By Michael Hattaway
During this revised and vastly extended variation of the spouse, eighty students come jointly to provide an unique and far-reaching overview of English Renaissance literature and culture.
A new version of the best-selling better half to English Renaissance Literature, revised and up to date, with 22 new essays and 19 new illustrations.
Contributions from a few eighty students together with Judith H. Anderson, Patrick Collinson, Alison Findlay, Germaine Greer, Malcolm Jones, Arthur Kinney, James Knowles, Arthur Marotti, Robert Miola and Greg Walker.
Unrivalled in scope and its exploration of strange literary and cultural territories the significant other bargains new readings of either ‘literary’ and ‘non-literary’ texts.
Features essays discussing fabric tradition, sectarian writing, the heritage of the physique, theatre either in and out of doors the playhouses, legislation, gardens, and ecology in early smooth England.
Orientates the start pupil, whereas delivering complex scholars and school with new instructions for his or her research.
All of the essays from the 1st variation, in addition to the thoughts for extra studying, were remodeled or up to date.
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Extra info for A New Companion to English Renaissance Literature and Culture
London: Weidenfeld & Nicolson. Curtius, Ernst Robert (1953). European Literature and the Latin Middle Ages, trans. W. R. Trask. London: Routledge & Kegan Paul. Erne, Lukas (2003). Shakespeare as Literary Dramatist. Cambridge: Cambridge University Press. Ferguson, Margaret W. (1996). ‘Renaissance concepts of the “woman writer” ’. In H. ), Women and Literature in Britain, 1500– 1700 (pp. 143–89). Cambridge: Cambridge University Press. Ferguson, Niall (2008). The Ascent of Money: A Financial History of the World.
Many essays investigate material and ideological environments as well as particular ‘literary’ texts. Introduction 9 This Companion acknowledges lines of cultural force, surveys some of the fault-lines generated by seismic movements in fiscal policy, religion, and politics, but does not treat of ‘culture’ as something analogous to a physical substance with consistent and enduring properties. No historicising programme is followed, nor are crisis and contestation privileged over consensualism. Cultural generalisations in the period are likely to be invalidated by the way in which at this time, far more than now, that imagined community of ‘Britain’ was possessed of a plurality of discrete cultures, created by regional and political difference, rank, religion, gender, or any combination of these (see Spufford 1974; Trill 1996; and Underdown 1985).
The word ‘Renaissance’ is not recorded in the Oxford English Dictionary until the 1840s, the age of John Ruskin. Any idea of a cultural ‘revolution’ is certainly misleading: literary and visual artefacts of the period record patterns of evolution from medieval antecedents that are as least as important as their debts to new models of representation and orientation emerging from Italy and later from France (see Chapter 58, Love Poetry; Chapter 43, Continuities between ‘Medieval’ and ‘Early Modern’ Drama).
A New Companion to English Renaissance Literature and Culture by Michael Hattaway