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This collection of new essays about the earl of Essex, one of the most important figures of the Elizabethan court, resituates his life and career within the richly diverse contours of his cultural and political milieu. It identifies the ways in which his biography has been variously interpreted both during his own lifetime and since his death in 1601. Collectively, the essays examine a wealth of diverse visual and textual manifestations of Essex: poems, portraits, films; texts produced by Essex himself, including private letters, prose tracts, poems and entertainments; and the transmission and circulation of these as a means of disseminating his political views. As well as prising open long-held assumptions about the earl’s life, the authors provide a diachronic approach to the earl’s career, identifying crucial events such as the Irish campaign and the uprising, and re-evaluating their significance and critical reception. Collectively, the essays illuminate the reach and significance of the many roles played by the earl and the impact of his brief, dazzling life on his contemporaries and on those who came after, making this the first volume to offer a comprehensive critical overview of the Earl's life and influence.
This richly illustrated and interdisciplinary study examines the commercial mediation of royalism through print and visual culture from the second half of the seventeenth century. The rapidly growing marketplace of books, periodicals, pictures, and material objects brought the spectacle of monarchy to a wide audience, saturating spaces of daily life in later Stuart and early Hanoverian England. Images of the royal family, including portrait engravings, graphic satires, illustrations, medals and miniatures, urban signs, playing cards, and coronation ceramics were fundamental components of the political landscape and the emergent public sphere. Koscak considers the affective subjectivities made possible by loyalist commodities; how texts and images responded to anxieties about representation at moments of political uncertainty; and how individuals decorated, displayed, and interacted with pictures of rulers. Despite the fractious nature of party politics and the appropriation of royal representations for partisan and commercial ends, print media, images, and objects materialized emotional bonds between sovereigns and subjects as the basis of allegiance and obedience. They were read and re-read, collected and exchanged, kept in pockets and pasted to walls, and looked upon as repositories of personal memory, national history, and political reverence.
In John Banks’s Female Tragic Heroes, Paula de Pando offers the first monograph on Restoration playwright John Banks. De Pando analyses Banks’s civic model of she-tragedy in terms of its successful adaptation of early modern literary traditions and its engagement with contemporary political and cultural debates. Using Tudor queens as tragic heroes and specifically addressing female audiences, patrons and critics, Banks made women rather than men the subject of tragedy, revolutionising drama and influencing depictions of gender, politics, and history in the long eighteenth century.
A magisterial narrative account of the creation and consumption of all forms of ‘culture’ across the European continent over the last two hundred years.