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Writing, politics, and culture in England, 1639– 89

Aesthetics of contingency provides an important reconsideration of seventeenth-century literature in light of new understandings of the English past. Emphasising the contingency of the political in revolutionary England and its extended aftermath, Matthew Augustine challenges prevailing literary histories plotted according to structural conflicts and teleological narrative. In their place, he offers an innovative account of imaginative and polemical writing, in an effort to view later seventeenth-century literature on its own terms: without certainty about the future, or indeed the recent past. In hewing to this premise, the familiar outline of the period – with red lines drawn at 1642, 1660, or 1688 – becomes suggestively blurred. For all of Milton’s prophetic gestures, for all of Dryden’s presumption to speak for, to epitomise his Age, writing from the later decades of the seventeenth century remained supremely responsive to uncertainty, to the tremors of civil conflict and to the enduring crises and contradictions of Stuart governance.

A study of major writings from the Personal Rule to the Glorious Revolution and beyond, this book also re-examines the material conditions of literature in this age. By carefully deciphering the multi-layered forces at work in acts of writing and reception, and with due consideration for the forms in which texts were cast, this book explores the complex nature of making meaning in and making meaning out of later Stuart England.

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Remapping early modern literature
Matthew C. Augustine

opportunist Edmund Waller readily suggest – accounts of seventeenth-century literature continue to be hung (one might say hung up) on oppositional frameworks. 2 It is true that whereas our histories once baldly juxtaposed ‘Puritan and Cavalier’, we now possess more modulated studies, for instance, of ‘the writing of the English republic’ and ‘the writing of royalism’. 3 Drawing their evidence from broadsides, newsbooks, diaries, and correspondence as well as from more traditional literary sources, such projects clearly entail a radically revised notion of ‘literature

in Aesthetics of contingency
Author: Hilary Hinds

What was distinctive about the founding principles and practices of Quakerism? This book explores how the Light Within became the organising principles of this seventeenth-century movement, inaugurating an influential dissolution of the boundary between the human and the divine. Taking an original perspective on this most enduring of radical religious groups, it combines literary and historical approaches to produce a fresh study of Quaker cultural practice. Close readings of George Fox's Journal are put in dialogue with the voices of other early Friends and their critics to argue that the ‘light within’ set the terms for the unique Quaker mode of embodying spirituality and inhabiting the world. This study of the cultural consequences of a bedrock belief shows how the Quaker spiritual self was premised on a profound continuity between sinful subjects and godly omnipotence. It will be of interest not only to scholars and students of seventeenth-century literature and history, but also to those concerned with the Quaker movement, spirituality and the changing meanings of religious practice in the early modern period.

Steven N. Zwicker

cohort of Marvellians have transformed our understanding of the poet and polemicist, and to have read 249 part iv: afterword seventeenth-century literature with undergraduates and graduate students at Washington University over several decades. They have given patient and generous attention to what must have seemed, at times, a strange and challenging set of preoccupations. Their energies and intellectual engagement, their conversation and their writings – their companionship – have made our common enterprise wonderfully rewarding. 250

in Texts and readers in the Age of Marvell
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Dympna Callaghan

. While this means she bore the blame for the postlapsarian condition, this also made her, as Elizabeth Hodgson shows in ‘A “Paraditian Creature”: Eve and her unsuspecting garden in seventeenth-century literature’, a more interesting character for early modern writers of both sexes, a figure in whom they seem much more invested than her allegedly less sinning husband. Hodgson

in Biblical women in early modern literary culture 1550–1700
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Discovering biblical women in early modern literary culture, 1550–1700
Victoria Brownlee and Laura Gallagher

York : Columbia University Press . Galdon , J.A. ( 1975 ) Typology and Seventeenth-Century Literature . Paris : Mouton . Garter , T. ( 1578 ) The commody of the moste vertuous and godlye Susanna . London : Hugh Jackson . Gerrish , B.A. ( 1982 ) The

in Biblical women in early modern literary culture 1550–1700
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Making novel readers
Gerd Bayer

Milton, John Bunyan, Francis Bacon, or Thomas Browne, thus reaffirming the existing canon.5 The impressively comprehensive The Seventeenth-Century Literature Handbook (2010) also does not include prose fiction in its discussion of the major genres and movements of the century.6 Even more remarkably, the book’s section on ‘Key Critical Concepts and Topics’ avoids mention of prose fiction, concentrating instead on drama and poetry. Yet the book’s discussion of ‘Changes in the Canon’ describes three areas of critical interest:  looking at neglected works by established

in Novel horizons
Jean-François Baillon

Interview with Steven Millhauser’, Transatlantica 1 ( http://transatlantica.revues.org/5302 ). Fish, S. (1972), Self-Consuming Artifacts: the Experience of Seventeenth-Century Literature , Berkeley: University of California Press

in Monstrous media/spectral subjects
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Jessica L. Malay

Skura, Tudor Autobiography: Listening for Inwardness (2008), p. 2. Earlier, in 1969, Peter Delaney suggested that the way forward in approaching early modern autobiography was to ‘frame a definition [of autobiography] which excludes the bulk of random or incidental self-revelation scattered through seventeenth-century literature’ and prioritizes texts that were ‘primarily written to give a coherent account of the author’s life’. Delaney, British Autobiography in the Seventeenth Century (1969), p. 1 15 Elizabeth Jane Bellamy, ‘Afterward: Intention Redux: Early Modern

in Anne Clifford’s autobiographical writing, 1590–1676
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Christopher D’Addario

readers of Marvell, and indeed of seventeenth-century literary culture more broadly, Steven Zwicker. All of the pieces that follow are influenced by Zwicker’s invigorating and career-long attention to refining and redefining the precise historical circumstances out of and into which seventeenth-century literature has been produced.10 His work on John Dryden and Andrew Marvell, among others, consistently reveals a remarkable sensitivity to the variety of ideological registers in play at a given moment, to the specific ways in which authors activated and manipulated these

in Texts and readers in the Age of Marvell