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The cultural impact of an Elizabethan courtier

This book approaches the rich and diverse figure of the earl by looking at a wealth of diverse visual and textual manifestations of Essex produced during the sixteenth century and up to the present day. It resituates his life and career within the richly diverse contours of his cultural and political milieu. Included in the discussion are not just those texts of which Essex is the subject, such as poems, portraits or films, but also those texts produced by Essex himself, including private letters, poems and entertainments. The book first offers important insights into the composition and ethos of the Essex circle. It then provides an important intervention in the debate about the relationship between Essex and the theatre and Essex and Shakespeare, considering his role as a patron of a company of players. The book also explains Essex's use of non-professional theatrical entertainments at court in 1595 to promote an agenda he had shared with Sidney by campaigning for an increased level of English involvement in international affairs. It deals with a frequently neglected entertainment called the device of the Indian Prince, referred to here as Seeing Love as it dramatises the story of the blind Indian prince. Finally, the book offers a detailed examination of Essex's relationship with another dangerously public discourse, 'politic history', by tracing the influence of a range of competing texts.

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Kimberly Lamm

Conclusion Across the arc of this book, I have made the case that the visual and textual manifestations of language were significant parts of art practices aligned with feminism in the late 1960s and 1970s. I narrowed in on the work three artists – Adrian Piper, Nancy Spero, and Mary Kelly – who deployed texts and images of writing to create an address that calls to viewers and asks them to participate in the project of deconstructing the sign woman. I argue that by doing so, these artists identified three crucial mechanisms for keeping that sign ideologically

in Addressing the other woman
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Annaliese Connolly
Lisa Hopkins

approaches to text and context, to biography and to the theatre as both a commercial enterprise and part of a patronage network. One significant development has been to consider history as a cultural construct, composed of circulating and competing texts which exist within a discourse of power. 4 This collection approaches the rich and diverse figure of the earl by looking at a wealth of diverse visual and textual manifestations

in Essex
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Reading a genre into being
Gerd Bayer

paratextual corpus testifies to the existence of an authorial Conclusion: reading a genre into being 217 desire to have greater presence during the act of reading. Following a similar logic, the manner in which narrators stepped into this fold and aimed to bridge the gap between imagined diegetic worlds and actual readerly realities clearly connects to this trans-medial moment and at the same time provides a major ingredient to the later developments of the novel. Bergonzi’s description of early modern works as engaging in a textual manifestation of ‘the relation between

in Novel horizons
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Laurent Curelly
Nigel Smith

norms.35 Language is the most tangible part of the communicative practices that make up radical discourse. We support an interdisciplinary approach that studies early modern radical discourse in context and interrogates the media through which it communicated itself to its audience. We argue that seventeenth- and eighteenth-century radical discourse was shaped by the interaction of three factors, each of which is best understood in relation to the other two, namely intention, language and reception. These factors apply both to oral and textual manifestations of

in Radical voices, radical ways