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"The Renaissance in Scotland" contains original essays on the following topics of cultural history: literature; manuscripts and printed books; libraries; law; universities; music; education; social, political and ecclesiastical history. It offers fresh interpretations of many aspects of the age of humanism and reform, as this impinged on Scotland.
This was the first full-scale history of medieval English literature for nearly a century. Thirty-three distinguished contributors offer a collaborative account of literature composed or transmitted in England, Wales, Ireland and Scotland between the Norman conquest and the death of Henry VIII in 1547. The volume has five sections: 'After the Norman Conquest'; 'Writing in the British Isles'; 'Institutional Productions'; 'After the Black Death' and 'Before the Reformation'. It provides information on a vast range of literary texts and the conditions of their production and reception, which will serve both specialists and general readers, and also contains a chronology, full bibliography and a detailed index. This book offers an extensive and vibrant account of the medieval literatures so drastically reconfigured in Tudor England. It will thus prove essential reading for scholars of the Renaissance as well as medievalists, and for historians as well as literary specialists.
An investigation of the fascinating, not-so-miscellaneous miscellanies
The last of the literary genres to be incorporated into print culture, verse in the English Renaissance not only was published in anthologies, pamphlets, and folio editions, it was also circulated in manuscript. In this ground-breaking historical and cultural study of sixteenth- and early seventeenth-century lyric poetry, Marotti examines the interrelationship between the two systems of literary transmission and shows how in England manuscript and print publication together shaped the emerging institution of literature. Surveying a wide range of manuscript and print poetry of the period, Marotti outlines the different social and institutional contexts in which poems were collected and transmitted. He focuses on the two kinds of verse that were circulated more commonly in manuscript than in print—the obscene and the political—and he considers the contributions of scribes and compilers, particularly in composing "answer poetry" and other verse. Analyzing the process through which print gradually replaced manuscript as the standard medium for lyric verse, he identifies four crucial events in the history of publication in England: the appearances of Tottel's Miscellany ( (1557), Sir Philip Sidney's works in the 1590s, Ben Jonson's folio Workes (1616), and the posthumous editions of the poems of Donne and of Herbert (both 1633). Marotti also considers how certain material features of the book determined the reception of poetry, and he explores how poets attempted to establish their authority in print in relation to publishers, patrons, and readers.
It is apparent that every linguistic and literary tradition will wish to distinguish broad periods in its historical evolution. One way of demarcating such periods is by isolating and identifying dominant repertoires of texts, styles or types, which may be seen as preserving repositories of material, promoting literary models, privileging formal constraints, or inspiring theoretical reflections - or all of these. The present collection of studies represents the results of a colloquium held at the University of Groningen in 2001. The contributions range widely in area, time, and theme: from general theory of acceptation into the canon to particular case studies; from overall descriptions of cultural repertoires to their very manufacture; from Ancient Mesopotamia to the European avant-garde - taking in Homeric Greece, the Arabic world, the Middle Ages, Renaissance Humanism, and modern Dutch literature along the way.
This book is a volume in the Penn Press Anniversary Collection. To mark its 125th anniversary in 2015, the University of Pennsylvania Press rereleased more than 1,100 titles from Penn Press's distinguished backlist from 1899-1999 that had fallen out of print. Spanning an entire century, the Anniversary Collection offers peer-reviewed scholarship in a wide range of subject areas.
Scottish creative writing in the twentieth century was notable for its willingness to explore and absorb the literatures of other times and other nations. From the engagement with Russian literature of Hugh MacDiarmid and Edwin Morgan, through to the interplay with continental literary theory, Scottish writers have proved active participants in a diverse international literary practice. Scottish criticism has, arguably, often been slow in appreciating the full extent of this exchange. Preoccupied with marking out its territory, with identifying an independent and distinctive tradition, Scottish criticism has occasionally blinded itself to the diversity and range of its writers. In stressing the importance of cultural independence, it has tended to overlook the many virtues of interdependence. The essays in this book aim to offer a corrective view. They celebrate the achievement of Scottish writing in the twentieth century by offering a wider basis for appreciation than a narrow idea of 'Scottishness'. Each essay explores an aspect of Scottish writing in an individual foreign perspective; together they provide an enriching account of a national literary practice that has deep, and often surprisingly complex, roots in international culture.