Edgar Wood and Middleton are closely entwined. Until his fifties, Wood engaged in
the life of his native town, while his architecture gradually enriched its
heritage. The paper begins with Woods character and gives an insight into his
wider modus operandi with regard to fellow practitioners. A stylistic appraisal
of his surviving Middleton area buildings draws attention to his individual
development of Arts and Crafts architecture, a pinnacle of which was Long Street
Methodist Church and Schools. The impact of J. Henry Sellers is examined, and
the emergence of their subsequent modernism is traced through a number of
pioneering designs. Stylistic connections with Charles Rennie Mackintosh of
Glasgow and the Viennese architect Josef Hoffmann imply that Woods experiments
were sometimes part of a wider stylistic development. Finally, a small cluster
of Middleton houses summarizes Woods architectural journey, illustrating his
incremental transition from Arts and Crafts to early Modern Movement
Conrad Gessner (1516–65) was town physician and lecturer at the Zwinglian
reformed lectorium in Zurich. His approach towards the world and mankind was
centred on his preoccupation with the human soul, an object of study that had
challenged classical writers such as Aristotle and Galen, and which remained as
important in post-Reformation debate. Writing commentaries on Aristotles De
Anima (On the Soul) was part of early-modern natural philosophy education at
university and formed the preparatory step for studying medicine. This article
uses the case study of Gessners commentary on De Anima (1563) to explore how
Gessners readers prioritised De Animas information. Gessners intention was to
provide the students of philosophy and medicine with the most current and
comprehensive thinking. His readers responses raise questions about evolving
discussions in natural philosophy and medicine that concerned the foundations of
preventive healthcare on the one hand, and of anatomically specified
pathological medicine on the other, and Gessners part in helping these
Artists’ Printed Portraits and Manuscript Biographies in Rylands English MS 60
Rylands English MS 60, compiled for the Spencer family in the eighteenth century, contains 130 printed portraits of early modern artists gathered from diverse sources and mounted in two albums: 76 portraits in the first volume, which is devoted to northern European artists, and 54 in the second volume, containing Italian and French painters. Both albums of this ‘Collection of Engravings of Portraits of Painters’ were initially planned to include a written biography of each artist copied from the few sources available in English at the time, but that part of the project was abandoned. This article relates English MS 60 to shifting practices of picturing art history. It examines the rise of printed artists’ portraits, tracing the divergent histories of the genre south and north of the Alps, and explores how biographical approaches to the history of art were being replaced, in the eighteenth century, by the development of illustrated texts about art.
The prevailing historiographies of Jewish life in England suggest that religious
representations of the Jews in the early modern period were confined to the
margins and fringes of society by the desacralization of English life. Such
representations are mostly neglected in the scholarly literature for the latter
half of the long eighteenth century, and English Methodist texts in particular
have received little attention. This article addresses these lacunae by
examining the discourse of Adam Clarke (1760/2–1832), an erudite Bible scholar,
theologian, preacher and author and a prominent, respected, Methodist scholar.
Significantly, the more overt demonological representations were either absent
from Clarke‘s discourse, or only appeared on a few occasions, and were vague as
to who or what was signified. However, Clarke portrayed biblical Jews as
perfidious, cruel, murderous, an accursed seed, of an accursed breed and
radically and totally evil. He also commented on contemporary Jews (and
Catholics), maintaining that they were foolish, proud, uncharitable, intolerant
and blasphemous. He argued that in their eternal, wretched, dispersed condition,
the Jews demonstrated the veracity of biblical prophecy, and served an essential
purpose as living monuments to the truth of Christianity.
Toleration, Supersessionism and Judaeo-Centric Eschatology
This article on an early modern pamphlet which can be found in the John Rylands Library Special Collections asserts the importance of John Goodwin’s analysis of Zechariah 13:3 in A Post-Script or Appendix to […] Hagiomastix (1647). I argue that this pamphlet’s significance is not only its emphasis on toleration, but also that it is a striking example of Judaeo-centric millenarian thought in which Zechariah 12–14 is understood as prophesying a future time in which the Jews will be restored to the Land of Israel. I also analyse the pamphlet’s relationship to supersessionism and compare Goodwin’s interpretation with those of Samuel Rutherford, William Prynne, John Owen and, in particular, Jean Calvin. I explain that Goodwin’s use of the analogy of Scripture hermeneutic helps to explain his belief in Judaeo-centric eschatology. I then show how one of Goodwin’s followers, Daniel Taylor, used Judaeo-centric biblical exegesis to petition Oliver Cromwell for Jewish readmission to England.
Formal Matters is intended as an exploration of the emerging and potential links in early modern literary and cultural studies between the study of material texts on the one hand, and the analysis of literary form on the other. The essays exemplify some of the ways in which an attention to the matter of writing now combines in critical practice with the questioning of its forms: how an interest in forms might combine with an interest in the material text and, more broadly, in matter and things material. Section I, ‘Forming literature’, makes literary and sub-literary forms its focus, examining notions of authorship; ways of reading, consuming, and circulating literary and non-literary material; and modes of creative production and composition made possible by the exigencies of specific forms. Section III, ‘The matters of writing’, examines forms of writing, both literary and non-literary, that grapple with other fields of knowledge, including legal discourse, foreign news and intelligence, geometry, and theology. At stake for the authors in this section is the interface between discourses encoded in, and even produced through, specific textual forms.Linking these two sections are a pair of essays take up the subject of translation, both as a process that transforms textual matter from one formal and linguistic mode to another and as a theorization of the mediation between specific forms, materials, and cultures.
This study explores the shared history of the French empire from a perspective of material culture in order to re-evaluate the participation of colonial, Creole, and indigenous agency in the construction of imperial spaces. The decentred approach to a global history of the French colonial realm allows a new understanding of power relations in different locales. Traditional binary models that assume the centralization of imperial power and control in an imperial centre often overlook the variegated nature of agency in the empire. In a selection of case studies in the Caribbean, Canada, Africa, and India, several building projects show the mixed group of planners, experts, and workers, the composite nature of building materials, and elements of different ‘glocal’ styles that give the empire its concrete manifestation. Thus the study proposes to view the French overseas empire in the early modern period not as a consequence or an outgrowth of Eurocentric state building, but rather as the result of a globally interconnected process of empire building.
Thomas Heywood was unusual in the diversity and sheer quantity of his output, and fascinatingly individual in his classicism. This volume offers a ground-breaking investigation of his engagement with the classics across a writing career that spanned more than 40 years. It is the first in-depth study of his classicism, and it features a variety of perspectives. The introduction and twelve essays trace how the classics shaped Heywood’s writing in a wide variety of genres – translation, drama, epyllic and epic verse, compendia, epigrams, panegyrics and pamphlets – and informed both his many pageants and the warship he helped design for Charles I. Close readings demonstrate the depth and breadth of his classicism, establishing the rich influence of continental editions and translations of Latin and Greek texts, early modern mythographies, chronicles and the medieval tradition of Troy as revived by the Tudors. The essays probe Heywood’s habit of juxtaposing different and often disjunctive layers of a capaciously conceived ‘classical tradition’ in thought-provoking ways, attend to his use of the multiplicitous logic of myth to interrogate gender and heroism, and consider the way he turns to antiquity not only to celebrate but also to defamiliarise the theatrical or political present. Different contributions focus on A Woman Killed with Kindness, Oenone and Paris, Loves School, The Rape of Lucrece, Troia Britanica, the Ages plays, Gynaikeion, Pleasant Dialogues and Dramma’s, Apology for Actors and Sovereign of the Seas. Classical reception thus provides an illuminating, productively cross-generic angle for approaching Heywood’s prolific output and idiosyncratic aesthetic.
Seem , M. and
Lane , H.
R. ( Minneapolis,
MN : University of Minnesota
E. ( 2005 ), The Printing Revolution in EarlyModern Europe ( Cambridge :
This book examines laughter in the Shakespearean theatre, in the context of a cultural history of early modern laughter, and looks at various strands of the early modern discourse on laughter, ranging from medical treatises and courtesy manuals to Puritan tracts and jestbook literature. It argues that few cultural phenomena have undergone as radical a change in meaning as laughter, a paradigm shift that can be traced back to the early modern period, which saw some remarkable changes in the culture of laughter. Hitherto, laughter had been mainly regarded as a social corrective that mocked those who transgressed societal norms. The evolving cult of courtly manners that spread throughout Renaissance Europe stigmatised derisive laughter as a sign of vulgarity. Laughter became bound up with questions of taste and class identity. At the same time, humanist thinkers revalorised the status of recreation and pleasure. These developments left their trace on the early modern theatre, where laughter was retailed as a commodity in an emerging entertainment industry. William Shakespeare's plays both reflect and shape these changes, particularly in his adaptation of the Erasmian wise fool as a stage figure and in the sceptical strain of thought that is encapsulated in the laughter evoked in the plays.