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What sort of information did people in early modern England seek? In The Practical Renaissance Donna Seger explores the diffusion and reception of prescriptive publications over the 16th and 17th centuries. Published in an age of dynamic religious and political change, these texts demonstrate the universal desire for health and wealth, a fortified body and an orderly household. Showing how classical and continental information had been "Englished" over time, this book shows how new publications supplanted these traditional ideas with more empirical and authoritative knowledge. Published in an age of dynamic religious and political change, these texts, which include plague tracts, husbandry handbooks, printed recipe books, and navigation manuals, demonstrate the universal desire for health and wealth, a fortified body and an orderly household. Divided into three parts, the opening chapters explore factors which affected the diffusion of practical knowledge via prescriptive texts. Part two focuses on the interaction between new discoveries and traditional authority, and the final section considers debates in the 'medical marketplace', the term 'knowledge-mongerer' and the commodification of knowledge at this time. A thorough exploration into the popular and pragmatic expressions of the period, The Practical Renaissance offers a new window into the movement in which knowledge and information became power.
Examining books on different topics as these appeared during the Renaissance allows us to see developments in the use of graphics, the shift from orality to textuality, the expansion of knowledge, and rise of literacy, particularly among middle-class women readers, who were an important audience for many of these books. Changes in English Renaissance technical books provide a new, and as yet largely unexplored means of viewing the Renaissance and the dramatic changes that emerged during the 1475-1640 period, the first years of English printing.
The 'Sound of Shakespeare' reveals the surprising extent to which Shakespeare's art is informed by the various attitudes, beliefs, practices and discourses that pertained to sound and hearing in his culture. In this engaging study, Wes Folkerth develops listening as a critical practice, attending to the ways in which Shakespeare's plays express their author's awareness of early modern associations between sound and particular forms of ethical and aesthetic experience. Through readings of the acoustic representation of deep subjectivity in Richard III, of the 'public ear' in Antony and Cleopatra, the receptive ear in Coriolanus, the grotesque ear in A Midsummer Night's Dream, the 'greedy ear' in Othello, and the 'willing ear' in Measure for Measure, Folkerth demonstrates that by listening to Shakespeare himself listening, we derive a fuller understanding of why his works continue to resonate so strongly with is today.
Courtesans - women who achieve wealth, status, or power through sexual transgression - have played both a central and contradictory role in literature: they have been admired, celebrated, feared, and vilified. This study of the courtesan in Renaissance English drama focuses not only on the moral ambivalence of these women, but with special attention to Anglo-Italian relations, illuminates little known aspects of their lives. It traces the courtesan from a wry comedic character in the plays of Terence and Plautus to its literary exhaustion in the seventeenth-century dramatic works of Dekker, Marston, Webster, Middleton, Shirley and Brome. The author focuses especially on the presentation of the courtesan in the sixteenth century - dramas by Shakespeare, Marlowe, and Lyly view the courtesan as a symbol of social disease and decay, transforming classical conventions into English prejudices. Renaissance Anglo-Italian cultural and sexual relations are also investigated through comparisons of travel narratives, original source materials, and analysis of Aretino's representations of celebrated Italian courtesans. Amid these fascinating tales of aspiration, desire and despair lingers the intriguing question of who was the 'dark lady' of Shakespeare's sonnets.