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Jemma Field

5 Representation and self-fashioning In 1614, Marcus Gheeraerts the Younger was commissioned to paint a full-length portrait of Anna of Denmark. The choice of artist was logical – Gheeraerts was a painter to the court and had painted Anna’s portrait from as early as 1609 – but the portrait he painted in 1614 was little short of radical.1 Now in the collection of the Duke of Bedford and hanging at Woburn Abbey, the portrait is larger than life (212 x 127 cm) and the canvas is dominated by the figure of the queen in formal court dress (Figure 5.1). The scale

in Anna of Denmark
Greene, Sidney, Donne and the evolution of posthumous fame

English literary afterlives covers the Renaissance treatment of the posthumous literary life. It argues for the emergence of biographical reading practices during the sixteenth and seventeenth centuries, as early readers attempted to link the literary output of dead authors to their personal lives. Early modern authors’ complex attitudes to print, and their attempts to ‘fashion’ their own careers through their writings, have been well documented. This study, by contrast, explores how authors and their literary reputations after their deaths were fashioned (and sometimes appropriated) by early modern readers, publishers and printers. It examines the use of biographical prefaces in early modern editions, the fictional presentation of historical poets, pseudo-biography, as well as more conventional modes such as elegy and the exemplary life. By analysing responses to a series of major literary figures after their deaths – Geoffrey Chaucer, Philip Sidney, Robert Greene, Edmund Spenser, John Donne and George Herbert – English literary afterlives charts the pre-history of literary biography in the period and presents a counternarrative to established ideas of authorial emergence through self-fashioning. The book is aimed at scholars and students of the individual authors covered (Sidney, Spenser, Greene, Donne and Herbert), as well as readers interested in book history, reception history, authorship and life-writing.

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The material and visual culture of the Stuart Courts, 1589–1619

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.

Susan Nash

This article explores the process of female self-fashioning in two previously neglected petitions dated 1786-87 by using signatures to analyse their texts and construct their contexts. In them, Helen Timberlake revises the account of frontier and Cherokee life her husband, Henry Timberlake, had published in his Memoirs (1765). Her intense maternal voice, focused on loss, entangles her history with that of the Cherokee chief Ostenaco, providing a grounded but often untrue narrative of shared family life and a persona tailored to evoke a history intertwined with that of George III. This article explores the mystery of Helen Timberlakes origins, while connecting the rhetoric of her petitions to the gendered emergence of sentimentalism, narratives of Indian captivity, and the historiography of ‘the Atlantic’.

Bulletin of the John Rylands Library

This book explores how the publication of women’s life writing influenced the reputation of its writers and of the genre itself during the long nineteenth century. It provides case studies of Frances Burney, Mary Wollstonecraft, Mary Robinson and Mary Hays, four writers whose names were caught up in the debates surrounding the moral and literary respectability of publishing the ‘private’ through diaries, letters, memoirs and auto/biography. Focusing on gender, genre and authorial reputation, the book examines key works, such as Frances Burney’s Diary and Letters of Madame D’Arblay (1842–46), Mary Wollstonecraft’s Letters Written During a Short Residence in Sweden, Norway, and Denmark (1796), William Godwin’s Memoirs of the Author of a Vindication of the Rights of Woman (1798), Mary Robinson’s Memoirs (1801), and Mary Hays’s Female Biography (1803), as well as responses to these texts in a range of non-canonical material such as essays, reviews, novels, poetry, multibiographies, illustrated fiction and later biographies. It also considers print runs, circulation figures, pricing and reprinting patterns. Using both qualitative and quantitative data, the book argues for the importance of life writing – a crucial site of affective identification – in shaping authorial reputation and afterlife. It also reveals the innovative contributions of these women to the genre of life writing. The book ultimately helps to construct a fuller, more varied picture of the literary field in the long nineteenth century and the role of both women writers and their life writing within it.

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Felicity Chaplin

21 In iconographical terms, there are three motifs associated with la Parisienne as muse: she is depicted as inhabiting an artistic milieu; she is the subject of portraiture; and she is sui generis or self-fashioning. In her essay on Édouard Manet’s The Parisienne, Françoise TétartVittu writes: ‘From Nina de Callias … to Valtesse de La Bigne and Méry Laurent, Parisiennes were fashionable, chic, and beautiful women who moved freely in the artistic circles of Paris’ (78). According to Vincent Cronin, during the Belle Époque Parisian women ‘played an influential role

in La Parisienne in cinema
Line Cottegnies

sonneteer of love’ to write in French, a language which Wroth read,14 but Labé was also one of the very first women to write about a female subject expressing her shame. It is unfortunately impossible to establish whether Wroth actually read Labé, but her Pamphilia to Amphilanthus presents interesting similarities with Labé’s sonnets in terms of gender politics and self-fashioning. Both sonnet sequences show how a woman could express herself within a genre coded as ‘male’ and share similar strategies in the appropriation of Petrarchan grammar. Both explicitly stage a

in Early modern women and the poem
Isabella van Elferen

through the carefully laid out safety nets of international culture. The Goth scene would seem to represent both gothic modes. Firstly, the scene, its style and its music are globally spread, and Goths from all over the world connect with one another via websites and social media. Secondly, as Goth self-fashions itself as the dark side of global consumer culture, it subverts the globalised commerce and media it

in Globalgothic
Henry Miller

people saw and valued likenesses of Gladstone and Disraeli, which were to be framed and displayed in homes as symbols of party identity. Portraiture and the self-fashioning of Disraeli So far this chapter has concentrated on cartoons and portraits that personified the Liberal and Conservative parties through Gladstone and Disraeli. However, we should also consider how far the two leaders were able to influence or control these images, which were mostly commercially produced. As the last chapter showed, within limited parameters Palmerston could exert some influence in

in Politics personified
Grotesque selves and self-fashioning in Pope’s Dunciad
Clark Lawlor

6  ‘Chaos dark and deep’: grotesque selves and self-fashioning in Pope’s Dunciad Clark Lawlor Pope and self-fashioning the body Helen Deutsch has productively discussed Pope’s construction of his own body in terms of deformity – one that Pope self-fashioned to his advantage as far as was possible: This poetic attention to sometimes ugly particulars is embodied by the author himself. His physical deformity becomes a vehicle for self-reflection, self-representation, and self-legitimation. The poet’s body is both a trademark of his poetry’s invisible property, and

in Writing and constructing the self in Great Britain in the long eighteenth century