Each contribution examines the varying degrees to which “conversation” carries within itself a sense of internal crisis, a turning back and forth, a form of sexual and textual intercourse that does not simply reproduce, but metamorphoses with each interaction.
Who were early modern chaplains and what did they do? Chaplains are well known to have been pivotal figures within early modern England, their activities ranging from more conventionally religious roles (conducting church services, offering spiritual advice and instruction) to a surprisingly wide array of literary functions (writing poetry, or acting as scribes and editors). Chaplains in early modern England: Patronage, literature and religion explores the important, but often neglected, contributions made by chaplains of different kinds – royal, episcopal, noble, gentry, diplomatic – to early modern English culture. Addressing a period from the late sixteenth to the early eighteenth centuries, it focuses on chaplains from the Church of England, examining their roles in church and politics, and within both domestic and cultural life. It also shows how understanding the significance of chaplains can illuminate wider cultural practices – patronage, religious life and institutions, and literary production – in the early modern period.
Some of the greatest works in English literature were first published without their authors' names. Why did so many authors want to be anonymous--and what was it like to read their books without knowing for certain who had written them? In Anonymity, John Mullan gives a fascinating and original history of hidden identity in English literature. From the sixteenth century to today, he explores how the disguises of writers were first used and eventually penetrated, how anonymity teased readers and bamboozled critics--and how, when book reviews were also anonymous, reviewers played tricks of their own in return. Today we have forgotten that the first readers of Gulliver's Travels and Sense and Sensibility had to guess who their authors might be, and that writers like Sir Walter Scott and Charlotte Brontë went to elaborate lengths to keep secret their authorship of the best-selling books of their times. But, in fact, anonymity is everywhere in English literature. Spenser, Donne, Marvell, Defoe, Swift, Fanny Burney, Austen, Byron, Thackeray, Lewis Carroll, Tennyson, George Eliot, Sylvia Plath, and Doris Lessing--all hid their names. With great lucidity and wit, Anonymity tells the stories of these and many other writers, providing a fast-paced, entertaining, and informative tour through the history of English literature.
"The book trade, she argues, created many intriguing and paradoxical uses for anonymity, even as the authorial name became more marketable. Among ecclesiastical debates, for instance, anonymity worked to conceal identity, but it could also be used to identify the moral character of the author being concealed. In court and coterie circles, meanwhile, authors turned name suppression into a tool for the preservation of social boundaries. Finally, in both print and manuscript, anonymity promised to liberate an authentic female voice, and yet it made it impossible to authenticate the gender of an author. In sum, the writers and book producers who helped to create England's literary culture viewed anonymity as a meaningful and useful practice."--BOOK JACKET.
Perhaps more than any other kind of book, manuscript miscellanies require a complex and ‘material’ reading strategy. This collection of essays engages the renewed and expanding interest in early modern English miscellanies, anthologies, and other compilations. Manuscript Miscellanies in Early Modern England models and refines the study of these complicated collections. Several of its contributors question and redefine the terms we use to describe miscellanies and anthologies. Two senior scholars correct the misidentification of a scribe and, in so doing, uncover evidence of a Catholic, probably Jesuit, priest and community in a trio of manuscripts. Additional contributors show compilers interpreting, attributing, and arranging texts, as well as passively accepting others’ editorial decisions. While manuscript verse miscellanies remain appropriately central to the collection, several essays also involve print and prose, ranging from letters to sermons and even political prophesies. Using extensive textual and bibliographical evidence, the collection offers stimulating new readings of literature, politics, and religion in the early modern period, and promises to make important interventions in academic studies of the history of the book.
In the early modern herbal, Sarah Neville finds a captivating example of how Renaissance print culture shaped scientific authority.
James Doelman's book is the first major study on the Renaissance English epigram since 1947. It combines thorough description of the genre's history and conventions with consideration of the rootedness of individual epigrams within specific social, political and religious contexts.
Based on the author's fieldwork at assisted conception clinics in England in the mid-1990s, this is the first ethnographic study of the new procreative practices of anonymous ova and embryo donation. Giving voice to both groups of women participating in the demanding donation experience - the donors on the one side and the ever-hopeful IVF recipients on the other - Konrad shows how one dimension of the new reproductive technologies involves an unfamiliar relatedness between nameless and untraceable procreative strangers. Offsetting informants' local narratives against traditional Western folk models of the 'sexed' reproductive body, the book challenges some of the basic assumptions underlying conventional biomedical discourse of altruistic donation that clinicians and others promote as "gifts of life." It brings together a wide variety of literatures from social anthropology, social theory, cultural studies of science and technology, and feminist bioethics to discuss the relationship between recent developments in biotechnology and changing conceptions of personal origins, genealogy, kinship, biological ownership and notions of bodily integrity.
This text offers an array of essays that consider literary, intellectual, political, theological and cultural aspects of the years 1650-1800, in the British Isles and Europe. At the centre of the book is Jonathan Swift; other essays discuss Alexander Pope, 18th-century music and poetry, William Congreve, James Boswell, Samuel Richardson, and women's novels of the 18th century.