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This pioneering book explores the work of English Augustinian friar Osbern Bokenham, an ardent Yorkist on the eve of the "Wars of the Roses" and a gifted poet. Sheila Delany focuses on a manuscript written in 1447, the "Legend of Holy Women." Narrating the lives and ordeals of thirteen heroic and powerful saints, this was the first all-female legendary in English, much of it commissioned by wealthy women patrons in the vicinity of Clare Priory, Suffolk, where Bokenham lived. Delany structures her book around the image of the human body. First is the corpus of textual traditions within which Bokenham wrote: above all, the work of his two competing masters, St. Augustine and Geoffrey Chaucer. Next comes the female body and its parts as represented in hagiography, with Bokenham's distinctive treatment of the body and the corporeal semiotic of his own legendary. Finally, the image of the body politic allows Delany to examine the relation of Bokenham's work to contemporary political life. She analyzes both the legendary and the friar's translation of a panegyric by the late-classical poet Claudian. The poetry is richly historized by Delany's reading of it in the context of succession crises, war, and the connection of women to political power during the fourteenth and fifteenth centuries.
The Body Impolitic is a critical study of tradition, not merely as an ornament of local and national heritage, but also as a millstone around the necks of those who are condemned to produce it. Michael Herzfeld takes us inside a rich variety of small-town Cretan artisans' workshops to show how apprentices are systematically thwarted into learning by stealth and guile. This harsh training reinforces a stereotype of artisans as rude and uncultured. Moreover, the same stereotypes that marginalize artisans locally also operate to marginalize Cretans within the Greek nation and Greece itself within the international community. What Herzfeld identifies as "the global hierarchy of value" thus frames the nation's ancient monuments and traditional handicrafts as evidence of incurable "backwardness." Herzfeld's sensitive observations offer an intimately grounded way of understanding the effects of globalization and of one of its most visible offshoots, the heritage industry, on the lives of ordinary people in many parts of the world today.
This collection of original essays uses contemporary theory to examine Renaissance writers' reworking of Ovid's texts in order to analyze the strategies in the construction of the early modern discourses of gender, sexuality, and writing.
Naomi Scheman argues that the concerns of philosophy emerge not from the universal human condition but from conditions of privilege. Her books represents a powerful challenge to the notion that gender makes no difference in the construction of philosophical reasoning. At the same time, it criticizes the narrow focus of most feminist theorizing and calls for a more inclusive form of inquiry.
This book brings the ideas of French feminist Hélène Cixous to bear on a number of Early Modern English texts. The female characters of Mariam from Elizabeth Cary’s The Tragedy of Mariam, Lavinia from William Shakespeare’s Titus Andronicus as well as John Milton’s Eve in Paradise Lost and the poetic voice of Isabella Whitney are investigated through the application of Cixous’s theories of figurative decapitation and disgorgement. The author examines the creation of a unique discourse through the blending of what is stereotypically referred to as “female text” with “male discourse,” which results in what Cixous would call “bisexual discourse.”
Royer examines the changing ritual of execution across five centuries and discovers a shift both in practice and in the message that was sent to the population at large. She argues that what began as a show of retribution and revenge became a ceremonial portrayal of redemption as the political, religious and cultural landscape of England evolved.
The aim of this book is to restore to the story of Englishness the lively material interactions between words, bodies, plants, stones, metals, and soil, among other things, that would have characterized it for the early medieval English themselves. In particular, each chapter demonstrates how a productive collapse, or fusion, between place and history happens not only in the intellectual realm, in ideas, but is also a material concern, becoming enfleshed in encounters between early medieval bodies and a host of material entities. Through readings of texts in a wide variety of genres including hagiography, heroic poetry, and medical and historical works, the book argues that Englishness during this period is an embodied identity emergent at the frontier of material and textual interactions that serve productively to occlude history, religion, and geography. The early medieval English body thus results from the rich encounter between the lived environment—climate, soil, landscape features, plants—and the textual-discursive realm that both determines what that environment means and is also itself determined by the material constraints of everyday life.
This collection examines the production and recreation of religious ideas and images in different times and locations, achieving a comparative perspective on the transmission of religious influences. The essayists look at contact and conflict between insiders and outsiders, centres and margins, Jews and Christians, Slavs and Greeks, and ancient ritual behaviours and modern television broadcasting, as part of the negotiation of new identity positions, relationships, and accommodations. The book combines the disciplines of literary studies, cultural studies, art history, religion, history, and critical theory, making it an important resource to a range of scholars as well as non-specialists.
The Digby Play of Mary Magdalene is a rare, surviving example of the Middle English saint play. It provides a window on the deep embedding of biblical drama and performance in late medieval devotional practices, social aspiration and critique, and religious discourses. Fully annotated and extensively glossed, this edition adds to the METS Drama series an essential resource for the study of late medieval English religious drama.
Medieval Women's Writing is a major new contribution to our understanding of women's writing in England, 1100-1500. The most comprehensive account to date, it includes writings in Latin and French as well as English, and works for as well as by women. Marie de France, Clemence of Barking, Julian of Norwich, Margery Kempe, and the Paston women are discussed alongside the Old English lives of women saints, The Life of Christina of Markyate, the St Albans Psalter, and the legends of women saints by Osbern Bokenham. Medieval Women's Writing addresses these key questions: Who were the first women authors in the English canon? What do we mean by women's writing in the Middle Ages? What do we mean by authorship? How can studying medieval writing contribute to our understanding of women's literary history? Diane Watt argues that female patrons, audiences, readers, and even subjects contributed to the production of texts and their meanings, whether written by men or women. Only an understanding of textual production as collaborative enables us to grasp fully women's engagement with literary culture. This radical rethinking of early womens literary history has major implications for all scholars working on medieval literature, on ideas of authorship, and on women's writing in later periods. The book will become standard reading for all students of these debates.