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"Intersectionality, a term coined in 1989, is rapidly increasing in importance within the academy, as well as in broader civic conversations. It describes the study of overlapping or intersecting social identities such as race, gender, ethnicity, nationality, and sexual orientation alongside related systems of oppression, domination, and discrimination. Together, these frameworks are used to understand how systematic injustice or social inequality occurs. In this book, Roland Betancourt examines the presence of marginalized identities and intersectionality in the medieval era. He reveals the fascinating, little-examined conversations in medieval thought and visual culture around matters of sexual and reproductive consent, bullying, non-monogamous marriages, homosocial and homoerotic relationships, trans and non-binary gender identifications, representations of disability, and the oppression of minorities. In contrast to contemporary expectations of the medieval world, this book looks at these problems from the Byzantine Empire and its neighbors in the eastern mediterranean through sources ranging from late antiquity and early Christianity up to the early modern period. In each of five chapters, Betancourt provides short, carefully scaled narratives used to illuminate nuanced and surprising takes on now-familiar subjects by medieval thinkers and artists. For example, Betancourt examines depictions of sexual consent in images of the Virgin; the origins of sexual shaming and bullying in the story of Empress Theodora; early beginnings of trans history as told in the lives of saints who lived portions of their lives within different genders; and the ways in which medieval authors understood and depicted disabilities. Deeply researched, this is a groundbreaking new look at medieval culture for a new generation of scholars"--
This study of the many poets, musicians and visual artists portrayed or described in Shakespeare's plays and poems reveals a fascination with art and its makers that continued to influence Shakespeare's work throughout his career. It also uncovers unexpected aspects of an enthusiastic Elizabethan consumption of artworks, an enthusiasm that had significant bearing on the quite new profession that Shakespeare himself followed. A high valuation placed on art and artists, and at the same time certain fears of these and fears for these, made for a very complex reception of the figure of the artist, and Shakespeare's treatments were equal to that complexity.
Seventeenth-Century English Literature associates evolving seventeenth-century English perspectives of maternal support to the ascent of the cutting edge country, particularly in the vicinity of 1603 and 1675. Maternal sustain increases new noticeable quality in the early current social creative ability at the exact minute when England experiences a noteworthy change in perspective-from the customary, dynastic body politic, composed by natural bonds, to the post-dynastic, present day country, included representative and full of feeling relations. The book likewise exhibits that moving early present day points of view on Judeo-Christian relations profoundly educate the period's interlocking reassessments of maternal support and the country, particularly on account of Milton. Encircled by an understanding that the very idea of what characterizes the human is regularly impacted by Renaissance and early present day messages, this book sets up the start of the scholarly improvement of the evil frame into an adapted shape in the seventeenth century. This advancement is fixated on characters and verse of four seventeenth-century journalists: the Satan character in John Milton's Paradise Lost and Paradise Regained, the Tempter in John Bunyan's Grace Abounding to the Chief of Sinners and Diabolus in Bunyan's The Holy War, the verse of John Wilmot, earl of Rochester, and Dorimant in George Etherege's Man of Mode.
In this study of Shakespeare's visual culture Frederick Kiefer looks at the personified characters created by Shakespeare in his plays, his walking, talking abstractions. These include Rumour in 2 Henry IV, Time in The Winter's Tale, Spring and Winter in Love's Labour's Lost, Revenge in Titus Andronicus, and the deities in the late plays. All these personae take physical form on the stage: the actors performing the roles wear distinctive attire and carry appropriate props. The book seeks to reconstruct the appearance of Shakespeare's personified characters; to explain the symbolism of their costumes and props; and to assess the significance of these symbolic characters for the plays in which they appear. To accomplish this reconstruction, Kiefer brings together a wealth of visual and literary evidence including engravings, woodcuts, paintings, drawings, tapestries, emblems, civic pageants, masques, poetry and plays. The book contains over forty illustrations of personified characters in Shakespeare's time.