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Gender and religious change in early modern Europe

Under the combined effects of the Protestant and Catholic Reformations within and pressure from the Ottoman Empire without, early modern Europe became a site in which an unprecedented number of people were confronted by new beliefs, and collective and individual religious identities were broken down and reconfigured. Conversions: gender and religious change in early modern Europe is the first collection to explicitly address the intersections between sexed identity and religious change in the two centuries following the Reformation. The varied and wide-ranging chapters in this collection bring the Renaissance 'turn of the soul' into productive conversation with the three most influential ‘turns’ of recent literary, historical, and art historical study: the ‘turn to religion’, the ‘material turn’, and the ‘gender turn’. Contributors consider masculine as well as feminine identity, and consider the impact of travel, printing, and the built environment alongside questions of genre, race and economics. Of interest to scholars of early modern history, literature, and architectural history, this collection will appeal to anyone interested in the vexed history of religious change, and the transformations of gendered selfhood. Bringing together leading scholars from across the disciplines of literary study, history and art history, Conversions: gender and religious change offers novel insights into the varied experiences of, and responses to, conversion across and beyond Europe. A lively Afterword by Professor Matthew Dimmock (University of Sussex) drives home the contemporary urgency of these themes, and the lasting legacies of the Reformations.

John Drakakis

a little while agoe, but now just of Galens religion, and so much the fitter for my Lords humour: for his Lordship doth always covet, to be furnished with certaine chosen men about him, for divers affaires: as these two Galenists for agents in the Vniversity. Dee and Allen (two Atheists) for figuring and conjuring: Iulio the Italian and Lopus the Jew, for poisoning, and for the art of destroying children in Womens bellies: Verneis for murdering: Dogbies for Bawds : and the like other

in Shakespeare’s resources
Theatre, form, meme and reciprocity
John Drakakis

), p. 94. 58 Kenneth Muir, Shakespeare’s Sources , vol. 1 (London, 1957), p. 8. 59 Greenblatt, Shakespearean Negotiations , p. 112. 60 Ibid. , pp. 113–14. 61 Samuel Harsnett, A Declaration of egregious Popish Impostures, to with-draw the harts of her Maiesties Subiects from their alleagance, and from the truth of Christian Religion professed in England, vnder pretence of casting out deuils

in Shakespeare’s resources
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John Drakakis

collated from other texts, usually in the dominant culture’. Her concern is to ask questions about ‘the “little” culture (paradoxically that of the vast majority) primarily recreational, or at most at the convergence of recreation and religion’ (p. 33). These popular cultural forms, replete with the ideology that held them in place, were also dependent upon language, or, more precisely, ‘speech’. See especially, Terence Hawkes, Shakespeare’s Talking Animals: Language and Drama in Society (London, 1973), pp. 41

in Shakespeare’s resources
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John Drakakis

: Capitalism and Schizophrenia , trans. Brian Massumi (London, 1987), p. 16. 67 Ibid. , p. 14. 68 Fulke Greville, Lord Brooke, ‘A Treatise on Monarchy’, The Remaines Being Poems of Monarchy and Religion , ed. G.A. Wilkes (Oxford, 1965), p. 45. See also an extension of this in the writing of Fulke Greville in Streete, Protestantism and Drama , p. 93. 69 Ovid, The Metamorphoses , trans. Arthur Golding, ed. John Frederick Nimms (New

in Shakespeare’s resources
The Earl of Essex, Sir Philip Sidney and surviving Elizabeth’s court
Richard Wood

and its code’; ‘it was the last honour revolt’; Essex himself, a product of his ‘aristocratic lineage, his military career, and the tradition he inherited’, was ‘a paradigm of honour’. 5 Moreover, a dominant feature of Essex’s make-up, according to James, was a new chivalric romanticism, ‘a synthesis of honour, humanism and religion’, inherited from Sir Philip Sidney and epitomised by his prose

in Essex
Macbeth and the politics of language
Christopher Highley

in a speech to the English parliament, James I declared (not for the first or last time), that God had united the kingdoms of England and Scotland ‘in Language, Religion, and similitude of manners’. 2 The idea that England and Scotland shared one language had long been asserted by those on both sides of the Tweed who supported closer ties between the two countries. Once Anglo-Scottish integration

in Shakespeare and Scotland
Conflicted conflicts in Astrophil and Stella and the New Arcadia
Richard James Wood

The martial adventures of the New Arcadia have produced a good deal of critical opinion about what such knightly escapades might suggest about Sidney’s political philosophy. Sidney’s position, as a well-connected courtier who opposed Elizabeth’s marriage to Anjou and who favoured a more active foreign policy in defence of the Protestant religion, provides a ready point of departure for such discussions. In this chapter, I engage with the strand of critical thought that finds there to be a mismatch between the chivalric ethos of the New Arcadia and Sidney

in Sidney's Arcadia and the conflicts of virtue
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Poetic traditions and satiric effects
Peter J. Smith

the beginning of A Tale of a Tub, Swift talks about how Leviathan ‘tosses and plays with all schemes of Religion and Government, whereof a great many are hollow, and dry, and empty, and noisy, and wooden’. 25 In ‘On Poetry: A Rhapsody’, Swift sounds convinced by the philosopher’s theory of internecine pessimism: ‘Hobbes clearly proves that every creature / Lives in a state of war by nature’ (ll

in Between two stools
Yulia Ryzhik

While the two most influential literary-historical accounts of the reasons devotional poetry came to flourish in seventeenth-century England remain Louis Martz’s The Poetry of Meditation (1962) and Barbara Lewalski’s Protestant Poetics and the Seventeenth-Century Religious Lyrics (1979), in recent years the question of what led to the flourishing of seventeenth-century devotional poetry in England has received new emphasis. For instance, Kimberly Coles’s Religion, Reform, and Women’s Writing in Early Modern England (2008) challenges Lewalski’s category of

in Spenser and Donne