In the third and fi nal part, “ Methodologies for Re-viewing Performance, ” the essays model different approaches for investigating civic spectacles. David M. Bergeron shifts the scale of analysis. Rather than looking at a speci fi c occasion or type of event, Bergeron traces out over years the various roles played in civic displays by a single person. J. Caitlin Finlayson examines the translation and circulation of ephemeral architecture in print while Katherine Butler reconstructs soundscapes through texts to access something of the lived experience of festivals. Finally, Janelle Jenstad and Mark Kaethler present a digital geospatial tool that enables users to visualize London ’ s pageants within their dynamic urban contexts. Together these contributions push the study of early modern festivals to consider a fuller range of objects, actors, spaces
{"title":"Civic Performance: Pageantry and Entertainments in Early Modern London. Amrita Sen and J. Caitlin Finlayson, eds. Studies in Performance and Early Modern Drama 6. Abingdon: Routledge, 2020. xiv + 254 pp. $160.","authors":"M. Gin","doi":"10.1017/rqx.2023.246","DOIUrl":"https://doi.org/10.1017/rqx.2023.246","url":null,"abstract":"In the third and fi nal part, “ Methodologies for Re-viewing Performance, ” the essays model different approaches for investigating civic spectacles. David M. Bergeron shifts the scale of analysis. Rather than looking at a speci fi c occasion or type of event, Bergeron traces out over years the various roles played in civic displays by a single person. J. Caitlin Finlayson examines the translation and circulation of ephemeral architecture in print while Katherine Butler reconstructs soundscapes through texts to access something of the lived experience of festivals. Finally, Janelle Jenstad and Mark Kaethler present a digital geospatial tool that enables users to visualize London ’ s pageants within their dynamic urban contexts. Together these contributions push the study of early modern festivals to consider a fuller range of objects, actors, spaces","PeriodicalId":45863,"journal":{"name":"RENAISSANCE QUARTERLY","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2023-07-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45361024","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
familiar spirits; the significance of dreams, visions, and prophecies; and the materiality of ritual magic that could not do without a great variety of magic artifacts. In addition, the editors direct the readers’ attention to some issues that seem particularly important for understanding the Tudor necromancy. These include, in particular, the role played by cunning men, who, while being usually associated with popular rural magic, were in fact hardly distinguishable from learned magicians. The highlight is also on the communal nature of ritual magic, apparently practiced by men who formed a kind of professional network. It is fascinating to think about early Tudor necromancers in terms of a community or fellowship whose members collaborated by discussing their art, exchanging expertise, and planning common magical enterprises. The Magic of Rogues is an inspiring book that encourages readers to look at English necromancy in a novel manner.
{"title":"The National Covenant in Scotland, 1638–1689. Chris R. Langley, ed. Studies in Early Modern Cultural, Political and Social History 37. Rochester, NY: Boydell & Brewer, 2020. xii + 252 pp. $130.","authors":"Elizabeth Tapscott","doi":"10.1017/rqx.2023.253","DOIUrl":"https://doi.org/10.1017/rqx.2023.253","url":null,"abstract":"familiar spirits; the significance of dreams, visions, and prophecies; and the materiality of ritual magic that could not do without a great variety of magic artifacts. In addition, the editors direct the readers’ attention to some issues that seem particularly important for understanding the Tudor necromancy. These include, in particular, the role played by cunning men, who, while being usually associated with popular rural magic, were in fact hardly distinguishable from learned magicians. The highlight is also on the communal nature of ritual magic, apparently practiced by men who formed a kind of professional network. It is fascinating to think about early Tudor necromancers in terms of a community or fellowship whose members collaborated by discussing their art, exchanging expertise, and planning common magical enterprises. The Magic of Rogues is an inspiring book that encourages readers to look at English necromancy in a novel manner.","PeriodicalId":45863,"journal":{"name":"RENAISSANCE QUARTERLY","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2023-07-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43834962","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
“reflection as an alternative to the sacred materialism of the cult of the saints,” as Price summarizes Erasmian theology (183). One highlight is the infrequently reproduced portrait drawing of Cranach by Dürer, amid discussion of the two artists’ mutual influence on each other and on Reformation visuality: though one may quibble with Price’s word choices, he is right that the distinction lies between promoting a theological truth about scripture (“didactic” Cranach) and promoting attitudes toward scripture (“psychological”Dürer). Price’s reading of Dürer’s 1526 Four Holy Men is also helpful in its emphasis on biblicism as a governmental virtue. The fifth chapter is the best in the book: its key intervention is to showcase Cranach’s underappreciated use of continuity—across traditional and Lutheran art as well as across paint and print media (one might also have added relief sculpture!)—as an authorizing strategy for innovative biblicist iconography. To anchor this point, Price offers generous footnotes: from Luther’s more obscure pronouncements to scholarship on period armor, Price has mastered this context and reframed it. Finally, the final chapter, taking on the trickiest artist of the three, does not bother interrogating Holbein’s Reformation or lack thereof; more usefully, Price establishes how Holbein’s unique forms of attention to biblical detail made his Bible illustrations the industry standard for decades, not just in Lutheran zones. While some may be unconvinced by the coda concerning Holbein’s Christ Dead in the Tomb, it showcases Price’s poetic side as he pits Fyodor Dostoevsky against Pope Francis; I longed for more such moments of free rein in the book. Price regularly invokes details in finely engraved frontispieces and illustrations of books, details crucial to his argument and/or potentially delightful to the reader. The book is charmingly designed, with a hollow typeface printed in red ink for intertitles, recalling incunabula and early sixteenth-century printed bibles without cornily aping the actual typefaces used. The clear writing and convincing argumentation make it perfect for Reformation and Renaissance syllabi as well as an aid to future scholarship.
{"title":"Jacobus Vrel: Looking for Clues of an Enigmatic Painter. Quentin Buvelot, Bernd Ebert, and Cécile Tainturier, eds. Munich: Hirmer, 2021. 256 pp. + color pls. $50.","authors":"E. Honig","doi":"10.1017/rqx.2023.218","DOIUrl":"https://doi.org/10.1017/rqx.2023.218","url":null,"abstract":"“reflection as an alternative to the sacred materialism of the cult of the saints,” as Price summarizes Erasmian theology (183). One highlight is the infrequently reproduced portrait drawing of Cranach by Dürer, amid discussion of the two artists’ mutual influence on each other and on Reformation visuality: though one may quibble with Price’s word choices, he is right that the distinction lies between promoting a theological truth about scripture (“didactic” Cranach) and promoting attitudes toward scripture (“psychological”Dürer). Price’s reading of Dürer’s 1526 Four Holy Men is also helpful in its emphasis on biblicism as a governmental virtue. The fifth chapter is the best in the book: its key intervention is to showcase Cranach’s underappreciated use of continuity—across traditional and Lutheran art as well as across paint and print media (one might also have added relief sculpture!)—as an authorizing strategy for innovative biblicist iconography. To anchor this point, Price offers generous footnotes: from Luther’s more obscure pronouncements to scholarship on period armor, Price has mastered this context and reframed it. Finally, the final chapter, taking on the trickiest artist of the three, does not bother interrogating Holbein’s Reformation or lack thereof; more usefully, Price establishes how Holbein’s unique forms of attention to biblical detail made his Bible illustrations the industry standard for decades, not just in Lutheran zones. While some may be unconvinced by the coda concerning Holbein’s Christ Dead in the Tomb, it showcases Price’s poetic side as he pits Fyodor Dostoevsky against Pope Francis; I longed for more such moments of free rein in the book. Price regularly invokes details in finely engraved frontispieces and illustrations of books, details crucial to his argument and/or potentially delightful to the reader. The book is charmingly designed, with a hollow typeface printed in red ink for intertitles, recalling incunabula and early sixteenth-century printed bibles without cornily aping the actual typefaces used. The clear writing and convincing argumentation make it perfect for Reformation and Renaissance syllabi as well as an aid to future scholarship.","PeriodicalId":45863,"journal":{"name":"RENAISSANCE QUARTERLY","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2023-07-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47536305","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
of the latter. He sometimes reused a panel on which another work had been painted. He made underdrawings, which differ between the first stab at a composition and its variants. The book itself is a peculiar item, a relic of COVID-19 as much as of its own peculiar subject. Begun with the intention of serving as the catalogue of an exhibition in Munich, The Hague, and Paris in 2020–21, it is now published as a standalone volume that includes a catalogue raisonné of Vrel’s work rather than a catalogue of an exhibition. The exhibition will finally be held in 2023 at the Mauritshuis and the Fondation Custodia, and is sure to be well worth a visit.
{"title":"La biblioteca di Leonardo. Carlo Vecce, ed. Florence: Giunti Editore; Museo Galileo, 2021. 552 pp. €90.","authors":"Ricardo De Mambro Santos","doi":"10.1017/rqx.2023.219","DOIUrl":"https://doi.org/10.1017/rqx.2023.219","url":null,"abstract":"of the latter. He sometimes reused a panel on which another work had been painted. He made underdrawings, which differ between the first stab at a composition and its variants. The book itself is a peculiar item, a relic of COVID-19 as much as of its own peculiar subject. Begun with the intention of serving as the catalogue of an exhibition in Munich, The Hague, and Paris in 2020–21, it is now published as a standalone volume that includes a catalogue raisonné of Vrel’s work rather than a catalogue of an exhibition. The exhibition will finally be held in 2023 at the Mauritshuis and the Fondation Custodia, and is sure to be well worth a visit.","PeriodicalId":45863,"journal":{"name":"RENAISSANCE QUARTERLY","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2023-07-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44772120","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Shakespeare in ‘Engrish,’” Adele Lee suggests that decolonization of our listening ear is really needed, and actors with Asian accents should not be put in the situation where they oscillate between a desire to perform Shakespeare and stay rooted in their culture. In chapter 9, “Alien Accents: Signifying the Shakespearean Other in Audio Performances,” Douglas M. Lanier contends that attention to accent in audio performance helps open our ears to new possibilities for performative expressivity and Shakespearean meaning, into which directors and scholars have only begun to probe. Carla Della Gatta concludes in the afterword that the collection affords “a comparative look at Shakespeare and accentism” across genres, time periods, languages, vocal methods, and locales, marking the outset of a field of inquiry that provides the stage and the culture with theoretical advancements (204). The connotation of accent includes ethnicity, class, locale, nationality, and generational qualities, and the function of accentism is part of semiotic, linguistic, and power structures within the world of production or play. In the collection, each contributor illustrates their argument with specific examples and has substantially proved the relationship between Shakespeare and accentism. Most significantly, the contributors try to break with traditional criticism through methodological practices and reveal that Received Pronunciation is no longer the standard for Shakespearean performances. Rather, Original Pronunciation is a flourishing phenomenon which offers a variety of voices and sheds new light on the stage and screen.
阿黛尔·李(Adele Lee)认为，我们的听觉确实需要去殖民化，亚洲口音的演员不应该在想要表演莎士比亚和想要扎根于自己的文化之间摇摆不定。Douglas M. Lanier在第9章“异域口音:在音频表演中表达莎士比亚的他者”中认为，对音频表演中的口音的关注有助于打开我们对表演表现力和莎士比亚意义的新可能性的耳朵，导演和学者们才刚刚开始探索。卡拉·德拉·加塔(Carla Della Gatta)在后记中总结说，该合集提供了跨流派、时期、语言、声乐方法和地域的“莎士比亚和口音的比较研究”，标志着一个探索领域的开始，为舞台和文化提供了理论进步(204)。口音的内涵包括种族、阶级、地域、民族和代际特质，口音的功能是生产或游戏世界中符号学、语言和权力结构的一部分。在文集中，每位作者都用具体的例子阐述了他们的观点，并充分证明了莎士比亚与口音之间的关系。最重要的是，作者试图通过方法论实践来打破传统的批评，并揭示“标准发音”不再是莎士比亚表演的标准。相反，原版发音是一种蓬勃发展的现象，它提供了各种各样的声音，为舞台和屏幕带来了新的亮点。
{"title":"Shakespeare and Biography. Katherine Scheil and Graham Holderness. Shakespeare & 8. New York: Berghahn Books, 2020. 142 pp. $150.","authors":"H. Crummé","doi":"10.1017/rqx.2023.296","DOIUrl":"https://doi.org/10.1017/rqx.2023.296","url":null,"abstract":"Shakespeare in ‘Engrish,’” Adele Lee suggests that decolonization of our listening ear is really needed, and actors with Asian accents should not be put in the situation where they oscillate between a desire to perform Shakespeare and stay rooted in their culture. In chapter 9, “Alien Accents: Signifying the Shakespearean Other in Audio Performances,” Douglas M. Lanier contends that attention to accent in audio performance helps open our ears to new possibilities for performative expressivity and Shakespearean meaning, into which directors and scholars have only begun to probe. Carla Della Gatta concludes in the afterword that the collection affords “a comparative look at Shakespeare and accentism” across genres, time periods, languages, vocal methods, and locales, marking the outset of a field of inquiry that provides the stage and the culture with theoretical advancements (204). The connotation of accent includes ethnicity, class, locale, nationality, and generational qualities, and the function of accentism is part of semiotic, linguistic, and power structures within the world of production or play. In the collection, each contributor illustrates their argument with specific examples and has substantially proved the relationship between Shakespeare and accentism. Most significantly, the contributors try to break with traditional criticism through methodological practices and reveal that Received Pronunciation is no longer the standard for Shakespearean performances. Rather, Original Pronunciation is a flourishing phenomenon which offers a variety of voices and sheds new light on the stage and screen.","PeriodicalId":45863,"journal":{"name":"RENAISSANCE QUARTERLY","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2023-07-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44629227","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
reading of Julia’s wit in Anne Wharton’s unpublished play Love’s Martyr, Or Witt Above Crowns. By concluding in this way, James opens readings of Ovidian liberty and speech up to future prospects for change. Such an approach leaves audiences satisfied and, paradoxically, longing for more of James’s astute insights. Overall, Ovid and the Liberty of Speech in Shakespeare’s England is highly recommended. Aside from its foundational introduction, subsequent chapters can be read together or in isolation due to the text’s clear structure and convenient notes. Moreover, James’s writing style is approachable and jargon-free. Her robust analysis, in theory, could be impenetrable to those unfamiliar with Ovid or early modern literary studies. However, James carefully and humbly guides her readers through nuanced ideas; this stylistic choice makes the monograph refreshingly accessible to a variety of audiences, ranging from seasoned literary scholars to upper-level undergraduates.
{"title":"Shakespeare / Sense: Contemporary Readings in Sensory Culture. Simon Smith, ed. Arden Shakespeare Intersections. London: Bloomsbury Arden Shakespeare, 2020. xvi + 384 pp. £117.","authors":"Thomas Dabbs","doi":"10.1017/rqx.2023.294","DOIUrl":"https://doi.org/10.1017/rqx.2023.294","url":null,"abstract":"reading of Julia’s wit in Anne Wharton’s unpublished play Love’s Martyr, Or Witt Above Crowns. By concluding in this way, James opens readings of Ovidian liberty and speech up to future prospects for change. Such an approach leaves audiences satisfied and, paradoxically, longing for more of James’s astute insights. Overall, Ovid and the Liberty of Speech in Shakespeare’s England is highly recommended. Aside from its foundational introduction, subsequent chapters can be read together or in isolation due to the text’s clear structure and convenient notes. Moreover, James’s writing style is approachable and jargon-free. Her robust analysis, in theory, could be impenetrable to those unfamiliar with Ovid or early modern literary studies. However, James carefully and humbly guides her readers through nuanced ideas; this stylistic choice makes the monograph refreshingly accessible to a variety of audiences, ranging from seasoned literary scholars to upper-level undergraduates.","PeriodicalId":45863,"journal":{"name":"RENAISSANCE QUARTERLY","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2023-07-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42319090","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"All Wonders in One Sight: The Christ Child among the Elizabethan and Stuart Poets. Theresa M. Kenney. Toronto: University of Toronto Press, 2021. viii + 228 pp. $65.","authors":"E. L. Ryan","doi":"10.1017/rqx.2023.285","DOIUrl":"https://doi.org/10.1017/rqx.2023.285","url":null,"abstract":"","PeriodicalId":45863,"journal":{"name":"RENAISSANCE QUARTERLY","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2023-07-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41471991","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Andrea del Sarto: Splendor and Renewal in the Renaissance Altarpiece. Steven J. Cody. Brill's Studies in Intellectual History 314; Brill's Studies on Art, Art History, and Intellectual History 47. Leiden: Brill, 2020. xxii + 290 pp. + color pls.","authors":"Louise Arizzoli","doi":"10.1017/rqx.2023.213","DOIUrl":"https://doi.org/10.1017/rqx.2023.213","url":null,"abstract":"","PeriodicalId":45863,"journal":{"name":"RENAISSANCE QUARTERLY","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2023-07-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43210110","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"In the Beginning Was the Image: Art and the Reformation Bible. David H. Price. Oxford: Oxford University Press, 2021. xxii + 412 pp. $99.","authors":"Jennifer L. Nelson","doi":"10.1017/rqx.2023.217","DOIUrl":"https://doi.org/10.1017/rqx.2023.217","url":null,"abstract":"","PeriodicalId":45863,"journal":{"name":"RENAISSANCE QUARTERLY","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2023-07-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48499312","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article explores Poggio Bracciolini's letters to Niccolò Niccoli from a variety of perspectives: it looks at what imitation meant for Poggio, examines the letters’ commentary on the manuscript culture of the early Quattrocento, discusses Poggio's efforts to craft a personal voice, and traces the interplay of optimism and pessimism in the letters, an interplay common to humanist texts of this period. By bringing together these different perspectives, the article articulates the range of ways in which one scholar used his epistolary collection to shape his own persona, connect himself to Ciceronian precedents, and create norms and expectations for a developing intellectual community.
{"title":"Letters to the Editor: Friendship and Self-Fashioning in a Fifteenth-Century Humanist Epistolary Collection","authors":"Elizabeth M. McCahill","doi":"10.1017/rqx.2022.442","DOIUrl":"https://doi.org/10.1017/rqx.2022.442","url":null,"abstract":"This article explores Poggio Bracciolini's letters to Niccolò Niccoli from a variety of perspectives: it looks at what imitation meant for Poggio, examines the letters’ commentary on the manuscript culture of the early Quattrocento, discusses Poggio's efforts to craft a personal voice, and traces the interplay of optimism and pessimism in the letters, an interplay common to humanist texts of this period. By bringing together these different perspectives, the article articulates the range of ways in which one scholar used his epistolary collection to shape his own persona, connect himself to Ciceronian precedents, and create norms and expectations for a developing intellectual community.","PeriodicalId":45863,"journal":{"name":"RENAISSANCE QUARTERLY","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2023-07-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42373226","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"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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