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A comparative analysis, this study examines the interactions of early modern male and female writers within the context of literary circles. In particular, Campbell examines how the querelle des femmes as a discursive rhetorical tradition of praise and blame influenced perceptions of well-educated women who were part of literary circles in Italy, France, and England from approximately 1530 to 1650. To gain a better sense of how querelle language and issues were used for or against learned women writers, Campbell aligns selected works by female and male writers, pairing them to analyze how the woman writer responds, deflects, or rewrites the male writer's ideological script on women. She focuses first on the courtesan Tullia d'Aragona's response in her Dialogo della infinità di amore to Sperone Speroni's Dialogo di amore, and contrasts the actress/writer Isabella Andreini's pastoral La Mirtilla with Torquato Tasso's Aminta. She then discusses the influence of Italian actresses upon the manners and mores of French women of the Valois court, especially focusing on performative aspects of French women's participation in court and salon rituals. To that end, she examines the influential salon of the aristocratic, learned Claude-Catherine de Clermont, duchesse de Retz, who encouraged the writing of positive querelle rhetoric in the form of Petrarchan, Neoplatonic encomiastic poetry to buttress her reputation and that of her female friends. Next, Campbell reads Louise Lab D‘t de Folie et d'Amour against Pontus de Tyard's Solitaire premier to illustrate the tensions between a traditional and nontraditional querelle stance. She then discusses Continental influence upon English writers in the context of the Sidney circle in England. Moving to the closet dramas of the Sidney circle, Campbell examines the solidarity these writers demonstrated with nontraditional stances on querelle issues, and, finally, she explores how three generations of English literary circles con
Over the past three decades scholars have transformed the study of women and gender in early modern Europe. This Ashgate Research Companion presents an authoritative review of the current research on women and gender in early modern Europe from a multi-disciplinary perspective. The authors examine women’s lives, ideologies of gender, and the differences between ideology and reality through the recent research across many disciplines, including history, literary studies, art history, musicology, history of science and medicine, and religious studies. The book is intended as a resource for scholars and students of Europe in the early modern period, for those who are just beginning to explore these issues and this time period, as well as for scholars learning about aspects of the field in which they are not yet an expert. The companion offers not only a comprehensive examination of the current research on women in early modern Europe, but will act as a spark for new research in the field.
This new edition of Merry E. Wiesner-Hanks's prize-winning survey features significant changes to reflect the newest scholarship in every chapter.
Proposing a fresh approach to scholarship on the topic, this volume explores the cultural meanings, especially the gendered meanings, of material associated with oral traditions. The collection is divided into three sections. Part One investigates the evocations of the 'old nurse' as storyteller so prominent in early modern fictions. The essays in Part Two investigate women's fashioning of oral traditions to serve their own purposes. The third section disturbs the exclusive associations between the feminine and oral traditions to discover implications for masculinity, as well. Contributors explore the plays of Shakespeare and writings of Spenser, Sidney, Wroth and the Cavendishes, as well as works by less well known or even unknown authors. Framed by an introduction by Mary Ellen Lamb and an afterword by Pamela Allen Brown, these essays make several important interventions in scholarship in the field. They demonstrate the continuing cultural importance of an oral tradition of tales and ballads, even if sometimes circulated in manuscript and printed forms. Rather than in its mode of transmission, contributors posit that the continuing significance of this oral tradition lies instead in the mode of consumption (the immediacy of the interaction of the participants). Oral Traditions and Gender in Early Modern Literary Texts confirms the power of oral traditions to shape and also to unsettle concepts of the masculine as well as of the feminine. This collection usefully complicates any easy assumptions about associations of oral traditions with gender.
The first full length treatment of how men of different professions, social ranks and ages are empowered by their emotional expressiveness in early modern English literary works, this study examines the profound impact of the cultural shift in the English aristocracy from feudal warriors to emotionally expressive courtiers or gentlemen on all kinds of men in early modern English literature. Jennifer Vaught bases her analysis on the epic, lyric, and romance as well as on drama, pastoral writings and biography, by Shakespeare, Spenser, Sidney, Marlowe, Jonson and Garrick among other writers. Offering new readings of these works, she traces the gradual emergence of men of feeling during the sixteenth and seventeenth centuries, to the blossoming of this literary version of manhood during the eighteenth century.
Piechocki calls for an examination of the idea of Europe as a geographical concept, tracing its development in the 15th and 16th centuries. What is “Europe,” and when did it come to be? In the Renaissance, the term “Europe” circulated widely. But as Katharina N. Piechocki argues in this compelling book, the continent itself was only in the making in the fifteenth and sixteenth centuries. Cartographic Humanism sheds new light on how humanists negotiated and defined Europe’s boundaries at a momentous shift in the continent’s formation: when a new imagining of Europe was driven by the rise of cartography. As Piechocki shows, this tool of geography, philosophy, and philology was used not only to represent but, more importantly, also to shape and promote an image of Europe quite unparalleled in previous centuries. Engaging with poets, historians, and mapmakers, Piechocki resists an easy categorization of the continent, scrutinizing Europe as an unexamined category that demands a much more careful and nuanced investigation than scholars of early modernity have hitherto undertaken. Unprecedented in its geographic scope, Cartographic Humanism is the first book to chart new itineraries across Europe as it brings France, Germany, Italy, Poland, and Portugal into a lively, interdisciplinary dialogue.
Offering a comparative and international approach to early modern women's writing, the essays gathered here focus on multiple literatures across Italy, France, England, and the Low Countries. Individual essays investigate women in diverse social classes and life stages, ranging from siblings and mothers to nuns to celebrated writers. The collection overall is invested in crossing geographic, linguistic, political, and religious borders and in exploring familial, political, and religious communities.
Dissenting Daughters reveals that devout women made vital contributions to the spread and practice of the Reformed faith in the Dutch Republic in the sixteenth and seventeenth centuries. The six women at the heart of this study: Cornelia Teellinck, Susanna Teellinck, Anna Maria van Schurman, Sara Nevius, Cornelia Leydekker, and Henrica van Hoolwerff, were influential members of networks known for supporting a religious revival known as the Further Reformation. These women earned the support and appreciation of their religious leaders, friends, and relatives by seizing the tools offered by domestic religious study and worship and forming alliances with prominent ministers including Willem Teellinck, Gijsbertus Voetius, Wilhelmus à Brakel, and Melchior Leydekker as well as with other well-connected, well-educated women. They deployed their talents to bolster the Dutch Reformed Church from 1572, the first year its members could publicly organize, to the death of this book's last surviving subject Cornelia Leydekker in 1725. In return for their adoption of religious teachings that constricted them in many ways, they gained the authority to minister to their family members, their female friends, and a broader audience of men and women during domestic worship as well as through their written works. These dissenting daughters vehemently defended their faith - against Spanish and French Catholics, as well as their neighbors, politicians, and ministers within the Dutch Republic whom they judged to be lax and overly tolerant of sinful behavior, finding ways to flourish among the strictest orthodox believers within the Dutch Reformed Church.
Internationally known during her lifetime, Laura Battiferra (1523-89) was a gifted and prolific poet in Renaissance Florence. The author of nearly 400 sonnets remarkable for their subtlety, intricate narrative structure, and learned allusions, Battiferra, who was married to the prominent sculptor and architect Bartolomeo Ammannati, traversed an elite literary and artistic network, circulating her verse in a complex and intellectually fecund exchange with some of the most illustrious figures in Italian history. In this bilingual anthology, Victoria Kirkham gathers Battiferra's most essential writing, including newly discovered poems, which provide modern readers with a valuable social chronicle of sixteenth-century Italy and the courtly culture of the Counter-Reformation.
The first book-length examination of Jewish women in Renaissance drama, this study explores fictional representations of the female Jew in academic, private and public stage performances during Queen Elizabeth I's reign; it links lesser-known dramatic adaptations of the biblical Rebecca, Deborah, and Esther with the Jewish daughters made famous by Christopher Marlowe and William Shakespeare on the popular stage. Drawing upon original research on early modern sermons and biblical commentaries, Michelle Ephraim here shows the cultural significance of biblical plays that have received scant critical attention and offers a new context with which to understand Shakespeare's and Marlowe's fascination with the Jewish daughter. Protestant playwrights often figured Elizabeth through Jewish women from the Hebrew scripture in order to legitimate her religious authenticity. Ephraim argues that through the figure of the Jewess, playwrights not only stake a claim to the Old Testament but call attention to the process of reading and interpreting the Jewish bible; their typological interpretations challenge and appropriate Catholic and Jewish exegeses. The plays convey the Reformists' desire for propriety over the Hebrew scripture as a "prisca veritas," the pure word of God as opposed to that of corrupt Church authority. Yet these literary representations of the Jewess, which draw from multiple and conflicting exegetical traditions, also demonstrate the elusive quality of the Hebrew text. This book establishes the relationship between Elizabeth and dramatic representations of the Jewish woman: to "play" the Jewess is to engage in an interpretive "play" that both celebrates and interrogates the religious ideology of Elizabeth's emerging Protestant nation. Ephraim approaches the relationship between scripture and drama from a historicist perspective, complicating our understanding of the specific intersections between the Jewess in Elizabethan drama, biblical commentaries, political discourse, and popular culture. This study expands the growing field of Jewish studies in the Renaissance and contributes also to critical work on Elizabeth herself, whose influence on literary texts many scholars have established.