Download Free Memory Print And Gender In England 1653 1759 Book in PDF and EPUB Free Download. You can read online Memory Print And Gender In England 1653 1759 and write the review.

This book surveys the genesis of the modern conception of memory where gender becomes crucial to the processes of memorialization and suggests ways in which technology opens a new chapter in the history of memory.
The first edited collection of scholarly essays to focus exclusively on An Collins, this volume examines the significance of an important religious and political poet from seventeenth-century England. The book celebrates Collins’s writing within her own time and ours through a comprehensive assessment of her poetics, literary, religious and political contexts, critical reception, and scholarly tradition. An Collins and the Historical Imagination engages with the complete arc of research and interpretation concerning Collins’s poetry from 1653 to the present. The volume defines the center and circumference of Collins scholarship for twenty-first century readers. The book’s thematically linked chapters and appendices provide a multifaceted investigation of An Collins’s writing, religious and political milieu, and literary legacy within her time and ours.
A reassessment of the historic relation between money and the state through the lens of early modern English literature, Coinage and State Formation examines the political implications of the monetary form in light of material and visual properties of coins as well as the persistence of both intrinsic and extrinsic theories of value.
The human body, traded, fragmented and ingested is at the centre of Medicinal Cannibalism in Early Modern English Literature and Culture , which explores the connections between early modern literary representations of the eaten body and the medical consumption of corpses.
The stigma of haste pervaded early modern English culture, more so than the so-called stigma of print. The period’s writers were perpetually short on time, but what does it mean for authors to present themselves as hasty or slow, or to characterize others similarly? This book argues that such classifications were a way to define literary value. To be hasty was, in a sense, to be irresponsible, but, in another sense, it signaled a necessary practicality. Expressions of haste revealed a deep conflict between the ideal of slow writing in classical and humanist rhetoric and the sometimes grim reality of fast printing. Indeed, the history of print is a history of haste, which carries with it a particular set of modern anxieties that are difficult to understand in the absence of an interdisciplinary approach. Many previous studies have concentrated on the period’s competing definitions of time and on the obsession with how to use time well. Other studies have considered time as a notable literary theme. This book is the first to connect ideas of time to writerly haste in a richly interdisciplinary manner, drawing upon rhetorical theory, book history, poetics, religious studies and early modern moral philosophy, which, only when taken together, provide a genuinely deep understanding of why the stigma of haste so preoccupied the early modern mind. The Value of Time in Early Modern English Literature surveys the period from ca 1580 to ca 1730, with special emphasis on the seventeenth century. The material discussed is found in emblem books, devotional literature, philosophical works, and collections of poetry, drama and romance. Among classical sources, Horace and Quintilian are especially important. The main authors considered are: Robert Parsons; Edmund Bunny; King James 1; Henry Peacham; Thomas Nash; Robert Greene; Ben Jonson; Margaret Cavendish; John Dryden; Richard Baxter; Jonathan Swift; Alexander Pope. By studying these writers’ expressions of time and haste, we may gain a better understanding of how authorship was defined at a time when the book industry was gradually taking the place of classical rhetoric in regulating writers’ activities.
By examining these competing depictions of combat that coexist in sixteenth-century texts ranging from Arthurian romance to early modern medical texts, this study reveals both the importance of combat in understanding the humanist subject and the contours of the previously neglected pre-modern subject.
This project takes the human body and the bodily senses as joints that articulate new kinds of connections between church and theatre and overturns a longstanding notion about theatrical phenomenology in this period.
Leading authors in the field of early modern studies explore a range of bad behaviours - like binge drinking, dicing, and procuring prostitutes at barbershops - in order to challenge the notion that early modern London was a corrupt city that ruined innocent young men.
This book argues that the sixteenth-century preoccupation with rehabilitating English tells the larger story of an anxious nation redirecting attention away from its own marginal, minority status by racially scapegoating the 'barbarous' African.
During the first two decades of his career, Richardson’s role as printer was hardly limited to setting the type for the periodicals that issued from his shop. Perhaps the most glaring evidence of his intervention in producing text is the fact that both The True Briton (1723-24) and The Weekly Miscellany (1732-41) just happen to have letters supposedly from women who protest the legal restraints against their participation in the public sphere. Neither the Duke of Wharton, the owner of The True Briton, nor William Webster, the desperately impecunious producer of The Weekly Miscellany, launched their journals with the objective of advancing radical views about political equality for women. But almost inadvertently this middle-aged, rotund printer at Salisbury Court was quietly feminizing journalism. After his first experiments in Wharton’s anti-Walpole journal he developed his satiric powers in the Miscellany by creating not only his own feisty counterpart to Pope’s coquette Belinda but even partnering with Sarah Chapone’s subversive Delia. As an outlier in what was perceived to be a corrupt, predatory political world, Richardson readily assumed a female voice to express his resistance.