Pub Date : 2020-01-01DOI: 10.1215/10829636-7986625
J. Swann
The lively contemporary reception of George Herbert’s book of poems The Temple has been clearly demonstrated by a substantial body of modern scholarship. This article shows how that body of work can be complemented through material evidence of readership drawn from from specific copies of The Temple. By investigating readers’ marks in over 120 copies of the book published between 1633 and 1709, it confirms that The Temple was received with enthusiasm and active readership. While marks in the book often suggest that it was sometimes used for the “commonplacing” of sententious phrases and religious maxims, this article demonstrates how Herbert’s poems also attracted more nuanced literary engagements. The sale and acquisition of the book in private and public libraries in the late seventeenth century likewise suggest that The Temple held a dual role, sometimes positioned in relation to other devotional texts (like the Book of Psalms), and sometimes in a relation to the emerging category of secular literature.
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Pub Date : 2020-01-01DOI: 10.1215/10829636-7986613
Jaime Goodrich
This essay considers how two Benedictine writers, Claude Estiennot (1639–1699) and Anne Neville (1605–1689), engaged with the generic conventions of historical writing, specifically the subgenre of monastic history. In an attempt to complicate critical narratives about early modern history, Estiennot and Neville are read through the lens of feminist formalism. A Maurist and antiquarian, Estiennot wrote a chronicle of the Congregation of the English Benedictine Dames that exemplifies the professional revolution in historiography. Neville, in contrast, cultivated the humbler position of an abbess, creating a historical sketch of her congregation that served as both a familial history and a personal aide-mémoire. By considering the different ways that Estiennot and Neville approached the same historical subject, this essay demonstrates that reading prose in terms of its formal qualities can provide new insights into the interrelationship of gender and genre in the early modern period.
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Pub Date : 2020-01-01DOI: 10.1215/10829636-7986577
Rosalind Smith
This essay builds upon work surrounding reception and the figure of the early modern woman writer to examine textual instances in which women’s writing has been “found” or manufactured: where writing falsely or tenuously attributed to historical women was circulated under their signatures as their voice. These fictions of production circulated as prosopopoeiae within women’s lifetimes alongside writers’ own scribal and print textual productions, as well as in the centuries following their deaths in the service of editorial, antiquarian, and historical projects. The complexity of naming and attribution in the texts discussed suggests that any distinct separation of speaker and author fails to recognize the centrality of prosopopoeiae to the rhetorical formations underwriting conceptions of the early modern woman writer. The essay newly argues for prosopopoeia as a generative figure of speech that enabled rather than restricted formations of the English woman writer and her participation in literary history.
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Pub Date : 2020-01-01DOI: 10.1215/10829636-7986649
S. Connell, Julia Flanders
Reading has come under renewed scrutiny in the digital age, a result of the defamiliarization of the medium that has also brought about a thorough rethinking of what is meant by “text,” “book,” “author,” “publish,” and other terms that map our understanding of how ideas are circulated through technologies of inscription. The meaning and method of reading within digital spaces have vacillated between two extremes of scale: the vastness of aggregation made possible by largescale text digitization (exemplified early on by text corpora such as the Thesaurus Linguae Graecae and the Middle English Dictionary, and later by Early English Books Online), and the minute scrutiny made possible by the detailed modeling of individual instances, as for instance in digital scholarly editions like the Piers Plowman Electronic Archive. Since the early 2000s, fascination with largescale data analysis has shifted attention toward modes of reading that sample the source to produce a derived text — a statistical artifact from which we can in turn read clusters of words, shifts in topic or register, and changes in orthographic habits.1 These remote reading practices, however, fail to capitalize on valuable modeling of the individual text, but more recently researchers have been exploring ways of bringing these two ends of the digital spectrum into closer conversation. This rapprochement is particularly intriguing for the study of textual reception, since it opens up for analysis the points of connection between an individual text and the full network of cultural connections that constitute its circulation, readership, and reception: authors, publishers, readers, reviewers, and collectors. This essay explores the study of readership and reception of women’s writing through the lens of these emerging digital methods, examining two corpora related to women’s writing with largescale analytical methods that are dependent on and informed by the detailed textual models in these collections’ metadata and markup. Our focus is on the late eighteenth century, but the collection whose reception we are study•
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Pub Date : 2020-01-01DOI: 10.1215/10829636-7986601
Danielle Clarke
On December 19, 2017 in Paris, the art world was stunned by a recordbreaking sale of a selfportrait by a seventeenthcentury woman artist — Artemesia Gentileschi’s SelfPortrait as St. Catherine — which fetched EUR 2.36 million at auction.1 This was not the first time that Gentileschi had painted herself as St. Catherine; there is a painting on the same theme with a very similar composition in the Uffizi Gallery in Florence. In the portrait the figure is immediately identified as St. Catherine by the martyr’s palm and the distinctive spiked wheel; the identity of the model had long remained obscure, but is clearly established by comparison with other known selfportraits as Gentileschi herself.2 While the immediate reason for using her own image for this portrait of St. Catherine may be pragmatic — early modern social and cultural expectations precluded the use of live models by a female artist — the implications of this complex selfidentification are intriguing for thinking about various forms of life writing and selfnarratives as they emerge and develop over the course of the seventeenth century. Even if Gentileschi is her own most proximate model, the process of painting herself requires an intense level of fixation on the physical self, in this instance compounded by the necessity of using a mirror. While the mirror as an object bears tropological meaning as inappropriate selfregard and vanity for women in particular, it may also be pressed into service for purposes of selfexamination and discipline, as Tobie Matthew asserts concerning Teresa de Ávila:
2017年12月19日，17世纪女性艺术家Artemesia Gentileschi的自画像《圣凯瑟琳》(self - portrait as St. Catherine)在巴黎拍出了236万欧元的天价，震惊了整个艺术界这并不是真蒂列斯基第一次把自己画成圣凯瑟琳;在佛罗伦萨的乌菲齐美术馆有一幅同样主题的画，构图非常相似。在这幅肖像中，通过殉道者的手掌和独特的尖轮，这个人物立即被认出是圣凯瑟琳;模特的身份长期以来一直不为人知，但通过与其他已知的自画像(如Gentileschi本人)进行比较，可以清楚地确定下来虽然用她自己的形象来画这幅圣凯瑟琳的画像的直接原因可能是实用主义的——早期现代社会和文化的期望排除了女性艺术家使用真人模特的可能性——但这种复杂的自我认同的含义是有趣的，可以思考各种形式的生活写作和自我叙述，因为它们在17世纪的过程中出现和发展。即使真蒂列斯基是她自己最接近的模特，画自己的过程也需要对身体自我的强烈关注，在这种情况下，使用镜子的必要性加剧了这种关注。虽然镜子作为一种物体具有隐喻意义，尤其是对女性来说，它是不恰当的自我关注和虚荣，但它也可能被用于自我检查和纪律的目的，正如托比·马修(Tobie Matthew)在谈到特蕾莎·德·Ávila时所说的那样:
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Pub Date : 2020-01-01DOI: 10.1215/10829636-7986637
N. Simonova
More by this author Sir Philip Sidney’s unfinished romance, The Countess of Pembroke’s Arcadia, first appeared in print in 1590, four years after the author’s death. In 1593, it expanded from quarto to folio, with an ending added from its earlier manuscript version; in 1598 the volume grew to encompass several of Sidney’s other works. Ten further editions and multiple issues followed over the course of the seventeenth century, testifying to the Arcadia’s appeal. It was quoted as a model of rhetoric, continued a... aimlessly about. The pistol was plated with silver. biology. 3mu npeqcmasseuu MOJ.KHhle BQPUQHII1hl 011lBemOB. we see that nanotechnologies have entered into set of areas of human . all shouting and screaming in the ____ of having a short from lessons. HOM. electronics and physics. B xomophlX suIn the Museum The museum was almost of visitors at this hour of the morning. g 2-27931 1) vacant 2) empty 3) clear 4) deserted 33 . The Countess of Pembroke's Arcadia, also known simply as the Arcadia, is a long prose pastoral romance by Sir Philip Sidney written towards the end of the 16th century. Having finished one version of his text, Sidney later significantly expanded and revised his work. Scholars today often refer to these two major versions as the Old Arcadia and the New Arcadia. The Arcadia is Sidney's most ambitious literary work by far, and as significant in its own way as his sonnets. Publication status: In press Peer review status: Peer reviewed Version: Accepted manuscript
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Pub Date : 2020-01-01DOI: 10.1215/10829636-7986565
N. Lamal
Young Italian men joined the Habsburg army in the Low Countries to gain military experience. In pursuit of social advancement, many of these soldiers sought to maintain ties and contacts with their hometowns. Letters were the principal medium for soldiers to establish such a long-distance communication, providing the latest news from the front. This article provides the first examination of letter-writing soldiers as purveyors of news from the battlefield to the governing elites in Italian states during the late sixteenth century. It examines how soldiers of different ranks and social backgrounds used letters to construct a reputation as trustworthy correspondents and as military experts. By providing event-based and up-to-date military and political information on the conflict in which they were actively deployed, soldiers played a crucial role in the circulation of information and shaped the reception at the Italian courts of the unfolding events in the Low Countries.
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Pub Date : 2020-01-01DOI: 10.1215/10829636-7986553
Marie‐Louise Coolahan
The cultural dynamics of reception are best understood as a reiterative process of reshaping and reframing. Reception as an object of critical study embraces first the history of how texts were read, disseminated, and consumed across media, languages, and geographical regions. But if this is the first port of call, such analysis quickly draws in questions about the relationship between reception and production, audience and agency, about contemporary and posthumous reputation. This special issue investigates the ways in which the act of reception is a reiterative process on a continuous spectrum with cultural production. Receivers — of texts, events, reputations — are mediators, creatively reconstituting that which they receive according to their own agendas and contemporary imperatives. The articles in this collection embrace international, comparative, and new material contexts for early modern reception studies as they address poetry, romance, letters, history, hagiography, autobiography, and literary reviews. The transnational perspectives that emerge lead from the Low Countries to Italy, Ireland to France and the Spanish Netherlands, Spain to England, and England to France. The introductory essay for the issue additionally examines recent digital projects concerned with the history of reading and reception, exploring in particular how digital resource design foregrounds questions of representation and our immersion, as critics, in the act of reception.
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Pub Date : 2019-09-01DOI: 10.1215/10829636-7724625
John T. R. Terry, S. Kay, Nicolette Zeeman
Modern scholarship on early medieval views of nature tends to rely too heavily on binary interpretations of positive and negative representations. This article uses an early ninth-century Anglo-Latin poem, Æthelwulf’s De abbatibus (“On the abbots” of an unknown Northumbrian monastic community), as a window into the ways in which early medieval people saw their natural world not as a passive space for human activity, but as an active participant in religious life. This reading comports with ecocritical interpretations of Æthelwulf’s poem alongside contemporary Anglo-Saxon stone sculpture. An understudied text, Æthelwulf’s De abbatibus provides an opportunity to understand how early medieval people could situate nature at a narrative’s center, crediting it with the capacity to shape religious behavior and belief. Æthelwulf’s work should be seen among a rich late antique and early medieval literary and artistic tradition of ecological imagination, in which nature was an interpretive key for articulating religious identity and community.
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Pub Date : 2019-09-01DOI: 10.1215/10829636-7724673
M. Lugt, S. Kay, Nicolette Zeeman
Medieval discussions about breastfeeding were saturated with moral and social meanings and arguments about how a good mother should behave and what makes for a happy, healthy baby. At the center was the question of who should breastfeed, the mother or a wet nurse. While the church sanctioned maternal breastfeeding as a moral norm, recourse to wet nurses was the norm for elites, and the custom spread in the later Middle Ages to the middling segments of society. Medieval physicians formulated their advice according to their understanding of the moral and normative authority of nature, but also in complex dialogue with contemporary pastoral theory and moral philosophy (which rejected wet-nursing), as well as contemporary social practices, values, and beliefs. Physicians recognized maternal breastfeeding as the best and most natural option because of the physiological continuity between gestation and lactation, yet their advice was adapted to the social realities of their patrons and patients by giving guidance about choosing a good wet nurse and controling her manner of life. Contrary to what is often claimed or supposed, the notion that the milk of amoral and bad-mannered wet nurses might lead to the degeneration of children did not originate from Galenic physiology but from nonmedical sources. Physicians themselves were reticent about attributing quasi-hereditary powers to mother’s milk, insisting instead on the dangers of neglect in the care of infants.
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