Formal Matters is intended as an exploration of the emerging and potential links in early modern literary and cultural studies between the study of material texts on the one hand, and the analysis of literary form on the other. The essays exemplify some of the ways in which an attention to the matter of writing now combines in critical practice with the questioning of its forms: how an interest in forms might combine with an interest in the material text and, more broadly, in matter and things material. Section I, ‘Forming literature’, makes literary and sub-literary forms its focus, examining notions of authorship; ways of reading, consuming, and circulating literary and non-literary material; and modes of creative production and composition made possible by the exigencies of specific forms. Section III, ‘The matters of writing’, examines forms of writing, both literary and non-literary, that grapple with other fields of knowledge, including legal discourse, foreign news and intelligence, geometry, and theology. At stake for the authors in this section is the interface between discourses encoded in, and even produced through, specific textual forms.Linking these two sections are a pair of essays take up the subject of translation, both as a process that transforms textual matter from one formal and linguistic mode to another and as a theorization of the mediation between specific forms, materials, and cultures.
This collection of sixteen essays, the first devoted to John Derricke’s work,
offers new readings of, and new sources behind, The Image of Irelande: With a
Discoverie of Woodkarne (1581), all to better explicate facets of this difficult
and complex book. While prior scholarship on Derricke was largely confined to
commentary on the illustrations, the essays in this volume encompass a broad
range of approaches to the Image of Irelande in its entirety. Although on the
face of it, The Image is blatantly pro-Sidney and anti-Irish propaganda, and has
always been so received, the essays in this collection combine to suggest that
Derricke’s book is in fact far more culturally and politically daring than has
been assumed, with a highly sophisticated textual and visual presentation only
now brought into focus. In addition to scrutinizing Derricke’s poetic and
iconographic practices, the essays include insights from architecture and
archaeology, print history and reading practices, studies of civic display and
colonial ideologies. The collection, divided into five sections (Ideologies,
Archaeologies, Print and publication, Influences, and Interpretations),
establishes a basis on which to build future analyses of Derricke’s enigmatic
This book analyses Anna of Denmark’s material and visual patronage at the Stuart
courts, examining her engagement with a wide array of expressive media including
architecture, garden design, painting, music, dress, and jewellery. Encompassing
Anna’s time in Denmark, England, and Scotland, it establishes patterns of
interest and influence in her agency, while furthering our knowledge of
Baltic-British transfer in the early modern period. Substantial archival work
has facilitated a formative re-conceptualisation of James and Anna’s
relationship, extended our knowledge of the constituents of consortship in the
period, and has uncovered evidence to challenge the view that Anna followed the
cultural accomplishments of her son, Prince Henry. This book reclaims Anna of
Denmark as the influential and culturally active royal woman that her
contemporaries knew. Combining politics, culture, and religion across the courts
of Denmark, Scotland, and England, it enriches our understanding of royal
women’s roles in early modern patriarchal societies and their impact on the
development of cultural modes and fashions. This book will be of interest to
upper level undergraduate and postgraduate students taking courses on early
modern Europe in the disciplines of Art and Architectural History, English
Literature, Theatre Studies, History, and Gender Studies. It will also attract a
wide range of academics working on early modern material and visual culture, and
female patronage, while members of the public who enjoy the history of courts
and the British royals will also find it distinctively appealing.
we don’t have to layer past and present on top of one another to
create a hybrid montage. As a vision of Rome’s possible future the
picture of cows lowing in the Forum is simply and literally true. In
Archaeologies of EnglishRenaissanceLiterature , Philip
Schwyzer makes the following observation about a group of English
Renaissance treatments of ruin, including Shakespeare’s Sonnet
Ralph Knevet's Supplement of the Faery Queene (1635) is a narrative and allegorical work, which weaves together a complex collection of tales and episodes, featuring knights, ladies, sorcerers, monsters, vertiginous fortresses and deadly battles – a chivalric romp in Spenser's cod medieval style. The poem shadows recent English history, and the major military and political events of the Thirty Years War. But the Supplement is also an ambitiously intertextual poem, weaving together materials from mythic, literary, historical, scientific, theological, and many other kinds of written sources. Its encyclopaedic ambitions combine with Knevet's historical focus to produce an allegorical epic poem of considerable interest and power. This new edition of Knevet's Supplement, the first scholarly text of the poem ever published, situates it in its literary, historical, biographical, and intellectual contexts. An extensive introduction and copious critical commentary, positioned at the back of the book, will enable students and scholars alike to access Knevet's complicated and enigmatic meanings, structures, and allusions.
1994), pp. 1–10, 113–66.
For in-depth discussion of this controversy, see Andrew Murphy,
‘Revising Criticism: Ireland and the British Model’, in David J. Baker and
Willy Maley (eds), British Identities and EnglishRenaissanceLiterature (Cambridge:
Cambridge University Press, 2002), pp. 24–36, and Patricia Parker, Language and
Conquest in Early Modern Ireland: EnglishRenaissanceLiterature and Elizabethan Imperial
Expansion (Cambridge: Cambridge University
most of the Protestant leaders themselves would have wished – and especially those for whom the transference of the Virgin’s aura to the Queen of
England was a powerful political tool. Interestingly, however, in Ralegh’s
poem, there are powerful traces of what was increasingly becoming a
fragmented, even lost world. The poem contains echoes of the devotion
15 Grace Tiffany, Love’s Pilgrimage: The Holy Journey in EnglishRenaissanceLiterature
(Newark: University of Delaware Press, 2005), 118, 28–34.
16 The Poems of Sir Philip Sidney, ed. William A
‘Of magic look and meaning’: themes concerning the cultural chess-player
definition of ‘Automaton’, quoted in W. B. Hyman,
‘Introduction’, in W. B. Hyman (ed.), The Automaton in EnglishRenaissanceLiterature
(Farnham: Ashgate, 2011), p. 5.
A cultural history of chess-players
6 ‘Acknowledgements’, in A. S. Mittman (ed.) with P. Dendle, The Ashgate Research
Companion to Monsters and the Monstrous (Farnham: Ashgate, 2012), p. xxii.
7 D. H. Li, The Genealogy of Chess (Bethesda, MD: Premier Publishing, 1998).
8 H. Golombek, A History of Chess (London: Routledge, 1976), p. 10.
9 R. Eales, Chess: The History of a Game (Glasgow
It therefore follows that we cannot separate what writers wrote from their identities, one obvious reason why it is important to understand how people existed in the past.
EnglishRenaissanceliterature, like the early modern lives of those who wrote it, is saturated with class consciousness. Most obviously writers endured the anxiousness generated by their insecure status: most were younger sons who had not inherited property and had to make use of their education and live by their wits, making them socially
literature, see Christopher Ivic, ‘Mapping British identities: John Speed’s Theatre of the Empire of Great Britaine ’, in David J. Baker and Willy Maley (eds), British Identities and EnglishRenaissanceLiterature (Cambridge: Cambridge University Press, 2002), 135–55.
24 Speed, Theatre of the Empire of Great Britaine , 131.
25 Anderson, Imagined Communities , 19.
26 Helgerson, Forms of Nationhood , 128, 145.
27 Speed, Theatre of the Empire of Great Britaine , 4. The Theatre ’s maps are not paginated; the map of Scotland appears between pages 131 and