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For Jeffrey Masten, the history of sexuality and the history of language are intimately related. In Queer Philologies, he studies particular terms that illuminate the history of sexuality in Shakespeare's time and analyzes the methods we have used to study sex and gender in literary and cultural history. Building on the work of theorists and historians who have, following Foucault, investigated the importance of words like "homosexual," "sodomy," and "tribade" in a variety of cultures and historical periods, Masten argues that just as the history of sexuality requires the history of language, so too does philology, "the love of the word," require the analytical lens provided by the study of sexuality. Masten unpacks the etymology, circulation, transformation, and constitutive power of key words within the early modern discourse of sex and gender—terms such as "conversation" and "intercourse," "fundament" and "foundation," "friend" and "boy"—that described bodies, pleasures, emotions, sexual acts, even (to the extent possible in this period) sexual identities. Analyzing the continuities as well as differences between Shakespeare's language and our own, he offers up a queer lexicon in which the letter "Q" is perhaps the queerest character of all.
Beginning with the beguiling queerness of the Renaissance letter Q, Jeffrey Masten's stylishly written and extensively illustrated Queer Philologies demonstrates the intimate relation between the history of sexuality and the history of the language.
Textual Intercourse proposes that the language and practice of writing plays in early modern England was inextricably linked to languages and practices of eroticism, sexuality and reproduction. Jeffrey Masten reads a range of early modern materials - burial records, contemporary biographical anecdotes and theatrical records, essays, conduct books and poems; the printed apparatus of published plays, and the plays themselves - to illustrate the ways in which writing for the theatre shifted from a model of homoerotic collaboration toward one of singular authorship on a patriarchal-absolutist model. Plays and collections of plays by Shakespeare, Shakespeare and Fletcher, Beaumont and Fletcher, Margaret Cavendish, and others, are considered. Textual Intercourse illustrate the ways in which methods attuned to sexuality and gender can illuminate more traditional questions of authorship, attribution, textual editing and intellectual property.
The Oxford Handbook of Shakespeare and Embodiment brings together 42 of the most important scholars writing on the subject today. They explore representations of gender in the context of race, ethnicity, sexuality, disability, and religion, and consider Shakespeare's life, contemporary editing practices, and the performance of his plays.
Queer Shakespeare: Desire and Sexuality draws together 13 essays, which offer a major reassessment of the criticism of desire, body and sexuality in Shakespeare's drama and poetry. Bringing together some of the most prominent critics working at the intersection of Shakespeare criticism and queer theory, this collection demonstrates the vibrancy of queer Shakespeare studies. Taken together, these essays explore embodiment, desire, sexuality and gender as key objects of analyses, producing concepts and ideas that draw critical energy from focused studies of time, language and nature. The Afterword extends these inquiries by linking the Anthropocene and queer ecology with Shakespeare criticism. Works from Shakespeare's entire canon feature in essays which explore topics like glass, love, antitheatrical homophobia, size, narrative, sound, female same-sex desire and Petrarchism, weather, usury and sodomy, male femininity and male-to-female crossdressing, contagion, and antisocial procreation.
Queer Milton is the first book-length study dedicated to anti-heteronormative approaches to the poetry and prose of John Milton. Organized into sections on “Eroticism and Form” and “Temporality and Affect,” essays in this volume read Milton’s works through radical queer interpretive frameworks that have elsewhere animated and enriched Renaissance Studies. Leveraging insights from recent queer work and related fields, contributions demonstrate diverse possible futures for Queer Milton Studies. At the same time, Queer Milton bears witness to the capacity for queer to arbitrate debates that have shaped, and indeed continue to shape, developments in the field of Milton Studies.
This book examines early modern drama's depiction of non-standard forms of masculinity grounded in superficiality, inauthenticity, affectation, and the display of the extravagantly clothed body. Practices of extravagant dress destabilized distinctions between able-bodied and disabled, human and non-human, and the past and present, distinctions that structure normative ways of thinking about sexuality. In city comedies by Ben Jonson, George Chapman, Thomas Middleton, and Thomas Dekker, extravagantly dressed male characters imagine alternatives to the prevailing modes of subjectivity, sociability, and eroticism in early modern London. While these characters are situated in hostile narrative and historical contexts, this book draws on recent work on disability, materiality, and queer temporality to rethink their relationship to those contexts in order to access the world-making possibilities of early modern queer style. In their rich representations of life in London around the turn of the seventeenth century, these plays not only were, but also remain, uniquely sensitive to the intersection of sexuality, urbanization, and material culture. The attachments and pleasures of early modern sartorial extravagance they depict can estrange us from the epistemologies that narrow current thinking about sexuality's relationship to authenticity, pedagogy, interiority, and privacy.
How do early modern media underlie today’s digital creativity? In Cut/Copy/Paste, Whitney Trettien journeys to the fringes of the London print trade to uncover makerspaces and collaboratories where paper media were cut up and reassembled into radical, bespoke publications. Bringing these long-forgotten objects back to life through hand-curated digital resources, Trettien shows how early experimental book hacks speak to the contemporary conditions of digital scholarship and publishing. As a mixed-media artifact itself, Cut/Copy/Paste enacts for readers what Trettien argues: that digital forms have the potential to decenter patriarchal histories of print. From the religious household of Little Gidding—whose biblical concordances and manuscripts exemplify protofeminist media innovation—to the queer poetic assemblages of Edward Benlowes and the fragment albums of former shoemaker John Bagford, Cut/Copy/Paste demonstrates history’s relevance to our understanding of current media. Tracing the lives and afterlives of amateur “bookwork,” Trettien creates a method for identifying and comprehending hybrid objects that resist familiar bibliographic and literary categories. In the process, she bears witness to the deep history of radical publishing with fragments and found materials. With many of Cut/Copy/Paste’s digital resources left thrillingly open for additions and revisions, this book reimagines our ideas of publication while fostering a spirit of generosity and inclusivity. An open invitation to cut, copy, and paste different histories, it is an inspiration for students of publishing or the digital humanities, as well as anyone interested in the past, present, and future of creativity.
Exploratory, investigative, and energetically analytical, 1650–1850 covers the full expanse of long eighteenth-century thought, writing, and art while delivering abundant revelatory detail. Essays on well-known cultural figures combine with studies of emerging topics to unveil a vivid rendering of a dynamic period, simultaneously committed to singular genius and universal improvement. Welcoming research on all nations and language traditions, 1650–1850 invites readers into a truly global Enlightenment. Topics in volume 29 include Samuel Johnson’s notions about the education of women and a refreshing account of Sir Joseph Banks’s globetrotting. A guest-edited, illustration-rich, interdisciplinary special feature explores the cultural implications of water. As always, 1650–1850 culminates in a bevy of full-length book reviews critiquing the latest scholarship on long-established specialties, unusual subjects, and broad reevaluations of the period. Published by Bucknell University Press, distributed worldwide by Rutgers University Press.
This collection examines some of the people, places, and plays at the edge of early modern English drama. Recent scholarship has begun to think more critically about the edge, particularly in relation to the canon and canonicity. This book demonstrates that the people and concepts long seen as on the edge of early modern English drama made vital contributions both within the fictive worlds of early modern plays, and without, in the real worlds of playmakers, theaters, and audiences. The book engages with topics such as child actors, alterity, sexuality, foreignness, and locality to acknowledge and extend the rich sense of playmaking and all its ancillary activities that have emerged over the last decade. The essays by a global team of scholars bring to life people and practices that flourished on the edge, manifesting their importance to both early modern audiences, and to current readers and performers.