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Narratives of Working Women in Early Modern London
Narratives of Working Women in Early Modern London: Gendering the City analyzes depictions of non-elite, working women in relation to specific London neighborhoods and sites in early modern drama and culture from primarily the late sixteenth to the mid-seventeenth century. The women laborers explored in this book, who worked on the fringes of masculinized commerce, elicited anxious discursive responses to their ubiquitous public presence. This book investigates these discursive strategies, or gendered place narratives, in dramatic works such as Ben Jonson’s Epicene, the unattributed play, The Fair Maid of the Exchange, Thomas Heywood’s The Wise-woman of Hogsdon, and Shackerly Marmion’s Holland’s Leaguer, as well as a variety of early modern pamphlets, poems, ballads, and prose works. By rhetorically associating working women with contested urban commercial neighborhoods and locales, these works attempt to minimize, control, or delegitimize the agency of laboring women. An examination of these narratives exposes underlying social and economic inequities in early modern London, which affected the conditions of women’s labor.
St Paul's Cathedral Precinct in Early Modern Literature and Culture
Prior to the 1666 fire of London, St Paul's Cathedral was an important central site for religious, commercial, and social life in London. The literature of the period - both fictional and historical - reveals a great interest in the space, and show it to be complex and contested, with multiple functions and uses beyond its status as a church. St Paul's Cathedral Precinct in Early Modern Literature and Culture: Spatial Practices animates the cathedral space by focusing on the every day functions of the building, deepening and sometimes complicating previous works on St Paul's. St Paul's Cathedral Precinct in Early Modern Literature and Culture is a study of London's cathedral, its immediate s...
The First Quarto of ‘The Merry Wives of Windsor'
The First Quarto of The Merry Wives of Windsor is the most fascinatingly problematic of all the early Shakespearean texts. Was it an authorial first draft? Or a cut-down version of the better-known Folio text designed for acting? Or a text put together from faulty actors' memories? Or a reported text assembled by notetakers from attendance at the theatre? None of these theories, though advanced and interrogated for the last 250 years, is totally convincing. The Introduction to this edition explores the various attempts to make sense of the short version of the play, demonstrating the ways in which preferences for one theory or another reflect the changes in editorial theory and fashion over the centuries. The modernised text and its commentary enable the reader to enter into this ongoing and endlessly intriguing debate.
Beard Fetish in Early Modern England
Focusing on representations of beards in English Renaissance culture, this study elucidates how fetish objects validate ideological systems of power by materializing complex value in multiple registers. Providing detailed discussions of not only bearded men but also beardless boys, bearded women, and half-bearded hermaphrodites, author Mark Albert Johnston argues that attending closely to early modern English culture's treatment of the beard as a fetish object ultimately exposes the contingency of categories like sex, gender, age, race, and sexuality. Johnston mines a diverse cross-section of contemporary discourses -- adult and children’s drama, narrative verse and prose, popular ballads,...
Imitation and Contamination of the Classics in the Comedies of Ben Jonson
This book focuses on the influence of classical authors on Ben Jonson’s dramaturgy, with particular emphasis on the Greek and Roman playwrights and satirists. It illuminates the interdependence of the aspects of Jonson’s creative personality by considering how classical performance elements, including the Aristophanic ‘Great Idea,’ chorus, Terentian/Plautine performative strategies, and ‘performative’ elements from literary satire, manifest themselves in the structuring and staging of his plays. This fascinating exploration contributes to the ‘performative turn’ in early modern studies by reframing Jonson’s classicism as essential to his dramaturgy as well as his erudition. The book is also a case study for how the early modern education system’s emphasis on imitative-contaminative practices prepared its students, many of whom became professional playwrights, for writing for a theatre that had a similar emphasis on recycling and recombining performative tropes and structures.
The Pursuit of Style in Early Modern Drama
The Pursuit of Style in Early Modern Drama examines how early modern plays celebrated the power of different styles of talk to create dynamic forms of public address. Across the sixteenth and seventeenth centuries, London expanded into an uncomfortably public city where everyone was a stranger to everyone else. The relentless anonymity of urban life spurred dreams of its opposite: of being a somebody rather than a nobody, of being the object of public attention rather than its subject. Drama gave life to this fantasy. Presented by strangers and to strangers, early modern plays codified different styles of talk as different forms of public sociability. Then, as now, to speak of style was to speak of a fantasy of public address. Offering fresh insight for scholars of literature and drama, Matthew Hunter reveals how this fantasy – which still holds us in its thrall – played out on the early modern stage.
Unseemly Pictures
This engaging book is the first full study of the satirical print in seventeenth-century England from the rule of James I to the Regicide. It considers graphic satire both as a particular pictorial category within the wider medium of print and as a vehicle for political agitation, criticism, and debate. Helen Pierce demonstrates that graphic satire formed an integral part of a wider culture of political propaganda and critique during this period, and she presents many witty and satirical prints in the context of such related media as manuscript verses, ballads, pamphlets, and plays. She also challenges the commonly held notion that a visual iconography of politics and satire in England originated during the 1640s, tracing the roots of this iconography back into native and European graphic cultures and traditions. Published for the Paul Mellon Centre for Studies in British Art
