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Sara Pennell and Michelle DiMeo

, ‘“Sweet secrets” from occasional receipt to specialised books: the growth of a genre’, in C. Anne Wilson (ed.), ‘Banquetting Stuffe’: The Fare and Social Background of the Tudor and Stuart Banquet (Edinburgh: Edinburgh University Press, 1991 ), pp. 36–59; and Patricia Fumerton, Cultural Aesthetics: Renaissance Literature and the Practice of Social Ornament

in Reading and writing recipe books, 1550–1800
Reflections on new historicism and cultural materialism
Simon Wortham

However, others do not associate with new historicism this sense of detachment. In the Bloomsbury Guide to Renaissance Literature (1992) edited by Marion Wynne-Davies, the entry for new historicism declares, ‘It is essential to understand that new historicists do not assume that literature reflects reality and that these “reflections” enable the reader to recover without

in Rethinking the university
Censorship, knowledge and the academy
Simon Wortham

criticism become self-identical terms that can be juxtaposed in a stable opposition; the critic is “opposed” to censorship’ (pp. 152–3). As we saw in Chapter 2 , in order to carry out its political criticism, cultural materialism must oppose and expose reactionary standpoints on Renaissance literature and culture by showing them to be politically motivated, thus

in Rethinking the university
Jean R. Brink

poetry supports the likelihood that he seriously considered taking holy orders. Notes 1 See my earlier ‘Literacy and Education’, in A Companion to English Renaissance Literature and Culture , ed. Michael Hattaway (Oxford: Blackwell Publishers, 2000), 95–105. 2

in The early Spenser, 1554–80
Essex and Ireland
Chris Butler and Willy Maley

–144. 77 Richard A. McCabe, ‘Making History: Holinshed’s Irish Chronicles , 1577 and 1587’, in British Identities and English Renaissance Literature , eds David J. Baker and Willy Maley (Cambridge: Cambridge University Press, 2002), pp. 59–60. 78 A. H. Dodd, ‘Wales and the Scottish

in Essex
Open Access (free)
Lucy Munro

, ‘Reading the Body: The Revenger’s Tragedy and the Jacobean Theater of Consumption’, Renaissance Drama, 18 (1987), 121–48; Cavell, ‘“Who Does the Wolf Love?”: Reading Coriolanus’, Representations, 3 (1983), 1–20; Britland, ‘Circe’s Cup: Wine and Women in Early Modern Drama’, in A Pleasing Sinne: Drink and Conviviality in Seventeenth-Century England, ed. by Adam Smyth (Woodbridge: Brewer, 2004), pp. 109–25. For useful overviews of the field see Patricia Cahill, ‘Take Five: Renaissance Literature and the Study of the Senses’, Literature Compass, 6 (2009), 1014–30; Holly

in The senses in early modern England, 1558–1660
Margaret Christian

typological analysis. 1 C. A. Patrides, The Grand Design of God:  The Literary Form of the Christian View of History (London: Routledge, 1972), 17. 2 The Discarded Image:  An Introduction to Medieval and Renaissance Literature (Cambridge: Cambridge University Press, 1964), 174. 65 Allegorical reading in sermon references to history 65 Thus, according to this traditional view, all of history should be read in the context of the Bible, as part of the same God-authored story. “God is the authour of historie,” says Peter Martyr.3 According to Charity, To God’s acts, or at

in Spenserian allegory and Elizabethan biblical exegesis
Petrarch’s Triumphs and the Elizabethan icon
Heather Campbell

Thomas More’s Nyne Pageantes written in 1502. The ‘pageants’ are nine stanzas which More wrote to accompany a set of tapestries of his own design, and they bear a closer relationship to the pictorial tradition than to the poem. For detailed surveys of imitations of the Triumphs in English Renaissance literature see Carnicelli, Tryumphes , pp. 47

in Goddesses and Queens
Monika Fludernik

(Woodbridge: Boydell Press, 2007, pp. 1–34, at p. 1). See in detail Thomas S. Freeman, ‘“ Imitatio Christi with a Vengeance”: The Politicisation of Martyrdom in Early-Modern England’, in Freeman and Mayer (eds), Martyrs and Martyrdom , pp. 35–69, at pp. 43–50. See Julia Reinhard Lupton, Afterlives of the Saints: Hagiography, Typology, and Renaissance Literature (Stanford, CA: Stanford University Press, 1996) as well as Dailey, English Martyr , chs 1, 2. 4

in Enacting the Bible in medieval and early modern drama
Abstract only
Richard James Wood

allegorical reading of Sidney’s Arcadia is Edwin Greenlaw, ‘Sidney’s Arcadia as an Example of Elizabethan Allegory’, in Anniversary Papers by Colleagues and Pupils of George Lyman Kittredge (Boston, MA: Ginn, 1913), pp. 327–37. See also Blair Worden’s The Sound of Virtue: Philip Sidney’s Arcadia and Elizabethan Politics (New Haven: Yale University Press, 1996). For an allegorical interpretation of Sidney’s two Arcadia s that is also sensitive to Sidney’s use of pastoral and epic forms, see Kenneth Borris’s Allegory and Epic in English Renaissance Literature

in Sidney's Arcadia and the conflicts of virtue