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The first comprehensive history of the Elizabethan libel, this interdisciplinary account traces a viral and often virulent media ecosystem.
Contemporary nudge theory points out that people make good choices over issues where they have had past experience of similar circumstances, where there is reliable, substantial, and relevant information about the situation, and where they will get prompt feedback about the effect of their decision. Yet none of these conditions apply to the most vital choice of action facing early modern Protestants: how can they be saved? In George Herbert and the Business of Practical Piety, Ceri Sullivan uses nudge theory to show how practical divinity disregards the doleful conclusions of predestination--that salvation cannot be earned--to supply readers with suggestions on how to prepare to act, regardless of their final destiny. Such texts create cognitive niches to support cheerful, godly thought and action, in a way which is far from being despairing or compulsive. Their nudges were repeatedly put into practice by Herbert's friends, the Ferrars, who tried to form an ideal religious community at Little Gidding. These prescriptions and examples illustrate how George Herbert's The Temple (1633) is a compendium of the techniques of choice architecture. Herbert's poems are full of the humour emerging from a life of faith which is willing to guard high ideals by low cunning, stooping to use the least little things to change a self. George Herbert and the Business of Practical Piety initially calls on theories of the extended mind to ask what sort of minor physical and social structures scaffold decisions, then examines a selection of nudges used by Herbert: contracts with the self, building a mind, cleaning a heart, conversing with God, making to-do lists, and working on working well.
Greece and Asia Minor proved an irresistible lure to English visitors in the seventeenth century. These lands were criss-crossed by adventurers, merchants, diplomats and men of the cloth. In particular, John Covel (1638-1722) - chaplain to the Levant Company in the 1670s, later Master of Christ's College, Cambridge - was representative of a thoroughly eccentric band of Englishmen who saw Greece and the Ottoman world through the lens of classical history. Using a variety of sources, including Covel's largely unpublished diaries, Lucy Pollard shows that these curious travellers imported, alongside their copies of Pausanias and Strabo, a package of assumptions about the societies they discovered. Disparaging contemporary Greeks as unworthy successors to their classical ancestors allowed Englishmen to view themselves as the true inheritors of classical culture, even as - when opportunity arose - they removed antiquities from the sites they described. At the same time, they often admired the Turks, about whom they had fewer preconceptions. This is a major contribution to reception and post-Restoration ideas about antiquity.
Tirades against legal theatrics are nearly as old as law itself, and yet so is the age-old claim that law must not merely be done: it must be "seen to be done." Law as Performance traces the history of legal performance and spectatorship through the early modern period. Viewing law as the product not merely of edicts or doctrines but of expressive action, it investigates the performances that literally created law: in civic arenas, courtrooms, judges' chambers, marketplaces, scaffolds, and streets. It examines the legal codes, learned treatises, trial reports, lawyers' manuals, execution narratives, rhetoric books, images (and more) that confronted these performances, praising their virtues or denouncing their evils. In so doing, it recovers a long, rich, and largely overlooked tradition of jurisprudential thought about law as a performance practice. This tradition not only generated an elaborate poetics and politics of legal performance. It provided western jurisprudence with a set of constitutive norms that, in working to distinguish law from theatrics, defined the very nature of law. In the crucial opposition between law and theatre, law stood for cool deliberation, by-the-book rules, and sovereign discipline. Theatre stood for deceptive artifice, entertainment, histrionics, melodrama. And yet legal performance, even at its most theatrical, also appeared fundamental to law's realization: a central mechanism for shaping legal subjects, key to persuasion, essential to deterrence, indispensable to law's power, --as it still does today.
Compiled by a team of experts in the field, this volume brings to view an array of Latin texts produced in British universities from c.1500 to 1700. It includes a comprehensive introduction to the production of Neo-Latin and Neo-Greek in the early modern university, the precise circumstances and broader environments that gave rise to it, plus an associated bibliography. 12 high-quality sections, each prefaced by its own short introduction, set forth the Latin (and occasionally Greek) texts and accompanying English translations and notes. Each section provides focused orientation and is arranged in such a way as to ensure the volume's accessibility to scholars and students at all levels of familiarity with Neo-Latin. Passages are taken from documents that were composed in seats of learning across the British Isles, in Oxford, Cambridge, Dublin, Edinburgh and St Andrews, and adduce a wide range of material from orations and disputational theses to collections of occasional verse, correspondence, notebooks and university drama. This anthology as a whole conveys a sense of the extent of Latin's role in the academy and the span of remits in which it was deployed. Far from simply offering a snapshot of discrete projects, the contributions collectively offer insights into the broader culture of the early modern university over an extended period. They engage with the administrative operations of institutions, pedagogical processes and academic approaches, but also high-level disputes and the universities' relationship with the worlds of politics, new science and intellectual developments elsewhere in Europe.
Enlightened Oxford aims to discern, establish, and clarify the multiplicity of connections between the University of Oxford, its members, and the world outside; to offer readers a fresh, contextualised sense of the University's role in the state, in society, and in relation to other institutions between the Williamite Revolution and the first decade of the nineteenth century, the era loosely describable (though not without much qualification) as England's ancien regime. Nigel Aston asks where Oxford fitted in to the broader social and cultural picture of the time, locating the University's importance in Church and state, and pondering its place as an institution that upheld religious entitlement in an ever-shifting intellectual world where national and confessional boundaries were under scrutiny. Enlightened Oxford is less an inside history than a consideration of an institutional presence and its place in the life of the country and further afield. While admitting the degree of corporate inertia to be found in the University, there was internal scope for members so inclined to be creative in their teaching, open new research lines, and be unapologetic Whigs rather than unrepentant Tories. For if Oxford was a seat of learning rooted in its past - and with an increasing antiquarian awareness of its inheritance - yet it had a surprising capacity for adaptation, a scope for intellectual and political pluralism that was not incompatible with enlightened values.
Fulke Greville's reputation has always been overshadowed by that of his more famous friend, Philip Sidney, a legacy due in part to Greville's complex moulding of his authorial persona as Achates to Sidney's Aeneas, and in part to the formidable complexity of his poetry and prose. This volume seeks to vindicate Greville's 'obscurity' as an intrinsic feature of his poetic thinking, and as a privileged site of interpretation. The seventeen essays shed new light on Greville's poetry, philosophy, and dramatic work. They investigate his examination of monarchy and sovereignty; grace, salvation, and the nature of evil; the power of poetry and the vagaries of desire, and they offer a reconsideration of his reputation and afterlife in his own century, and beyond. The volume explores the connections between poetic form and philosophy, and argues that Greville's poetic experiments and meditations on form convey penetrating, and strikingly original contributions to poetics, political thought, and philosophy. Highlighting stylistic features of his poetic style, such as his mastery of the caesura and of the feminine ending; his love of paradox, ambiguity, and double meanings; his complex metaphoricity and dense, challenging syntax, these essays reveal how Greville's work invites us to revisit and rethink many of the orthodoxies about the culture of post-Reformation England, including the shape of political argument, and the forms and boundaries of religious belief and identity.
The experimental and diverse writing of John Milton's early career offers tanatalising evidence of a precocious and steadily ripening author. This book explores these writings, including 'Lycidas' and 'The Passion'.
Is it possible to create a community where everyone lives according to their own rhythm, and yet respects the individual rhythms of others? This volume contains new essays which investigate and actualize the concepts that Roland Barthes discussed in his famous 1977 lecture series on "How to Live Together" at the Collège de France. The anthology presents original and thought-provoking approaches to questions of conviviality and "idiorrhytmic life forms" in literature, arts and other media. The essays are written by 32 highly competent scholars from seven countries, representing literary studies, philosophy, social sciences, theology, church history, psychoanalysis, art history, architecture, media studies, history of ideas, and biology.
Referencing early modern English play texts alongside contemporary records, accounts and statutes, this study offers an overdue assessment of the relationship between the dramatic efforts of the universities and early modern male identity. Taking into account the near single-sex constitution of early modern universities, the book argues that performances of university plays, and student responses to them, were key ways of exploring and shaping early modern masculinity. Christopher Marlow shows how the plays dealt with their academic and social contexts, and analyses their responses to competing versions of masculinity. He also considers the implications of university authority and royal patronage for scholarly performances of masculinity; the effect of the literary traditions of classical friendship and platonic love on academic representations of male behaviour; and the relationship between university drama and masculine initiation rituals. Including discussion of the Parnassus trilogy, Club Law and works by Thomas Randolph, William Cartwright, John Milton and others, this study shines new light on long neglected aspects of the golden age of English drama.
