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Forms of jesting in Renaissance England
Adam Smyth

Renaissance corpus. Their poor fit recalls Greenblatt’s description of the application of psychoanalysis to Renaissance literature: a mingling of ‘invitation and denial’, he called it, in which texts seem ‘to invite a psychoanalytical approach and yet turn out to baffle or elude’ it. 94 What is important about Renaissance jokes is in part that they do

in Formal matters
Lyly, euphuism and a history of non-reading (1632–1905)
Andy Kesson

Rowe’s Shakespeare edition and may have capitalised on the suddenly lucrative market for English Renaissance literature, though its updated, contemporary title meant that it was not likely to appeal to professional antiquarians. A 1718 reprint, retitled The False Friend and the Inconstant Mistress, an Instructive Novel, to Which is Added ‘Love’s Diversion’, removed

in John Lyly and Early Modern Authorship
Kate McLuskie and Kate Rumbold

a gift from serious and principled people to those whose leisure might, they feared, ‘be limited to the reading of penny, three penny or even sixpenny newspapers’. 12 Their sense that culture resided in texts and was inherently connected to the cultural capabilities of those who engaged with it made them insist that education in Shakespeare and Renaissance literature must address the ‘full

in Cultural value in twenty-first-century England
A Scottish king for an English throne
Susan Doran

and empire: the Scottish politics of civilization 1519–1609’, Past and Present, 150 (1996), 46–83 (esp. pp. 47–52). 20 Raphael Holinshed, The Chronicles of England, Scotlande, and Irelande (London, 1587), vol. 2, p. 72 (online edition p. 71). 21 Andrew Hadfield, ‘Bruited abroad: John White and Thomas Harriot’s colonial representations of ancient Britain’, in David J. Baker and Willy Maley (eds), British Identities and English Renaissance Literature (Cambridge, 2002), pp. 159–77 (esp. pp.166–73). See also Lucas de Heere’s drawings (1575) of Scottish Highlanders

in Doubtful and dangerous
The language of loyalty
Edward Vallance

. Wymer (eds), Neo-Historicism: Studies in Renaissance Literature, History and Politics (Studies in renaissance literature, 5, 2000), ch. 9. 12 Zwicker, ‘Politics of affectivity’, p. 212. 13 Matthew McCormack, ‘Rethinking “loyalty” in eighteenth-century Britain’, Journal for Eighteenth-Century Studies , 35 (2012), 409–11. See also F. O’Gorman and A. Bradstock, ‘Loyalism and the British world: overviews, themes and linkages’, in Bradstock and O’Gorman (eds

in Loyalty, memory and public opinion in England, 1658–​1727
Victoria Coldham-Fussell

and Spenser were at least partly inspired by medieval traditions of parody. 103 Subversive recontextualisations of romance formulae in Renaissance literature may announce a break with the past, but they can equally testify to a keen responsiveness to ironies embedded within the medieval romance tradition. Christianity and humour Despite the attractive idea of a ‘Merry England’ unburdened by post-Reformation notions of propriety, it was during the Middle Ages that ‘Christ never laughed’ was proverbial. As a late-fourteenth-century Wycliffite sermon reminds us

in Comic Spenser
Simon Wortham

-Reaganite and post-Thatcherite) state. Thus censorship and criticism become self-identical terms that can be juxtaposed in a stable opposition; the critic is “opposed” to censorship.’6 Price_09_Ch9 181 14/10/02, 9:50 am 182 Francis Bacon’s New Atlantis Of course, cultural materialists must oppose and expose, too, reactionary standpoints on Renaissance literature and culture by showing them to be politically motivated, thus revealing their ostensible apoliticism as an ideological smokescreen. As the foreword to Political Shakespeare puts it, cultural materialism ‘does

in Francis Bacon’s New Atlantis
Helen Hackett

10/15/2013 12:52:54 PM helen hackett 34 Fowler, verse miscellany, folios 185v–6r; Aldrich-Watson, Verse Miscellany, p. 141. Fanshawe’s poem perhaps also alludes to the praise of the swans of Trent in ‘The sheapherd’s sirena’ by Michael Drayton, former client of Lord Aston. 35 Spenser, ‘Prothalamion’, line 6. 36 Clifford, Tixall Poetry, p. 215. 37 See H. Hackett, ‘The Aston–Thimelby circle at home and abroad: localism, national identity and internationalism in the English Catholic community’, in D. Coleman (ed.), Region, Religion and English Renaissance

in Early modern women and the poem
Exemplarity, female complaint and early modern women’s poetry
Rosalind Smith

Exemplarity in Renaissance Literature, Cornell University Press, Ithaca, 1990, p. 5. 11 Ibid., p. 23. 12 Munday, A View of Sundry Examples, folio B2r. 13 Craik, ‘Shakespeare’s A Lover’s Complaint’, p. 449. 14 Ibid., p. 457. 15 See J. Wiltenburg, Disorderly Women and Female Power in the Street Literature of Early Modern England and Germany, University of Virginia Press, Charlottesville, 1992, pp. 215–16; S. Clark, Women and Crime in the Street Literature of Early Modern England, Palgrave Macmillan, Basingstoke, 2004, pp. 91–2; S. A. Kane, ‘Wives with knives: early

in Early modern women and the poem
Ekphrastic encounters in Kyd’s The Spanish Tragedy
Richard Meek

2 ‘Fabulously counterfeit’: ekphrastic encounters in Kyd’s The Spanish Tragedy Richard Meek One of the more explicit references to the paragone in Renaissance literature appears in Shakespeare’s Sonnet 16. Like several of the poems in the sequence, Sonnet 16 self-consciously reflects upon the speaker’s attempts to represent the friend in verse, or what the poet playfully refers to as his ‘barren rhyme’.1 But this particular sonnet also sets up a further comparison between poetry and the visual arts. The speaker proposes that the friend’s living offspring will

in Ekphrastic encounters