Abstract A modern user of a printed encyclopedia expects to find concise entries on a wide range of subjects organised alphabetically for ease of reference. In the fifteenth and sixteenth centuries a number of scholarly texts of a particularly long and wide‐ranging character were essentially ‘encyclopedized’ through the provision of compendious subject indexes, appearing before the start of the text in some printed editions, to facilitate reference use. Two such texts that enjoyed a particular spike in Italian printed editions in the decades either side of 1501 were Niccolo Perotti's Cornucopiae, and the Aristotelian (or rather pseudo‐Aristotelian) Problemata, which was sometimes packaged together with Problemata by Alexander of Aphrodisias and Plutarch. Working with 1501 ‘encyclopedized’ editions of both texts, this essay asks a simple question: what would a reader learn by looking up music‐related terms in the indexes?
{"title":"Looking up music in two ‘encyclopedias’ printed in 1501","authors":"Tim Shephard, Charlotte Hancock","doi":"10.1111/rest.12915","DOIUrl":"https://doi.org/10.1111/rest.12915","url":null,"abstract":"Abstract A modern user of a printed encyclopedia expects to find concise entries on a wide range of subjects organised alphabetically for ease of reference. In the fifteenth and sixteenth centuries a number of scholarly texts of a particularly long and wide‐ranging character were essentially ‘encyclopedized’ through the provision of compendious subject indexes, appearing before the start of the text in some printed editions, to facilitate reference use. Two such texts that enjoyed a particular spike in Italian printed editions in the decades either side of 1501 were Niccolo Perotti's Cornucopiae, and the Aristotelian (or rather pseudo‐Aristotelian) Problemata, which was sometimes packaged together with Problemata by Alexander of Aphrodisias and Plutarch. Working with 1501 ‘encyclopedized’ editions of both texts, this essay asks a simple question: what would a reader learn by looking up music‐related terms in the indexes?","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136034043","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This essay conducts a paleographic study of Egerton Manuscript 2614, more commonly known as the “diary” of Margaret Hoby. To date, all scholarly studies of this document have been based on one of two print editions of the text. Unfortunately, these editions regularly mistranscribe and misrepresent the early modern manuscript and reduce its palimpsestic complexity. This is the first systematic study of this manuscript as a manuscript and what this textual artefact with all of its scratches, blots, strikethroughs, rewrites, and unfamiliar layout can tell us about how and why Hoby wrote it, and how and why she spent considerable time returning to and amending it. I argue that by looking at never before considered manuscriptal evidence we can conclude that Margaret Hoby produced her manuscript via a multistep process of rereading and revision, and that by approaching her revisionary marks as a form of tattoo, that is, as a form of writing over the self, we can better understand these marks as evidence of an iterative early modern form of self‐making through self‐writing and rewriting.
{"title":"“[A]ltered that a litle which before I had written”: how Margaret Hoby wrote and rewrote her manuscript","authors":"Juan Pedro Lamata","doi":"10.1111/rest.12910","DOIUrl":"https://doi.org/10.1111/rest.12910","url":null,"abstract":"Abstract This essay conducts a paleographic study of Egerton Manuscript 2614, more commonly known as the “diary” of Margaret Hoby. To date, all scholarly studies of this document have been based on one of two print editions of the text. Unfortunately, these editions regularly mistranscribe and misrepresent the early modern manuscript and reduce its palimpsestic complexity. This is the first systematic study of this manuscript as a manuscript and what this textual artefact with all of its scratches, blots, strikethroughs, rewrites, and unfamiliar layout can tell us about how and why Hoby wrote it, and how and why she spent considerable time returning to and amending it. I argue that by looking at never before considered manuscriptal evidence we can conclude that Margaret Hoby produced her manuscript via a multistep process of rereading and revision, and that by approaching her revisionary marks as a form of tattoo, that is, as a form of writing over the self, we can better understand these marks as evidence of an iterative early modern form of self‐making through self‐writing and rewriting.","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136142103","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This article signs a light on the musical contents of a “book of births”, the Liber Nativitatum or Albubather , written by the Persian Astrologer Abu Bakr al‐Hassan ibn al‐Khasib in the ninth century, translated into Latin at the beginning of the thirteenth century, and published in Venice in 1501. “Books of births” served to show how an individual's fortune and personal traits could be ascertained from the position of the celestial bodies throughout the individual's gestation period. A significant portion of these traits pertain to loquacity, hearing, musical skill and the likelihood of a musical profession. Thanks to the connotations each celestial body bore – positive and negative – and the traits they are described as imparting, the Liber Nativitatum makes it possible to identify the skills and traits requisite for good musical performance, as well as those traits which might inhibit it.
本文对《出生书》(Liber Nativitatum or Albubather)的音乐内容进行了探讨。《出生书》由波斯占星家Abu Bakr al - Hassan ibn al - Khasib于9世纪撰写，13世纪初被翻译成拉丁语，1501年在威尼斯出版。“出生书”展示了一个人的命运和个人特征是如何从整个孕期的天体位置来确定的。这些特征中的很大一部分与口才、听力、音乐技能和从事音乐职业的可能性有关。由于每个天体所具有的内涵——积极的和消极的——以及它们被描述为传授的特征，《自然命理》使我们有可能识别出良好音乐表演所必需的技能和特征，以及那些可能抑制音乐表演的特征。
{"title":"Musicianship and the masteries of the stars: music and musicians in the <i>Liber Nativitatum</i>","authors":"Oliver Doyle","doi":"10.1111/rest.12912","DOIUrl":"https://doi.org/10.1111/rest.12912","url":null,"abstract":"Abstract This article signs a light on the musical contents of a “book of births”, the Liber Nativitatum or Albubather , written by the Persian Astrologer Abu Bakr al‐Hassan ibn al‐Khasib in the ninth century, translated into Latin at the beginning of the thirteenth century, and published in Venice in 1501. “Books of births” served to show how an individual's fortune and personal traits could be ascertained from the position of the celestial bodies throughout the individual's gestation period. A significant portion of these traits pertain to loquacity, hearing, musical skill and the likelihood of a musical profession. Thanks to the connotations each celestial body bore – positive and negative – and the traits they are described as imparting, the Liber Nativitatum makes it possible to identify the skills and traits requisite for good musical performance, as well as those traits which might inhibit it.","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135917990","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Tim Shephard, Laura Ștefănescu, Oliver Doyle, Ciara O'Flaherty
Abstract The essays included here present case studies prepared within the project ‘Sounding the Bookshelf 1501: Music in a Year of Italian Printed Books’, funded by the Leverhulme Trust and hosted at the University of Sheffield. The project asks a simple question: standing in a Venetian bookshop towards the end of the year 1501, what information about music might you encounter as you browse the new printed titles available for purchase? Very few of the books printed in Italy in 1501 were ‘about’ music, but almost all of them mention music in passing, and sometimes at length, whilst discussing something else. These kinds of casual, fragmentary comments on music were surely read by many more people than specialist music theory, the audience for which was probably quite small. To recover these comments, and characterise the contradictory and incoherent field of everyday musical knowledge they comprise, we are reading every book printed in Italy in 1501 cover‐to‐cover, excerpting every passage mentioning music, sound or hearing. The final product of our project—a co‐authored book, yet to be written—will present our findings in synoptic fashion. The essays presented here take a different approach, offering detailed case‐studies on particular books within our 1501 corpus.
{"title":"Reading for musical knowledge in early sixteenth‐century Italy: Introduction","authors":"Tim Shephard, Laura Ștefănescu, Oliver Doyle, Ciara O'Flaherty","doi":"10.1111/rest.12911","DOIUrl":"https://doi.org/10.1111/rest.12911","url":null,"abstract":"Abstract The essays included here present case studies prepared within the project ‘Sounding the Bookshelf 1501: Music in a Year of Italian Printed Books’, funded by the Leverhulme Trust and hosted at the University of Sheffield. The project asks a simple question: standing in a Venetian bookshop towards the end of the year 1501, what information about music might you encounter as you browse the new printed titles available for purchase? Very few of the books printed in Italy in 1501 were ‘about’ music, but almost all of them mention music in passing, and sometimes at length, whilst discussing something else. These kinds of casual, fragmentary comments on music were surely read by many more people than specialist music theory, the audience for which was probably quite small. To recover these comments, and characterise the contradictory and incoherent field of everyday musical knowledge they comprise, we are reading every book printed in Italy in 1501 cover‐to‐cover, excerpting every passage mentioning music, sound or hearing. The final product of our project—a co‐authored book, yet to be written—will present our findings in synoptic fashion. The essays presented here take a different approach, offering detailed case‐studies on particular books within our 1501 corpus.","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136063325","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract The article discusses Richard Brome's engagement with Italy and its cultural legacy in his corpus. Apparently, the playwright's interest in Italy does not seem particularly profound since his works offer several examples of well‐known and worn‐out cultural stereotypes. Nevertheless, at a closer look, the dramatist may be indisputably listed among the early modern English playwrights who were drawn to Italian culture, art and language. Brome's use of Italian settings and his references to Italy and its literary, cultural and theatrical tradition work as a vehicle for a form of political and moral ideology which reflects the concerns of his country in the 1620s and 1630s. As happened for many playwrights from the period, Italy became a screen for the projection of moral, political and social anxieties as well as a mirror to look at England from another perspective. The analysis of Brome's oeuvre offers a fresh and unexpected angle on an area dominated by Shakespearean criticism while re‐igniting the interest in a playwright who has been an understudied figure in the critical debate, despite his contribution to the development of the Anglo‐Italian discourse in the Caroline age.
{"title":"‘After the fashion of Italy’: Richard Brome and Italian culture","authors":"Cristina Paravano","doi":"10.1111/rest.12909","DOIUrl":"https://doi.org/10.1111/rest.12909","url":null,"abstract":"Abstract The article discusses Richard Brome's engagement with Italy and its cultural legacy in his corpus. Apparently, the playwright's interest in Italy does not seem particularly profound since his works offer several examples of well‐known and worn‐out cultural stereotypes. Nevertheless, at a closer look, the dramatist may be indisputably listed among the early modern English playwrights who were drawn to Italian culture, art and language. Brome's use of Italian settings and his references to Italy and its literary, cultural and theatrical tradition work as a vehicle for a form of political and moral ideology which reflects the concerns of his country in the 1620s and 1630s. As happened for many playwrights from the period, Italy became a screen for the projection of moral, political and social anxieties as well as a mirror to look at England from another perspective. The analysis of Brome's oeuvre offers a fresh and unexpected angle on an area dominated by Shakespearean criticism while re‐igniting the interest in a playwright who has been an understudied figure in the critical debate, despite his contribution to the development of the Anglo‐Italian discourse in the Caroline age.","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135899863","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This contribution examines the changes in the type and sequence of paratexts at the beginning of Leonardo Fioravanti’s Capricci medicinali from the first edition (1561) to the 1680 edition. The aim of this paper is to study the building of a selfimage and promotion of Fioravanti and his medicine via the paratextual letters. This was the first and most published of Fioravanti’s works which spread in Venice, one of the most vital book markets of sixteenth‐century Europe, and attracted the attention of publishers and public. After a description of the different paratextual elements, this contribution briefly focuses on two specific texts, i.e., Dionigi Atanagi’s letter in praise of Fioravanti as an ideal physician and writer of medical matter, and Fioravanti's Ragionamento . Self‐care and self‐fashioning serve each other and collaborate to draw as much attention as possible on the Capricci but also on its author and even on Atanagi, a most popular polygraph at that time, as an ideal reader of the work. The parallel narration of those two texts creates a fruitful echo effect that amplifies the results and possibly contributed to the success of the Capricci medicinali .
{"title":"‘Materie piacevolissime da leggere e utili da essequire’: the introductory letters in Leonardo Fioravanti's <i>Capricci medicinali</i>","authors":"Teodoro Katinis","doi":"10.1111/rest.12902","DOIUrl":"https://doi.org/10.1111/rest.12902","url":null,"abstract":"Abstract This contribution examines the changes in the type and sequence of paratexts at the beginning of Leonardo Fioravanti’s Capricci medicinali from the first edition (1561) to the 1680 edition. The aim of this paper is to study the building of a selfimage and promotion of Fioravanti and his medicine via the paratextual letters. This was the first and most published of Fioravanti’s works which spread in Venice, one of the most vital book markets of sixteenth‐century Europe, and attracted the attention of publishers and public. After a description of the different paratextual elements, this contribution briefly focuses on two specific texts, i.e., Dionigi Atanagi’s letter in praise of Fioravanti as an ideal physician and writer of medical matter, and Fioravanti's Ragionamento . Self‐care and self‐fashioning serve each other and collaborate to draw as much attention as possible on the Capricci but also on its author and even on Atanagi, a most popular polygraph at that time, as an ideal reader of the work. The parallel narration of those two texts creates a fruitful echo effect that amplifies the results and possibly contributed to the success of the Capricci medicinali .","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135258413","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This paper examines the dynamics which led to the formation of Italian by reconstructing the language ideology of the teacher and polygraph Orazio Toscanella, i.e. one of those cultural mediators who, in the sixteenth‐century Venetian printing market, were actively involved in the promotion of the vernacular. Looking for traces of Toscanella’s language ideology through a range of paratextual materials (title‐pages, prefatory letters), we reconstruct his ideas on the vernacular. These reveal an eclecticism which is not entirely coherent, but which can be understood in light of this polygraph’s pedagogical objectives, and of his pressing need to respond to the market’s requirements. By focusing on Toscanella’s translation of Vives’ Exercitatio , published in 1568 under the title Flores Italici , we then compare the ideas conveyed in the paratexts with the author’s linguistic usage in the text: we thus show that Toscanella’s eclectic ideas on language and his need to accommodate the market’s requirements also shaped the type of vernacular he proposed to his readers. This focus on Toscanella’s paratextual production allows us to investigate the way in which the ‘high’ vernacular model was re‐elaborated and disseminated to a broad audience, and the extent to which such re‐elaboration was influenced by commercial concerns.
{"title":"‘L'arte in prattica’: Reconstructing Orazio Toscanella's language ideology","authors":"Claudia Crocco, Eleonora Serra","doi":"10.1111/rest.12897","DOIUrl":"https://doi.org/10.1111/rest.12897","url":null,"abstract":"Abstract This paper examines the dynamics which led to the formation of Italian by reconstructing the language ideology of the teacher and polygraph Orazio Toscanella, i.e. one of those cultural mediators who, in the sixteenth‐century Venetian printing market, were actively involved in the promotion of the vernacular. Looking for traces of Toscanella’s language ideology through a range of paratextual materials (title‐pages, prefatory letters), we reconstruct his ideas on the vernacular. These reveal an eclecticism which is not entirely coherent, but which can be understood in light of this polygraph’s pedagogical objectives, and of his pressing need to respond to the market’s requirements. By focusing on Toscanella’s translation of Vives’ Exercitatio , published in 1568 under the title Flores Italici , we then compare the ideas conveyed in the paratexts with the author’s linguistic usage in the text: we thus show that Toscanella’s eclectic ideas on language and his need to accommodate the market’s requirements also shaped the type of vernacular he proposed to his readers. This focus on Toscanella’s paratextual production allows us to investigate the way in which the ‘high’ vernacular model was re‐elaborated and disseminated to a broad audience, and the extent to which such re‐elaboration was influenced by commercial concerns.","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135885990","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Pelopidarum secunda is an understudied anonymous English adaptation of Seneca's Agamemnon and Sophocles' Electra . The play is preserved only in manuscript and was probably performed at Winchester College around 1590. Through a combination of Marvin Carlson's notions of ‘ghosting’ and of the ‘site of memory’ with a neo‐historicist approach, the article offers a close analysis of this neglected school play from an intertextual, performative, and extratextual perspective. The analysis shows that the play is haunted by memories of its classical sources and of other performance contexts, including the church, and contains potential allusions to contemporary royal figures. In so doing, I argue that Pelopidarum secunda showcases the role of classical models in the history of Elizabethan revenge tragedy. By conjuring up memorable sources—Sophocles and Seneca—and events—past performances and executions—the unknown playwright(s) had the ambition to make Pelopidarum secunda equally memorable. Although this attempt has evidently failed given the obscurity into which the play has fallen so far, Pelopidarum secunda deserves a place in the archival memory of classical reception as well as further scholarly attention within early modern English drama studies.
{"title":"<i>Pelopidarum secunda</i>: a ‘site of memory’ in the history of Elizabethan revenge tragedy","authors":"Angelica Vedelago","doi":"10.1111/rest.12903","DOIUrl":"https://doi.org/10.1111/rest.12903","url":null,"abstract":"Abstract Pelopidarum secunda is an understudied anonymous English adaptation of Seneca's Agamemnon and Sophocles' Electra . The play is preserved only in manuscript and was probably performed at Winchester College around 1590. Through a combination of Marvin Carlson's notions of ‘ghosting’ and of the ‘site of memory’ with a neo‐historicist approach, the article offers a close analysis of this neglected school play from an intertextual, performative, and extratextual perspective. The analysis shows that the play is haunted by memories of its classical sources and of other performance contexts, including the church, and contains potential allusions to contemporary royal figures. In so doing, I argue that Pelopidarum secunda showcases the role of classical models in the history of Elizabethan revenge tragedy. By conjuring up memorable sources—Sophocles and Seneca—and events—past performances and executions—the unknown playwright(s) had the ambition to make Pelopidarum secunda equally memorable. Although this attempt has evidently failed given the obscurity into which the play has fallen so far, Pelopidarum secunda deserves a place in the archival memory of classical reception as well as further scholarly attention within early modern English drama studies.","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136072238","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This introductory article presents the framework and contributions of the special issue Paratexts, Dissemination, and Book Market in Early Modern Venice (1500‐1650). This volume aims to shed a new light on the publishing activity of poligrafi and other figures operating in Venice and its area of cultural influence. In this context, the use of paratexts simultaneously serves to disseminate knowledge, portray self‐fashioning strategies, and respond attentively to the market's and readers' needs. This collection of essays highlights how paratexts can provide valuable insights for analyses grounded in different disciplines and methodologies. Indeed, the present issue brings together studies that examine paratexts from a literary, historical‐cultural, and linguistic perspective. The authors explore aspects of early modern culture that are relevant but still neglected in modern scholarship and thereby advance our understanding of writing and publishing as a complex modality of cultural exchange from the Cinquecento to the beginning of the Seicento.
{"title":"Gazing at the Venetian hub from a paratextual lens: An introduction","authors":"Claudia Crocco, Teodoro Katinis","doi":"10.1111/rest.12891","DOIUrl":"https://doi.org/10.1111/rest.12891","url":null,"abstract":"This introductory article presents the framework and contributions of the special issue Paratexts, Dissemination, and Book Market in Early Modern Venice (1500‐1650). This volume aims to shed a new light on the publishing activity of poligrafi and other figures operating in Venice and its area of cultural influence. In this context, the use of paratexts simultaneously serves to disseminate knowledge, portray self‐fashioning strategies, and respond attentively to the market's and readers' needs. This collection of essays highlights how paratexts can provide valuable insights for analyses grounded in different disciplines and methodologies. Indeed, the present issue brings together studies that examine paratexts from a literary, historical‐cultural, and linguistic perspective. The authors explore aspects of early modern culture that are relevant but still neglected in modern scholarship and thereby advance our understanding of writing and publishing as a complex modality of cultural exchange from the Cinquecento to the beginning of the Seicento.","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-09-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73159417","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"SimonJackson, George Herbert and Early Modern Musical Culture. Cambridge: Cambridge University Press, 2023. xvi + 266 pp. £75.00. ISBN 978‐1‐009‐09806‐9 (hb).","authors":"Thomas Ward","doi":"10.1111/rest.12906","DOIUrl":"https://doi.org/10.1111/rest.12906","url":null,"abstract":"","PeriodicalId":45351,"journal":{"name":"Renaissance Studies","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-09-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85489489","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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