A New Companion to English Renaissance Literature and by Michael Hattaway

By Michael Hattaway

Content material:
Chapter 1 advent (pages 1–11): Michael Hattaway
Chapter 2 The English Language of the Early glossy interval (pages 13–26): Arja Nurmi
Chapter three Literacy and schooling (pages 27–37): Jean R. Brink
Chapter four Rhetoric (pages 38–54): Gavin Alexander
Chapter five historical past (pages 55–73): Patrick Collinson
Chapter 6 Metaphor and tradition in Renaissance England (pages 74–90): Judith H. Anderson
Chapter 7 Early Tudor Humanism (pages 91–105): Mary Thomas Crane
Chapter eight Platonism, Stoicism, Scepticism, and Classical Imitation (pages 106–119): Sarah Hutton
Chapter nine Translation (pages 120–133): Liz Oakley?Brown
Chapter 10 Mythology (pages 134–149): Jane Kingsley?Smith
Chapter eleven medical Writing (pages 150–159): David Colclough
Chapter 12 book: Print and Manuscript (pages 160–176): Michelle O'Callaghan
Chapter thirteen Early glossy Handwriting (pages 177–189): Grace Ioppolo
Chapter 14 The Manuscript Transmission of Poetry (pages 190–220): Arthur F. Marotti
Chapter 15 Poets, acquaintances, and buyers: Donne and his Circle; Ben and his Tribe (pages 221–247): Robin Robbins
Chapter sixteen legislation: Poetry and Jurisdiction (pages 248–262): Bradin Cormack
Chapter 17 Spenser's Faerie Queene, ebook five: Poetry, Politics, and Justice (pages 263–273): Judith H. Anderson
Chapter 18 ‘Law Makes the King’: Richard Hooker on legislations and Princely Rule (pages 274–288): Torrance Kirby
Chapter 19 Donne, Milton, and the 2 Traditions of spiritual Liberty (pages 289–303): Feisal G. Mohamed
Chapter 20 court docket and Coterie tradition (pages 304–319): Curtis Perry
Chapter 21 Courtship and tips: John Lyly's Campaspe (pages 320–328): Greg Walker
Chapter 22 Bacon's ‘Of Simulation and Dissimulation’ (pages 329–336): Martin Dzelzainis
Chapter 23 The Literature of the city (pages 337–351): John A. Twyning
Chapter 24 stories of town: The performs of Ben Jonson and Thomas Middleton (pages 352–366): Peter J. Smith
Chapter 25 ‘An brand of Themselves’: Early Renaissance kingdom residence Poetry (pages 367–378): Nicole Pohl
Chapter 26 Literary Gardens, from extra to Marvell (pages 379–395): Hester Lees?Jeffries
Chapter 27 English Reformations (pages 396–418): Patrick Collinson
Chapter 28 Translations of the Bible (pages 419–429): Gerald Hammond
Chapter 29 Lancelot Andrewes' sturdy Friday 1604 Sermon (pages 430–437): Richard Harries
Chapter 30 Theological Writings and spiritual Polemic (pages 438–448): Donna B. Hamilton
Chapter 31 Catholic Writings (pages 449–463): Robert S. Miola
Chapter 32 Sectarian Writing (pages 464–477): Hilary Hinds
Chapter 33 The English Broadside Print, c.1550–c.1650 (pages 478–526): Malcolm Jones
Chapter 34 The Writing of shuttle (pages 527–542): Peter Womack
Chapter 35 England's reviews of Islam (pages 543–556): Stephan Schmuck
Chapter 36 analyzing the physique (pages 557–581): Jennifer Waldron
Chapter 37 Physiognomy (pages 582–597): Sibylle Baumbach
Chapter 38 goals and Dreamers (pages 598–610): Carole Levin
Chapter 39 Theories of Literary varieties (pages 1–14): John Roe
Chapter forty the location of Poetry: Making and protecting Renaissance Poetics (pages 15–27): Arthur F. Kinney
Chapter forty-one Epic (pages 28–41): Rachel Falconer
Chapter forty two Playhouses, Performances, and the function of Drama (pages 42–59): Michael Hattaway
Chapter forty three Continuities among ‘Medieval’ and ‘Early smooth’ Drama (pages 60–69): Michael O'Connell
Chapter forty four Kyd's The Spanish Tragedy (pages 70–79): A. J. Piesse
Chapter forty five Boys' performs (pages 80–93): Edel Lamb
Chapter forty six Drama of the motels of court docket (pages 94–104): Alan H. Nelson and Jessica Winston
Chapter forty seven ‘Tied to principles of Flattery’? courtroom Drama and the Masque (pages 105–122): James Knowles
Chapter forty eight girls and Drama (pages 123–140): Alison Findlay
Chapter forty nine Political performs (pages 141–153): Stephen Longstaffe
Chapter 50 Jacobean Tragedy (pages 154–165): Rowland Wymer
Chapter fifty one Caroline Theatre (pages 166–175): Roy Booth
Chapter fifty two John Ford, Mary Wroth, and the ultimate Scene of 'Tis Pity She's a Whore (pages 176–183): Robyn Bolam
Chapter fifty three neighborhood Drama and customized (pages 184–203): Thomas Pettitt
Chapter fifty four The serious Elegy (pages 204–213): John Lyon
Chapter fifty five Allegory (pages 214–224): Clara Mucci
Chapter fifty six Pastoral (pages 225–237): Michelle O'Callaghan
Chapter fifty seven Romance (pages 238–248): Helen Moore
Chapter fifty eight Love Poetry (pages 249–263): Diana E. Henderson
Chapter fifty nine song and Poetry (pages 264–277): David Lindley
Chapter 60 Wyatt's ‘Who so record to seek’ (pages 278–287): Rachel Falconer
Chapter sixty one the center of the Labyrinth: Mary Wroth's Pamphilia to Amphilanthus (pages 288–298): Robyn Bolam
Chapter sixty two Ovidian Erotic Poems (pages 299–316): Boika Sokolova
Chapter sixty three John Donne's 19th Elegy (pages 317–325): Germaine Greer
Chapter sixty four Traditions of criticism and Satire (pages 326–340): John N. King
Chapter sixty five folks Legends and beauty stories (pages 341–358): Thomas Pettitt
Chapter sixty six ‘Such beautiful issues might quickly be Gone’: The missed Genres of well known Verse, 1480–1650 (pages 359–381): Malcolm Jones
Chapter sixty seven non secular Verse (pages 382–397): Elizabeth Clarke
Chapter sixty eight Herbert's ‘The Elixir’ (pages 398–406): Judith Weil
Chapter sixty nine Conversion and Poetry in Early glossy England (pages 407–422): Molly Murray
Chapter 70 Prose Fiction (pages 423–436): Andrew Hadfield
Chapter seventy one The English Renaissance Essay: Churchyard, Cornwallis, Florio's Montaigne, and Bacon (pages 437–446): John Lee
Chapter seventy two Diaries and Journals (pages 447–452): Elizabeth Clarke
Chapter seventy three Letters (pages 453–460): Jonathan Gibson
Chapter seventy four identification (pages 461–473): A. J. Piesse
Chapter seventy five Sexuality: A Renaissance class? (pages 474–491): James Knowles
Chapter seventy six used to be There a Renaissance Feminism? (pages 492–501): Jean E. Howard
Chapter seventy seven Drama as textual content and function (pages 502–512): Andrea Stevens
Chapter seventy eight the talk on Witchcraft (pages 513–522): James Sharpe
Chapter seventy nine Reconstructing the previous: historical past, Historicism, Histories (pages 523–534): James R. Siemon
Chapter eighty Race: A Renaissance type? (pages 535–544): Margo Hendricks
Chapter eighty one Writing the countries (pages 545–554): Nicola Royan
Chapter eighty two Early sleek Ecology (pages 555–568): Ken Hiltner

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Additional info for A New Companion to English Renaissance Literature and Culture, Volume One and Two

Example text

In fact, culinary words seem to have been borrowed from all over Europe, since German Sauerkraut has its 24 Arja Nurmi first mention in 1617. In addition to Italy, the Netherlands were one of the great centres of art, and it is not surprising words like landscape and easel were borrowed from Dutch. The Renaissance also marked the beginning of globalisation, with first the great explorers and then world-wide trade. The East India Company had traders all over Asia, and the merchants borrowed words for local items.

Foodstuffs (like saffron from Arabic) were commonly introduced with their borrowed names to the English diet, and so too were other cultural elements of trade partners. The word ramadan, for example, has been used in English since the sixteenth century. Trade and exploration led to a great deal of contact with other European traders, so it is not surprising that much naval terminology was gained from the Dutch, and many new foodstuffs were introduced to English via Spanish. Once the colonialisation of America started, new words describing the flora and fauna of the New World were introduced, borrowed from Native American languages.

Few readers will be surprised to find essays in the ‘Contexts, Readings, and Perspectives’ section on history, religion, language, and education cheek by jowl with accounts of ‘literature’. These essays and those on literary forms stand not as accounts of ‘background’ – a misleading metaphor, like ‘reflection’, ‘image’, or ‘portrait’ – that originates from the visual arts, but to kindle awareness of cultural pressures. Many essays investigate material and ideological environments as well as particular ‘literary’ texts.

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