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Writing, politics, and culture in England, 1639– 89

Aesthetics of contingency provides an important reconsideration of seventeenth-century literature in light of new understandings of the English past. Emphasising the contingency of the political in revolutionary England and its extended aftermath, Matthew Augustine challenges prevailing literary histories plotted according to structural conflicts and teleological narrative. In their place, he offers an innovative account of imaginative and polemical writing, in an effort to view later seventeenth-century literature on its own terms: without certainty about the future, or indeed the recent past. In hewing to this premise, the familiar outline of the period – with red lines drawn at 1642, 1660, or 1688 – becomes suggestively blurred. For all of Milton’s prophetic gestures, for all of Dryden’s presumption to speak for, to epitomise his Age, writing from the later decades of the seventeenth century remained supremely responsive to uncertainty, to the tremors of civil conflict and to the enduring crises and contradictions of Stuart governance.

A study of major writings from the Personal Rule to the Glorious Revolution and beyond, this book also re-examines the material conditions of literature in this age. By carefully deciphering the multi-layered forces at work in acts of writing and reception, and with due consideration for the forms in which texts were cast, this book explores the complex nature of making meaning in and making meaning out of later Stuart England.

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Remapping early modern literature
Matthew C. Augustine

opportunist Edmund Waller readily suggest – accounts of seventeenth-century literature continue to be hung (one might say hung up) on oppositional frameworks. 2 It is true that whereas our histories once baldly juxtaposed ‘Puritan and Cavalier’, we now possess more modulated studies, for instance, of ‘the writing of the English republic’ and ‘the writing of royalism’. 3 Drawing their evidence from broadsides, newsbooks, diaries, and correspondence as well as from more traditional literary sources, such projects clearly entail a radically revised notion of ‘literature

in Aesthetics of contingency
Steven N. Zwicker

cohort of Marvellians have transformed our understanding of the poet and polemicist, and to have read 249 part iv: afterword seventeenth-century literature with undergraduates and graduate students at Washington University over several decades. They have given patient and generous attention to what must have seemed, at times, a strange and challenging set of preoccupations. Their energies and intellectual engagement, their conversation and their writings – their companionship – have made our common enterprise wonderfully rewarding. 250

in Texts and readers in the Age of Marvell
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Dympna Callaghan

. While this means she bore the blame for the postlapsarian condition, this also made her, as Elizabeth Hodgson shows in ‘A “Paraditian Creature”: Eve and her unsuspecting garden in seventeenth-century literature’, a more interesting character for early modern writers of both sexes, a figure in whom they seem much more invested than her allegedly less sinning husband. Hodgson

in Biblical women in early modern literary culture 1550–1700
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Discovering biblical women in early modern literary culture, 1550–1700
Victoria Brownlee and Laura Gallagher

York : Columbia University Press . Galdon , J.A. ( 1975 ) Typology and Seventeenth-Century Literature . Paris : Mouton . Garter , T. ( 1578 ) The commody of the moste vertuous and godlye Susanna . London : Hugh Jackson . Gerrish , B.A. ( 1982 ) The

in Biblical women in early modern literary culture 1550–1700
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Making novel readers
Gerd Bayer

Milton, John Bunyan, Francis Bacon, or Thomas Browne, thus reaffirming the existing canon.5 The impressively comprehensive The Seventeenth-Century Literature Handbook (2010) also does not include prose fiction in its discussion of the major genres and movements of the century.6 Even more remarkably, the book’s section on ‘Key Critical Concepts and Topics’ avoids mention of prose fiction, concentrating instead on drama and poetry. Yet the book’s discussion of ‘Changes in the Canon’ describes three areas of critical interest:  looking at neglected works by established

in Novel horizons
Jean-François Baillon

Interview with Steven Millhauser’, Transatlantica 1 ( ). Fish, S. (1972), Self-Consuming Artifacts: the Experience of Seventeenth-Century Literature , Berkeley: University of California Press

in Monstrous media/spectral subjects
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Christopher D’Addario

readers of Marvell, and indeed of seventeenth-century literary culture more broadly, Steven Zwicker. All of the pieces that follow are influenced by Zwicker’s invigorating and career-long attention to refining and redefining the precise historical circumstances out of and into which seventeenth-century literature has been produced.10 His work on John Dryden and Andrew Marvell, among others, consistently reveals a remarkable sensitivity to the variety of ideological registers in play at a given moment, to the specific ways in which authors activated and manipulated these

in Texts and readers in the Age of Marvell
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Spenser, Donne, and the trouble of periodization
Yulia Ryzhik

stark, and certainly gestures have been made to complicate the well-worn dichotomies between sixteenth- and seventeenth-century literature and history. 31 Studies in early modern English literature have produced unusual and illuminating pairings between major authors: Shakespeare and Spenser, Shakespeare and Donne, Milton and Donne, and even Spenser and Jonson. 32 Likewise encouraging are recent re-evaluations of Spenser and Donne individually that question the standard view of each author 33 and fresh, unconventional pairings of their works in article

in Spenser and Donne
Leila Watkins

childhood in his poetry. See, for example, Leah Sinanoglou Marcus, Childhood and Cultural Despair: A Theme and Variations in Seventeenth-Century Literature (Pittsburgh: University of Pittsburgh Press, 1978) and Edmund Newey, ‘“God made man greater when he made him less”: Traherne's iconic child’, Literature & Theology 24 (2010), 227–41. 15 This and all subsequent quotations of Traherne's poetry are taken from Jan Ross (ed.), The

in Positive emotions in early modern literature and culture