In 1997, Stuart Clark published the first monograph since the time of Jules Michelet to focus on pre-modern ideas about witches. The language of belief in witchcraft studies betrays an anachronistic, modernist and dismissive approach to a mental universe quite different from our own. This book makes the male witch visible, to construct him as a historical subject, as a first step toward a deeper understanding of the functions and role of gender in pre-modern European witch-hunting and ideas about witches. The overtly political dimension to the study of witches in early modern Europe demands a high level of consciousness and reflexivity regarding language, representation, and meaning. William Monter provides a wealth of data about male witches, in an 'unremarkable province' close to 'the heart of northern and western Europe'. Here, men comprised the majority of those tried and executed for witchcraft. The book examines cases in which men were accused of witchcraft. The examples are drawn from several different regions, in order to test conventional generalisations about male witches. The agency theory posits that actors always have choices; 'agent-centred' morality proposes a novel twist on both traditional Kantian internalist categories. The problems of both male and female witches' agency and selfhood are discussed. The book also presents data compiled from ten canonical works, and a brief discussion of demonological illustrations. Finally, it addresses the question of what it means to label a man as a witch within a framework that explicitly and implicitly feminised witchcraft.
This book discusses early modern English drama as a part of visual culture. It concerns the ideas about 'making and unmaking' that Shakespeare and his contemporaries may have known and formulated, and how these ideas relate to the author's own critical assumptions about early modern aesthetic experience. The study of drama as a part of visual culture offers the perfect context for an exploration of pre-modern aesthetic discourse. The book expounds the author's approach to plays as participants in a lively post-Reformation visual culture in the process of 're-formation'. It then focuses on the social meanings of patronage of the visual arts in a discussion of Paulina as patron of Hermione's image in The Winter's Tale. The discussion of The Winter's Tale pivots around the play's troubling investment in patriarchal notions of 'perfection'. The book also explores image-breaking in Robert Greene's Friar Bacon and Friar Bungay. This play presents an instance of onstage iconoclasm in the supernatural destruction of a demonic brazen head, a quasi-magical figure that had been depicted in English literature since at least the twelfth century. In focusing on the portrayal of invisibility in The Two Merry Milkmaids, the book explores early modern preoccupation with processes of visual construction in a play in which there is very little artisanal activity.
Subsidy treaties in earlymodern times: the
example of the German principality of
Andreas Flurschütz da Cruz
Subsidy treaties: definitions and contents
During the earlymodern period, German princes collectively received
more subsidies for their troops than any other single state received
at the same time.1 But of course there were variations over time,
as well as variations between the German princes, who were not
the only players in this business: there were also other states in
Europe on the receiving end, such as Denmark and Savoy. This
This book discusses earlymodern
English drama as a part of visual culture. But what is visual culture,
and why use this phrase in place of the ‘fine arts’ or the
‘visual arts’? In part, this choice is motivated by
my concern with exploring the plays in their historical contexts.
Shakespeare and his contemporaries would not have recognised the phrase
‘fine arts’. Nor would
By expanding the geographical scope of the history of violence and war, this
volume challenges both Western and state-centric narratives of the decline of
violence and its relationship to modernity. It highlights instead similarities
across early modernity in terms of representations, legitimations, applications
of, and motivations for violence. It seeks to integrate methodologies of the
study of violence into the history of war, thereby extending the historical
significance of both fields of research. Thirteen case studies outline the
myriad ways in which large-scale violence was understood and used by states and
non-state actors throughout the early modern period across Africa, Asia, the
Americas, the Atlantic, and Europe, demonstrating that it was far more complex
than would be suggested by simple narratives of conquest and resistance.
Moreover, key features of imperial violence apply equally to large-scale
violence within societies. As the authors argue, violence was a continuum,
ranging from small-scale, local actions to full-blown war. The latter was
privileged legally and increasingly associated with states during early
modernity, but its legitimacy was frequently contested and many of its violent
forms, such as raiding and destruction of buildings and crops, could be found in
activities not officially classed as war.
This book attempts to interrogate the literary, artistic and cultural output of early modern England. Following Constance Classen's view that understandings of the senses, and sensory experience itself, are culturally and historically contingent; it explores the culturally specific role of the senses in textual and aesthetic encounters in England. The book follows Joachim-Ernst Berendt's call for 'a democracy of the senses' in preference to the various sensory hierarchies that have often shaped theory and criticism. It argues that the playhouse itself challenged its audiences' reliance on the evidence of their own eyes, teaching early modern playgoers how to see and how to interpret the validity of the visual. The book offers an essay on each of the five senses, beginning and ending with two senses, taste and smell, that are often overlooked in studies of early modern culture. It investigates Robert Herrick's accounts in Hesperides of how the senses function during sexual pleasure and contact. The book also explores sensory experiences, interrogating textual accounts of the senses at night in writings from the English Renaissance. It offers a picture of early modern thought in which sensory encounters are unstable, suggesting ways in which the senses are influenced by the contexts in which they are experienced: at night, in states of sexual excitement, or even when melancholic. The book looks at the works of art themselves and considers the significance of the senses for early modern subjects attending a play, regarding a painting, and reading a printed volume.
Defending poetry, or, is there an earlymodern aesthetic?
Is there an earlymodern aesthetic?
What does one call the space currently occupied by aesthetics before aesthetics emerges?
This question appears within the space occupied by what has become known in certain
literary-critical circles as the earlymodern period, broadly defined as 1500–1700.1
Formulation of the idea of the earlymodern can be taken as an exemplary moment in
the permeation of a ‘new’ historicism through literary studies since the early 1980s,
The spoken word
Language, literacy and aspects of identity in earlymodern Wales
Language, literacy and aspects of
identity in earlymodern Wales
Richard Suggett and Eryn White
The history of the spoken word in earlymodern Britain involved the changing
fortunes of seven or eight languages. The related English and Scots tongues
expanded socially and geographically eroding Scottish Gaelic and reducing
Cornish and Norse (spoken in Orkney and Shetland), and later Manx, to the
point of extinction. Irish and Welsh proved the most resilient
Kinship, poor relief and
the welfare process in
The poor in England
Kinship, poor relief and the welfare process
Overview – the ‘problem’ of kinship
Historiographical writing on the depth and functionality of kinship
in earlymodern England is limited. It is also contradictory. On
the extent and depth of kinship networks, for instance, early commentators such as Peter Laslett were clear that English households
tended to be relatively small and simple and that, because of
demographic constraint (migration, ‘background
This is a companion to Pastoral poetry of the English Renaissance: An anthology (2016), the largest ever collection of its kind. The monograph-length Introduction traces the course of pastoral from antiquity to the present day. The historical account is woven into a thematic map of the richly varied pastoral mode, and it is linked to the social context, not only by local allegory and allusion but by its deeper origins and affinities. English Renaissance pastoral is set within the context of this total perspective. Besides the formal eclogue, the study covers many genres: lyric, epode, georgic, country-house poem, ballad, romantic epic, drama and prose romance. Major practitioners like Theocritus, Virgil, Sidney, Spenser, Drayton and Milton are discussed individually. The Introduction also charts the many means by which pastoral texts circulated during the Renaissance, with implications for the history and reception of all Early Modern poetry. The poems in the Anthology have been edited from the original manuscripts and early printed texts, and the Textual Notes comprehensively document the sources and variant readings. There are also notes on the poets and analytical indices of themes, genres, and various categories of proper names. Seldom, if ever, has a cross-section of English Renaissance poetry been textually annotated in such detail.