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João R. Figueiredo

Commentary by Conrad H. Rawski (Bloomington and Indianapolis: Indiana University Press, 1991), vol. 1, p. 141. 12 Original and translation from A. Bartlett Giamatti, ‘Hippolytus among the Exiles: The Romance of Early Humanism’, in A. Bartlett Giamatti, Exile and Change in Renaissance Literature (New Haven, CT: Yale University Press, 1984), p. 18. 13 Giamatti, Exile and Change. For a more recent assessment of Petrarch’s role in the rebirth of a classical tradition (as opposed to several) that had died and was born again, see C. W. Kallendorf, ‘Renaissance’, in C. W

in Local antiquities, local identities
1641 and the Iberian Atlantic
Igor Pérez Tostado

in English Renaissance Literature, Shakespeare to Milton (New York, 2003), pp. 76–80. 72 D. Shugen, ‘Irishmen, aristocrats and other white barbarians’, Renaissance Quarterly, 50(2) (1997), 495; N. Johnston, Devil and Demonism in Early Modern England (Cambridge, 2006), pp. 40, 227; Tait, Edwards, Lenihan and Pádraig, ‘Early modern Ireland: a history of violence’, p. 27; C. Cannino, ‘The discourse of Hell: Paradise Lost and the Irish rebellion’, Milton Quarterly, 32(1) (1998), 15–23; C. Carlton, Going to the Wars: the Experience of the British Civil Wars, 1638

in Ireland, 1641
Abstract only
Making novel readers
Gerd Bayer

into Shakespeare studies’. Such developments, he continues, might well blur ‘the distinctiveness of the early modern’,70 a risk that Nigel Smith blames on the fact that students of English increasingly encounter only ‘a reduced diet’ of works and writers yet are expected to form an opinion ‘of the variety of Renaissance literature’.71 The spread and depth of field that the New Historicism had promised early modern studies thus seems to have fallen victim to university funding cuts and the resulting streamlining of teaching content, but also to the increasing

in Novel horizons
Setting the mould?
Patrick Collinson

’, in Michael Hattaway, ed., A Companion to English Renaissance Literature and Culture (Oxford, 2000), pp. 58–70. 286

in This England
Nightmares, conscience and the ‘Gothic’ self in Richard III
Elisabeth Bronfen and Beate Neumeier

Drakakis, commenting on Baldick, lists a number of Shakespearean plays that would exemplify such anxieties, but omits Richard III (Drakakis, ‘Introduction’ 8). Generally speaking, Renaissance literature, Shakespeare in particular, provided a rich configuration of resources for Gothic writing of the late eighteenth and early nineteenth centuries; for discussion, see

in Gothic Renaissance
Richard Bellings, James Shirley and Henry Burnell
Marie-Louise Coolahan

sequence in London, Westmeath and Spanish Flanders’, in David Coleman (ed.), Region, religion and English Renaissance literature (Farnham, 2013), pp. 67–85. 60 Marie-Louise Coolahan, ‘Ideal communities and planter women’s writing in ­seventeenth-century Ireland’, Parergon 29:2 (2012), pp. 69–91. 61 Barnaby Rich, The Irish hubbub or, The English hue and crie (London, 1617), pp. 2, 5. GRIBBEN 9781526113245 PRINT.indd 116 20/04/2017 15:33 Renaissance Dublin and literary authorship 117 author’s derisive and corrective social aims. The culture of Renaissance Dublin

in Dublin
Abstract only
Writing for the stage in Restoration Dublin
Stephen Austin Kelly

therefore forgive his and others’ past 22 The term ‘Mere Irish’ was not, as it is sometimes supposed, a pejorative term. ‘Mere’ in this context means ‘pure-blooded’ or ‘whole’ and was used to distinguish the Gaelic Irish from the English-Irish or Old English. The dismissive connotation of ‘mere’ in the contemporary sense (as in, for example, the phrase ‘a mere child’) did not exist in the early modern period. 23 John Kerrigan, ‘Boyle’s Ireland and the British problem, 1641–1679’, in David J. Baker and Willy Maley (eds), British identities and English Renaissance

in Dublin
Abstract only
‘Ariachne’s broken woof’
Janice Valls- Russell, Agnès Lafont and Charlotte Coffin

Pollard, ‘Greek playbooks and dramatic forms in early modern England’, in Allison K. Deutermann and András Kiséry (eds), Formal Matters: Reading the Materials of English Renaissance Literature (Manchester: Manchester University Press, 2013), pp. 99–123. On Hero and Leander, see Chapter 2 (Tania Demetriou) in this volume. 9

in Interweaving myths in Shakespeare and his contemporaries
Janice Valls- Russell

, bilingual editions and translations, and the impact of Greek drama on early modern theatre, see Tanya Pollard, ‘Greek playbooks and dramatic forms in early modern England’, in Allison K. Deutermann and András Kisery (eds), Formal Matters: Reading the Materials of English Renaissance Literature (Manchester: Manchester University Press, 2013), pp. 99–123. On the influence of

in Interweaving myths in Shakespeare and his contemporaries
Eamon Darcy

in early modern Ireland: English Renaissance Literature and Elizabethan Imperial Expansion (Cambridge, 2001); P. Palmer, ‘Interpreters and the politics of translation and traduction in sixteenth-­century Ireland’, IHS 33 (2003), pp. 257–77. 14 For a brief introduction see: M. Braddick and J. Walter, ‘Introduction’, in Braddick and Walter (eds), Negotiating Power, pp. 1–42. 15 Kane, ‘Popular Politics’, pp. 332–3. 16 T. Barnard, ‘“Parlour entertainment in an evening?” Histories of the 1640s’, in M.  Ó Siochrú (ed.), Kingdoms in Crisis: Ireland in the 1640s (Dublin

in Ireland in crisis