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A single significant Jacobean country house, Theobalds, provides the focus for this study. James Sutton here delves into the cultural and political aspirations of the two men most closely associated with Theobalds: William Cecil, Lord Burghley (1520-1598), who constructed the building, and his second-born son and political scion, Robert, 1st Earl of Salisbury (1563-1612). Attending to the opulent materials and hegemonic spatial codes that enabled Theobalds' fabrication, this book also demonstrates the enormous costs - economic, political, social, but especially familial and personal - of building to envious show in the period. Neither celebrating nor castigating the Cecils' conspicuous consumption at their Hertfordshire estate, the author offers a balanced appraisal of the aesthetic strategies through which they promulgated a family narrative. The forms of display he emphasizes are those in which Theobalds was particularly strong: architecture, gardening, the decorative arts, and above all, the occasional drama. Through its detailed rhetorical analysis of one house and one family, this book provides a fresh view of the complex passage from Elizabethan to Jacobean style. poetics, Materializing Space at an Early Modern Prodigy House deepens our understanding of how early modern English men and women chose to be represented, both to themselves and to others.
This is the inside story of Elizabeth I's inner circle and the crucial human relationships which lay at the heart of her personal and political life. Using a wide range of original sources -- including private letters, portraits, verse, drama, and state papers -- Susan Doran provides a vivid and often dramatic account of political life in Elizabethan England and the queen at its centre, offering a deeper insight into Elizabeth's emotional and political conduct -- and challenging many of the popular myths that have grown up around her. It is a story replete with fascinating questions. What was the true nature of Elizabeth's relationship with her father, Henry VIII, especially after his execution of her mother? What was the influence of her step-mothers on Elizabeth's education and religious beliefs? How close was she really to her half-brother Edward VI -- and were relations with her half-sister Mary really as poisonous as is popularly assumed? And what of her relationship with her Stewart cousins, most famously with Mary Queen of Scots, executed on Elizabeth's orders in 1587, but also with Mary's son James VI of Scotland, later to succeed Elizabeth as her chosen successor? Elizabeth's relations with her family were crucial, but almost as crucial were her relations with her courtiers and her councillors (her 'men of business'). Here again, the story unravels a host of fascinating questions. Was the queen really sexually jealous of her maids of honour? What does her long and intimate relationship with the Earl of Leicester reveal about her character, personality, and attitude to marriage? What can the fall of Essex tell us about Elizabeth's political management in the final years of her reign? And what was the true nature of her personal and political relationship with influential and long-serving councillors such as the Cecils and Sir Francis Walsingham?
Exploring the idea of luxury in relation to a series of neighboring but distinct concepts including avarice, excess, licentiousness, indulgence, vitality, abundance, and waste, this study combines intellectual and cultural historical methods to trace discontinuities in luxury’s conceptual development in seventeenth-century England. The central argument is that, as ’luxury’ was gradually Englished in seventeenth-century culture, it developed political and aesthetic meanings that connect with eighteenth-century debates even as they oppose their so-called demoralizing thrust. Alison Scott closely examines the meanings of luxury in early modern English culture through literary and rhetorical uses of the idea. She argues that, while ’luxury’ could and often did denote merely ’lust’ or ’licentiousness’ as it tends to be glossed by modern editors of contemporary works, its cultural lexicon was in fact more complex and fluid than that at this time. Moreover, that fuller understanding of its plural and shifting meanings-as they are examined here-has implications for the current intellectual history of the idea in Western thought. The existing narrative of luxury’s conceptual development is one of progressive upward transformation, beginning with the rise of economic liberalism amidst eighteenth-century debates; it is one that assumes essential continuity between the medieval treatment of luxury as the sin of ’luxuria’ and early modern notions of the idea even as social practises of luxury explode in early seventeenth-century culture.
Our built environment inspires writers to reflect on the human experience, discover its history, or make it up. Buildings tell stories. Castles, country homes, churches, and monasteries are “documents” of the people who built them, owned them, lived and died in them, inherited and saved or destroyed them, and recorded their histories. Literature and Architecture in Early Modern England examines the relationship between sixteenth- and seventeenth-century architectural and literary works. By becoming more sensitive to the narrative functions of architecture, Anne M. Myers argues, we begin to understand how a range of writers viewed and made use of the material built environment that surrounded the production of early modern texts in England. Scholars have long found themselves in the position of excusing or explaining England’s failure to achieve the equivalent of the Italian Renaissance in the visual arts. Myers proposes that architecture inspired an unusual amount of historiographic and literary production, including poetry, drama, architectural treatises, and diaries. Works by William Camden, Henry Wotton, Ben Jonson, Andrew Marvell, George Herbert, Anne Clifford, and John Evelyn, when considered as a group, are texts that overturn the engrained critical notion that a Protestant fear of idolatry sentenced the visual arts and architecture in England to a state of suspicion and neglect.
Outlandish alchemist and magician, political intelligencer, apocalyptic prophet, and converser with angels, John Dee (1527–1609) was one of the most colorful and controversial figures of the Tudor world. In this fascinating book—the first full-length biography of Dee based on primary historical sources—Glyn Parry explores Dee's vast array of political, magical, and scientific writings and finds that they cast significant new light on policy struggles in the Elizabethan court, conservative attacks on magic, and Europe's religious wars. John Dee was more than just a fringe magus, Parry shows: he was a major figure of the Reformation and Renaissance.
Prompted by centuries of warfare, political oppression, natural disasters, and economic collapses, exile has had an enormous impact not only on individuals who have undergone transplantation from one culture to another but also on the host societies they have joined and those worlds they have left behind. Written by prominent literary critics, creative authors, and artists, the essays gathered within Exile in Global Literature and Culture: Homes Found and Lost meditate upon the painful journeys—geographic, spiritual, emotional, psychological—brought about due to exilic rupture, loss, and dislocation. Yet exile also fosters potential pleasures and rewards: to extend scholar Martin Tucker’s formulation, wherever the exile might land in flight, he bears with him the sweetness of survival, the triumph of transcendence, the luxury of liminality, and the invitation to innovate and invent in new lands. Indeed, exile embodies both blessing and curse, homes found and lost. Furthermore, this book adheres to (and tests) the premise that exile‘s deepest and innermost currents are manifested through writing and other artistic forms.
Ornamental Lakes traces the history of lakes in England, from their appearance in the early eighteenth century, through their development in the 1750s, and finally to their decline in the nineteenth century. Aside from the natural lakes in the Lake District, the bodies of water we see in England today are man-made, primarily intended to ornament the landscapes of the upper classes. Through detailed research, author Wendy Bishop argues that, contrary to accepted thinking, the development of lakes led to the dissolution of formal landscapes rather than following changes in landscape design. Providing a comprehensive overview of lakes in England, including data on who made these lakes, how, and when, it additionally covers fishponds, water gardens, cascades and reservoirs. Richly illustrated and accompanied by case studies across the region, this book offers new insights in landscape history for students, researchers and those interested in how landscapes evolve.
The fifth volume in this annotated collection of texts relating to the 'progresses' of Queen Elizabeth I around England provides 26 appendices, a detailed bibliography of primary and secondary sources, and the index to Volumes I to V.
More than any other English monarch before or since, Queen Elizabeth I used her annual progresses to shape her royal persona and to bolster her popularity and authority. During the spring and summer, accompanied by her court, Elizabeth toured southern England, the Midlands, and parts of the West Country, staying with private and civic hosts, and at the universities of Oxford and Cambridge. The progresses provided hosts with unique opportunities to impress and influence the Queen, and became occasions for magnificent and ingenious entertainments and pageants, drawing on the skills of architects, artists, and craftsmen, as well as dramatic performances, formal orations, poetic recitations, parades, masques, dances, and bear baiting. The Progresses, Pageants, and Entertainments of Queen Elizabeth I is an interdisciplinary essay collection, drawing together new and innovative work by experts in literary studies, history, theatre and performance studies, art history, and antiquarian studies. As such, it will make a unique and timely contribution to research on the culture and history of Elizabethan England. Chapters include examinations of some of the principal Elizabethan progress entertainments, including the coronation pageant Veritas temporis filia (1559), Kenilworth (1575), Norwich (1578), Cowdray (1591), Bisham (1592), and Harefield (1602), while other chapters consider the themes raised by these events, including the ritual of gift-giving; the conduct of government whilst on progress; the significance of the visual arts in the entertainments; regional identity and militarism; elite and learned women as hosts; the circulation and publication of entertainment and pageant texts; the afterlife of the Elizabethan progresses, including their reappropriation in Caroline England and the documenting of Elizabeth's reign by late eighteenth- and early nineteenth-century antiquarians such as John Nichols, who went on to compile the monumentalThe Progresses of Queen Elizabeth (1788-1823).
Jennifer C. Vaught illustrates how architectural rhetoric in Shakespeare and Spenser provides a bridge between the human body and mind and the nonhuman world of stone and timber. The recurring figure of the body as a besieged castle in Shakespeare’s drama and Spenser’s allegory reveals that their works are mutually based on medieval architectural allegories exemplified by the morality play The Castle of Perseverance. Intertextual and analogous connections between the generically hybrid works of Shakespeare and Spenser demonstrate how they conceived of individuals not in isolation from the physical environment but in profound relation to it. This book approaches the interlacing of identity and place in terms of ecocriticism, posthumanism, cognitive theory, and Cicero’s art of memory. Architectural Rhetoric in Shakespeare and Spenser examines figures of the permeable body as a fortified, yet vulnerable structure in Shakespeare’s comedies, histories, tragedies, romances, and Sonnets and in Spenser’s Faerie Queene and Complaints.