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'The Apish Art': Taste in Early Modern England
‘THE APISH ART’: TASTE IN EARLY MODERN ENGLAND ELIZABETH LOUISE SWANN PHD THESIS UNIVERSITY OF YORK ENGLISH AND RELATED LITERATURE JULY 2013 Abstract The recent burgeoning of sensory history has produced much valuable work. The sense of taste, however, remains neglected. Focusing on the early modern period, my thesis remedies this deficit. I propose that the eighteenth-century association of ‘taste’ with aesthetics constitutes a restriction, not an expansion, of its scope. Previously, taste’s epistemological jurisdiction was much wider: the word was frequently used to designate trial and testing, experiential knowledge, and mental judgement. Addressing sources ranging across manuscript commonplace books, drama, anatomical textbooks, devotional poetry, and ecclesiastical polemic, I interrogate the relation between taste as a mode of knowing, and contemporary experiences of the physical sense, arguing that the two are inextricable in this period. I focus in particular on four main areas of enquiry: early uses of ‘taste’ as a term for literary discernment; taste’s utility in the production of natural philosophical data and its rhetorical efficacy in the valorisation of experimental methodologies; taste’s role in the experience and articulation of religious faith; and a pervasive contemporary association between sweetness and erotic experience. Poised between acclaim and infamy, the sacred and the profane, taste in the seventeenth century is, as a contemporary iconographical print representing ‘Gustus’ expresses it, an ‘Apish Art’. My thesis illuminates the pivotal role which this ambivalent sense played in the articulation and negotiation of early modern obsessions including the nature and value of empirical knowledge, the attainment of grace, and the moral status of erotic pleasure, attesting in the process to a very real contiguity between different ways of knowing – experimental, empirical, textual, and rational – in the period. -
Egan, Gabriel. 2004E. 'Pericles and the Textuality of Theatre'
Egan, Gabriel. 2004e. 'Pericles and the Textuality of Theatre': A Paper Delivered at the Conference 'From Stage to Print in Early Modern England' at the Huntington Library, San Marino CA, USA, 19-20 March "Pericles" and the textuality of theatre" by Gabriel Egan The subtitle of our meeting, 'From Stage to Print in Early Modern England, posits a movement in one direction, from performance to printed book. This seems reasonable since, whereas modern actors usually start with a printed text of some form, we are used to the idea that early modern actors started with manuscripts and that printing followed performance. In fact, the capacity of a printed play to originate fresh performances was something that the title-pages and the preliminary matter of the first play printings in the early sixteenth century made much of. Often the printings helped would-be performers by listing the parts to be assigned, indicating which could be taken by a single actor, and even how to cut the text for a desired performance duration: . yf ye hole matter be playd [this interlude] wyl conteyne the space of an hour and a halfe but yf ye lyst ye may leue out muche of the sad mater as the messengers p<ar>te and some of the naturys parte and some of experyens p<ar>te & yet the matter wyl depend conuenytently and than it wyll not be paste thre quarters of an hour of length (Rastell 1520?, A1r) The earliest extant printed play in English is Henry Medwall's Fulgens and Lucrece (Medwall 1512-16) but the tradition really begins with the printing of the anonymous Summoning of Every Man (Anonymous c.1515) that W. -
Sidney, Shakespeare, and the Elizabethans in Caroline England
Textual Ghosts: Sidney, Shakespeare, and the Elizabethans in Caroline England Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Rachel Ellen Clark, M.A. English Graduate Program The Ohio State University 2011 Dissertation Committee: Richard Dutton, Advisor Christopher Highley Alan Farmer Copyright by Rachel Ellen Clark 2011 Abstract This dissertation argues that during the reign of Charles I (1625-42), a powerful and long-lasting nationalist discourse emerged that embodied a conflicted nostalgia and located a primary source of English national identity in the Elizabethan era, rooted in the works of William Shakespeare, Sir Philip Sidney, John Lyly, and Ben Jonson. This Elizabethanism attempted to reconcile increasingly hostile conflicts between Catholics and Protestants, court and country, and elite and commoners. Remarkably, as I show by examining several Caroline texts in which Elizabethan ghosts appear, Caroline authors often resurrect long-dead Elizabethan figures to articulate not only Puritan views but also Arminian and Catholic ones. This tendency to complicate associations between the Elizabethan era and militant Protestantism also appears in Caroline plays by Thomas Heywood, Philip Massinger, and William Sampson that figure Queen Elizabeth as both ideally Protestant and dangerously ambiguous. Furthermore, Caroline Elizabethanism included reprintings and adaptations of Elizabethan literature that reshape the ideological significance of the Elizabethan era. The 1630s quarto editions of Shakespeare’s Elizabethan comedies The Merry Wives of Windsor, The Taming of the Shrew, and Love’s Labour’s Lost represent the Elizabethan era as the source of a native English wit that bridges social divides and negotiates the ii roles of powerful women (a renewed concern as Queen Henrietta Maria became more conspicuous at court). -
The Renegado, Or the Gentleman of Venice
A Digital Anthology of Early Modern English Drama emed.folger.edu Discover over four hundred early modern English plays that were professionally performed in London between 1576 and 1642. Browse plays written by Shakespeare’s contemporaries; explore the repertoires of London’s professional companies; and download plays for reading and research. This documentary edition has been edited to provide an accurate and transparent transcription of a single copy of the earliest surviving print edition of this play. Further material, including editorial policy and XML files of the play, is available on the EMED website. EMED texts are edited and encoded by Meaghan Brown, Michael Poston, and Elizabeth Williamson, and build on work done by the EEBO-TCP and the Shakespeare His Contemporaries project. This project is funded by a Humanities Collections and Reference Resources grant from the NEH’s Division of Preservation and Access. Plays distributed under a Creative Commons Attribution-ShareAlike 4.0 International License. img: 1a ismigg: :[ N1/bA] sig: A2r ln 0001 THE ln 0002 RENEGADO, ln 0003 A TRAGICOMEDY. ln 0004 As it hath been often acted by the ln 0005 Queen’s Majesty’s servants, at ln 0006 the private Playhouse in ln 0007 Drury Lane. ln 0008 By PHILIP MASSINGER. ln 0009 LONDON, ln 0010 Printed by A. M. for John Waterson, ln 0011 and are to be sold at the Crown in ln 0012 Paul’s Churchyard. 1630. img: 2a sig: A2v ln 0001 Dramatis Personae. The Actors’ names. ln 0002 ASAMBEG, Viceroy of Tunis. John Blanye. ln 0003 MUSTAPHA, Bashaw of Aleppo. -
|||GET||| Ben Jonson 1St Edition
BEN JONSON 1ST EDITION DOWNLOAD FREE John Palmer | 9781315302188 | | | | | Ben Jonson folios The playbook itself is a mixture of halfsheets folded and gathered into quarto format, supplemented by a handful of full sheets also gathered in quarto and used for the final quires. Robert Allott contracted John Benson to print the first three plays of an intended second Ben Jonson 1st edition volume of Jonson's collected works, including Bartholomew Fair never registered ; The Staple of News entered to John Waterson 14 AprilArber 4. Views Read Edit View history. He reinstated the coda in F1. Occasional mispagination, as issued, text complete. See Lockwood, Shipping and insurance charges are additional. Gants and Tom Lockwood When Ben Jonson first emerged as a playwright at the end of Elizabeth's reign, the English printing and bookselling trade that would preserve his texts for posterity was still a relatively small industry. Markings on first page and title page. Each volume in the series, initially under the direction of Willy Bang and later Henry De Vocht, sought to explore how compositors and correctors shaped the work, and included extensive analyses of the press variants between individual copies of a playbook as well as Ben Jonson 1st edition variants between editions. More information about this seller Contact this seller 1. Seemingly unhindered by concerns over time or space or materials, the Oxford editors included along with the texts a Jonson biography summing up all that was known of the poet and playwright at the time, a first-rate set of literary annotations and glosses, invaluable commentary on all the plays, and other essential secondary resources such as a stage history of the plays, Jonsonian allusions, and a reconstruction of Jonson's personal library. -
Rita Banerjee the Ocean and Its Traffique: Miscegenation And
1 Rita Banerjee The Ocean and its Traffique: Miscegenation and Conversion in The Island Princess and The Renegado In the very first volume of Purchas His Pilgrimes, Samuel Purchas showers encomiums on the sea and the art of navigating it. The most important way the ‘multitudinous seas’ served humankind was by uniting it, through trade: “Uniter by Traffique all Nations,” providing an “open field for Merchandize in Peace.”1 It was international trade that connected Jacobean England to the East. Purchas echoes the sentiments expressed in Elizabeth I’s letter to six kings in the Indies which she sent with the East India Company in 1601: That one Countrie should have need of another, and out of the abundance of the fruit which some region enjoyeth the necessities of another should be supplied: By which means men of several and far remote countries have commerce and traffic one with another, and by their interchange of commodities are linked together in amitie and friendship.2 Likewise, the sea enables the spread of the message of Christianity to all lands. Purchas hopes that “as there is one Lord, one Faith, one Baptisme, one Body, one spirit, one Inheritance, one God and Father, so there may thus be one Church truly Catholike, one Pastor and one Sheepfold? And this also wee hope shall one day be the true Ophirian Navigation, when Ophir shall come into Jerusalem, as Jerusalem then went unto Ophir.”3 Conversion was closely related to marriage between Christian and non-Christian partners, and ‘connubium’ often facilitated ‘commercium.’4 While Pocahontas’s much- publicized case in the New World provided an example to the East-Indian ventures, conversion and marriage, like trade, acquired its own distinctive character in the East. -
Shakespeare and Hospitality
Shakespeare and Hospitality This volume focuses on hospitality as a theoretically and historically cru- cial phenomenon in Shakespeare’s work with ramifications for contempo- rary thought and practice. Drawing a multifaceted picture of Shakespeare’s numerous scenes of hospitality—with their depictions of greeting, feeding, entertaining, and sheltering—the collection demonstrates how hospital- ity provides a compelling frame for the core ethical, political, theological, and ecological questions of Shakespeare’s time and our own. By reading Shakespeare’s plays in conjunction with contemporary theory as well as early modern texts and objects—including almanacs, recipe books, hus- bandry manuals, and religious tracts—this book reimagines Shakespeare’s playworld as one charged with the risks of hosting (rape and seduction, war and betrayal, enchantment and disenchantment) and the limits of gen- erosity (how much can or should one give the guest, with what attitude or comportment, and under what circumstances?). This substantial volume maps the terrain of Shakespearean hospitality in its rich complexity, offering key historical, rhetorical, and phenomenological approaches to this diverse subject. David B. Goldstein is Associate Professor of English at York University, Canada. Julia Reinhard Lupton is Professor of English and Comparative Literature at the University of California, Irvine. Routledge Studies in Shakespeare 1 Shakespeare and Philosophy 10 Embodied Cognition and Stanley Stewart Shakespeare’s Theatre The Early Modern 2 Re-playing Shakespeare in Asia Body-Mind Edited by Poonam Trivedi and Edited by Laurie Johnson, Minami Ryuta John Sutton, and Evelyn Tribble 3 Crossing Gender in Shakespeare Feminist Psychoanalysis and the 11 Mary Wroth and Difference Within Shakespeare James W. -
UC Santa Barbara Electronic Theses and Dissertations
UC Santa Barbara UC Santa Barbara Electronic Theses and Dissertations Title Staging Pain in Late Medieval and Early Modern Drama Permalink https://escholarship.org/uc/item/5n09p411 Author Zusky, Catherine Clark Publication Date 2015 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Santa Barbara Staging Pain in Late Medieval and Early Modern Drama A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in English by Catherine Clark Zusky Committee in charge: Professor Patricia Fumerton, Chair Professor Ken Hiltner Professor James Kearney Professor Michael O’Connell December 2015 The dissertation of Catherine Clark Zusky is approved. ____________________________________________ Ken Hiltner ____________________________________________ James Kearney ____________________________________________ Michael O’Connell ____________________________________________ Patricia Fumerton, Committee Chair December 2015 ACKNOWLEDGEMENTS This project, which has taken me the better part of ten years, has been an absolute pleasure to construct, but it is an even greater joy to complete it. I would first like to thank my committee chair, Paddy Fumerton, for her incredible enthusiasm and encouragement. Paddy, thank you for believing that I could finish this project successfully. I am so honored to have been your student; you have been an incredible mentor. I would like to thank the other three members of my committee, Ken Hiltner, Jim Kearney, and Michael O’Connell, all of whom stuck with me even after my five year hiatus. Thank you to my parents, Margaret and Paul Zusky, whose pride in my work and support of my dreams exceed all reason. To my unbelievably wonderful husband, Eric Hogenson, I appreciate the genuine love and admiration that you bestow despite the fact that your interests and passions are so different than mine. -
Theatres, 1600–1625 29 3 ‘Private’ and ‘Public’ Indoor Theatres, 1625–1640 48 Epilogue: Privacy and Drama, 1640–1660 66
Early Modern Literature in History General Editors: Cedric C. Brown, Emeritus Professor, University of Reading; Andrew Hadfield, Professor of English, University of Sussex, Brighton International Advisory Board: Sharon Achinstein, University of Oxford; Jean Howard, Columbia University; John Kerrigan, University of Cambridge; Katie Larson, University of Toronto; Richard McCoy, CUNY; Michelle O’Callaghan, University of Reading; Cathy Shrank, University of Sheffield; Adam Smyth, University of London; Steven Zwicker, Washington University, St Louis. Within the period 1520–1740 this series discusses many kinds of writing, both within and outside the established canon. The volumes may employ different theoretical perspectives, but they share a historical awareness and an interest in seeing their texts in lively negotiation with their own and successive cultures. Titles include: John M. Adrian LOCAL NEGOTIATIONS OF ENGLISH NATIONHOOD, 1570–1680 Robyn Adams and Rosanna Cox DIPLOMACY AND EARLY MODERN CULTURE Jocelyn Catty WRITING RAPE, WRITING WOMEN IN EARLY MODERN ENGLAND Unbridled Speech Bruce Danner EDMUND SPENSER’S WAR ON LORD BURGHLEY James Daybell and Peter Hinds (editors) MATERIAL READINGS OF EARLY MODERN CULTURE Texts and Social Practices, 1580–1730 James Daybell THE MATERIAL LETTER IN EARLY MODERN ENGLAND Manuscript Letters and the Culture and Practices of Letter-Writing, 1512–1635 Tania Demetriou and Rowan Tomlinson (editors) THE CULTURE OF TRANSLATION IN EARLY MODERN ENGLAND AND FRANCE, 1500–1660 Maria Franziska Fahey METAPHOR AND SHAKESPEAREAN -
Shakespeare's Stationers: Studies in Cultural Biography, Ed
Marta Straznicky, ed., Shakespeare’s Stationers: Studies in Cultural Bibliography (Philadelphia: University of Pennsylvania Press, 2013). 384pp. ISBN 978 0 8122 4454 0. Tom Rooney Central European University [email protected] In Renaissance Drama and the Politics of Publication (2004), Zachary Lesser suggests that 21st-century readers should consider how 16th- and 17th-century stationers read the plays they issued, and ‘that thinking of plays as publishers thought of them, as commodities, can change the ways in which we read these plays themselves’ (p. 4). He also argues that ‘the plays of Shakespeare, Marlowe, Beaumont and Fletcher, and their contemporaries will in fact take on new meanings if we pay attention to the people who published them’ (p. 10). Lesser’s method is to examine the plays a particular stationer issued within the context of that stationer’s whole career; as a result he sheds new light on familiar titles such as Othello, The Jew of Malta and The Knight of the Burning Pestle. Such an analysis, he points out, is ‘not merely sociological or historical, but also literary critical’ (p. 17). Lesser is one of nine contributors to Shakespeare’s Stationers: Studies in Cultural Bibliography, a fine new collection of sociological-historical-literary critical essays on some of the printers, publishers and booksellers involved in the publication of Shakespeare’s plays and poems between 1593 and 1640. In her introductory essay editor Marta Straznicky, like Lesser before her, makes the case that many stationers in early modern London need to be understood not only as men working in a trade but as readers of the texts they ushered into print. -
Article Reference
Article [Review of:] Shakespeare's Stationers: Studies in Cultural Bibliography / Edited by Marta Straznicky. - Philadelphia: University of Pennsylvania Press, 2013 ERNE, Lukas Christian Reference ERNE, Lukas Christian. [Review of:] Shakespeare's Stationers: Studies in Cultural Bibliography / Edited by Marta Straznicky. - Philadelphia: University of Pennsylvania Press, 2013. Modern Philology, 2014, vol. 112, p. pp.E175-E178 Available at: http://archive-ouverte.unige.ch/unige:73178 Disclaimer: layout of this document may differ from the published version. 1 / 1 BOOK REVIEW Shakespeare’s Stationers: Studies in Cultural Bibliography. Edited by Marta Straznicky. Philadelphia: University of Pennsylvania Press, 2013. Pp. viiiþ374. Seven years after her well-conceived collection of essays, The Book of the Play: Playwrights, Stationers, and Readers in Early Modern England, Marta Straznicky has assembled another series of densely argued and documented contribu- tions by leading scholars and provided an editorial frame that makes them convincingly cohere. Her collection ‘‘explores how the trade in books af- fected the interpretation of Shakespeare by early modern printers, publish- ers, and booksellers and how their interpretations in turn shaped Shake- speare into the ‘great Variety’ of print commodities he would become in his first fifty years as published author’’ (2). In addition to a compelling intro- duction, Straznicky contributes two appendices that usefully complement the essays: a chronological table of Shakespeare publications to 1640 -
Philip Massinger
INSET FORMS OF ART IN THE PLAYS OF PHILIP MASSINGER Joame Marie Rochester A thesis submitted in confonnity with the requirements for the degree of Doctor of Philosophy Graduate Department of English University of Toronto O Copyright by Joanne Marie Rochester 2000 National Library Bibliothèque nationale du Canada Acquisitions and Acquisitions et Bibliographi Services services bibliographiques 395 Wellington Street 395. rue Wdlingîor, Ottawa ON K1AW OnawaON K1AW Canada canada The author has granted a non- L'auteur a accordé une licence non exclusive licence aiiowuig the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or sel1 reproduire, prêter, distribuer ou copies of this thesis in microfonn, vendre des copies de cette thèse sous paper or electronic formats. la forme de rnicrofiche/film, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts &om it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. INSET FORMS OF ART IN THE PLAYS OF PHILlP MASSDJGER Jo~M~Marie Rochester PhD 2000 Graduate Department of English, University of Toronto ABSTRACT This thesis examines the use of metatheatrical inset pieces in the work of Philip Massinger, the dominant professional playwright of the London stage in the reign of Charles the First ( 1625- 1642). Although al1 Renaissance drama contains metatheatrical insets, the Caroline period is particularly nch in these devices.