Cefalu offers the first sustained assessment of the ways in which recent contemporary philosophy and cultural theory -- including the work of Giorgio Agamben, Alain Badiou, Eric Santner, Slavoj Žižek, and Alenka Zupancic -- can illuminate Early Modern literature and culture. The book argues that when selected Early Modern devotional poets set out to represent subject-God relations, they often encounter some sublime aspect of God that, in Slovenian-Lacanian terms, seems "Other" to himself. This divine Other, while sometimes presented directly as (...) a void or empty place, is more often filled in and presented instead as some form of divine excess. While Donne, and to a lesser extent Traherne, disavow those numinous aspects of God that might subsist beneath such excesses, Crashaw, and especially Milton, attempt to represent the intimate relationship between any creature’s and God's intrinsic alterity. Cefalu introduces new ways of theorizing not only seventeenth-century religious ideologies, but also the nature of Early Modern subjectivity. (shrink)

The reception history of a text is frequently at odds with its origins. Colin Burrow notes the irony that despite its loud support of those in power, Virgil’s Aeneid is taken up and translated by the disempowered during the Renaissance. The same is partly true of Xenophon’s Cyropaedia. This paper examines the place of the Cyropaedia within the English humanist tradition, focussing on English translations of the text, and its interpretation within the speculum principis tradition. This culminates (...) in the moment when the reigning monarch, King James I of England, finds mirrored in the Cyropaedia an irresistible model of imperial kingship. (shrink)

Sacred Rhetoric: The Christian Grand Style in the English Renaissance; Debora K. Shuger; Princeton University Press; ISBN - 9780691067360Rhetorics of Reason and Desire: Vergil, Augustine, and the Troubadours; Sarah Spence; Cornell University Press; ISBN - 9780801421297.

This book defines the attitude of English writers between 1500 and 1625 toward the question of literary property rights, of imitation, of what today is called plagiarism.

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 61.3 (2000) 397-413 [Access article in PDF] Betwixt Two Ages Cast: Milton, Johnson, and the English Renaissance Jack Lynch To judge by the most visible institutional mechanisms of literary periodization --the anthology, the history of literature, and the survey course--John Milton has come unstuck in time. The Norton Anthology of English Literature prints its excerpts from Paradise Lost under the (...) rubric "The Early Seventeenth Century (1603-1660)" along with Jonson and Bacon, not under "The Restoration and Eighteenth Century (1660-1785)" alongside Dryden and Bunyan. 1 Milton gets a chapter to himself in volume five of the Oxford History of English Literature, English Literature in the Early Seventeenth Century 1600-1660, not in volume six, English Literature of the Late Seventeenth Century. 2 And Stanford Uni-versity's two-part survey of English masterpieces puts Milton in English 10 ("Chaucer, Shakespeare, Milton and their Contemporaries") rather than English 11 ("From the Enlightenment to the Modern Period"). But his most important work appeared in 1667, the same year as Dryden's Annus Mirabilis and Sprat's History of the Royal Society, works now invariably consigned to the latter of the two periods. Milton is almost univerally accorded the title of the last great writer of the English Renaissance, while his contemporaries stand at the beginning of what we clumsily call the "long eighteenth century." 3The situation is not new; it began neither with the Norton Anthology nor the Oxford History. As long ago as 1853 Hippolyte Taine placed Milton in book II [End Page 397] of his History of English Literature, "The Renaissance," rather than in book III, "The Classic Age." 4 But Taine was not the originator of this habit; he was only an inheritor of older paradigms. In fact a search for the causes of this treatment of the seventeenth century would take us back to the seventeenth century itself, only a few years after the publication of Paradise Lost, and into the eighteenth, when Milton's epic took its central place in the English canon.To remark upon this peculiar violation of strict chronology in English literary history is not necessarily to quarrel with it; it may well be that specialists in the English Renaissance have more interesting things to say about it than do those in the eighteenth century. But Milton's treatment at the hands of literary historians deserves attention, for it takes us straight to the heart of questions of literary periodization. Because eras make sense only in relation to one another, periodization is never entirely disinterested. Periods are imposed in retrospect in an attempt to extract the most useful or satisfying narrative out of the events of the past, and it is therefore inevitable that they should serve the cultural needs of the present.Some of the most enduring acts of periodization come out of cultural movements which divide themselves from their immediate predecessors, dividing us from them, now from then. Thomas Vogler observes that "the perennial goal of historical thought can be seen to be a mode of self-definition in the form of a narrative in which a 'modernity' defines itself over against a past perceived as essentially different." 5 As Peter Bürger points out, periodization inevitably, if sometimes indirectly, results in "the construction of the present." 6 This invocation or creation of an ever-new sense of now (along with its resulting creation of a series of thens) amounts to a declaration of modernity.Perhaps the most important such declaration of modernity came when the Florentine humanists of the fourteenth and fifteenth centuries traded the classical and Christian models of six ages or four monarchies for a new three-term model, one with three great ages: ancient, middle, and modern. 7 Francesco Petrarca is a central figure in this transformation: for him, defining modernity meant first discovering or inventing a post-classical Dark Age against which to measure the brightness of modern enlightenment.Petrarch never gave a definitive account of a modern world, though by allying himself... (shrink)

'This is a work of seminal importance in educating scholars on how to perceive art in any medium precisely because Heninger provides a successful methodology for understanding what lies behind the apparent content of texts and images.

Tudor historians of Henry VIII's reign strove both to define the great political theological controversies of the day and to shape the future understanding of past events. This essay considers how Roman Catholic accounts of the life and martyrdom of Sir Thomas More, including those by Nicholas Harpsfield and Thomas Stapleton, shaped subsequent Protestant works of fiction, written during the 1590s. The essay explores, in particular, the collaborative play, Sir Thomas More, by Anthony Munday and revised by Shakespeare and others; (...) and Sir John Harington's references to More and Bishop John Fisher in the preface to his translation of Orlando Furioso and his extensive anecdotal remarks about More's scatological witticisms in his satirical tract, The Metamorphosis of Ajax. Such fictional works presage both the hesitant trend towards ecumenism and the imagined reunion of Christendom of the subsequent Jacobean reign, and the later emergence of the transnational secular public sphere, which transpired during the late seventeenth and eighteenth centuries. (shrink)

Placing readings of early modern painting and literature in conversation with psychoanalytic theory and assemblage theory, this book argues that, far from isolating its sufferers, melancholy brings people together.

How did the events of the early modern period affect the way gender and the self were represented? This collection of essays attempts to respond to this question by analysing a wide spectrum of cultural concerns - humanism, technology, science, law, anatomy, literacy, domesticity, colonialism, erotic practices, and the theatre - in order to delineate the history of subjectivity and its relationship with the postmodern fragmented subject. The scope of this analysis expands the terrain explored by feminist theory, while its (...) feminist focus reveals that the subject is always gendered - although the terms in which gender is conceived and represented change across history. Feminist Readings of Early Modern Culture not only explores the representation of gendered subjects, but in its commitment to balancing the productive tensions of methodological diversity, also speaks to contemporary challenges facing feminism. (shrink)

This book publishes, for the first time in decades, and in many cases, for the first time in a readily accessible edition, English language philosophical literature written in India during the period of British rule.

In lieu of an abstract, here is a brief excerpt of the content:Conquest and English Legal Identity in Renaissance IrelandBrian LockeyLike the Spanish administrators of the American territories, English administrators of Ireland attempted to impose their own native legal system on the Irish inhabitants. Nonetheless, important differences existed between the two kingdoms' legal approaches to their respective colonial contexts. Because Spanish jurisprudence was allied with universalist Catholic doctrine and was officially based on Justinian's Corpus Iuris Civilis (the (...) ancient Roman legal code which had close affinities to natural law discourse), Spanish administrators expected New World inhabitants to accept what they considered to be the "universal values" that were inherent in Spanish law.1 In contrast English common law had its roots not in natural law but in the peculiar customs of the English people. Thus, while the Spanish were able to claim that they were replacing unnatural Indian customs with a legal system rooted in universal natural law, the English were attempting to reform what they considered to be the unnatural practices of the Irish by imposing a legal system defined by its insularity and its peculiar affinity with English institutions.2 In this essay I show that Renaissance ethnographies on Ireland by such English administrators of Ireland as Edmund Spenser, Sir John Davies, and Fynes Moryson are fractured by a conflict between a commitment to natural-law theory, which had its origin in continental writings, and a corresponding commitment to the native English tradition of common law. I examine how works by Spenser, Davies, and Moryson dealt with this conflict within their collective project of articulating a legal justification and strategy for the pacification of Ireland. [End Page 543]Despite reports throughout Europe of Spanish-perpetrated cruelty throughout the Americas, the idea that war or conquest could be just or even charitable when prosecuted against oppression originated within the Catholic tradition of scholastic just-war theory.3 Many of the sixteenth-century writers who were writing about war and conquest in legal or ethical terms were Spanish or continental theologians who had attempted to evaluate Spanish imperial policy in the New World. On the one side were such figures as the Scottish theologian John Major and Spanish historian Juan Ginés de Sepúlveda, both of whom had justified Spanish conquest and treatment of the Indians using arguments based on the foundation of natural law.4 On the other side were those who had, on similar terms, voiced criticisms of the cruelties which Spanish forces were inflicting on the Indians. Francisco de Vitoria and Bartolomé de las Casas were certainly the most notable Spanish writers who favored more ethical treatment of New World inhabitants.5 Other prominent defenders of Indian rights were Domingo de Soto and Melchor Cano.6 Whether directly or through intermediaries, the ideas of many of these writers permeated the ideological fabric of England.Sir Fulke Greville's famous statement about Sir Philip Sidney's goal of fostering alliances with New World inhabitants in order to overthrow the Spanish authorities included an awareness of the "inhuman cruelties" of the Spanish forces, an awareness that probably originated in the English translation of Las Casas's Brevissima relación de la destrucyión de las Indias (1552).7 Beyond [End Page 544] this significant text, however, there were others. One important book that captured the ideas of the early Spanish debates on the ethics and justice of the New World conquests was Antonio de Guevara's Relox de príncipes (1529), a work twice translated into English during the sixteenth century.8 The third book of the Relox de príncipes, which treats the princely virtues of justice, peace, and magnificence, contains several sections that together constitute a polemic against violent imperialism and unjust conquest. In one notable episode Guevara employs the example of ancient Roman imperialism to produce a veiled critique of the injustices which Spain had committed against New World polities. A "villain of Danuby" from a German province newly conquered by Rome makes a speech to the Roman senate in which he criticizes the injustice of his Roman oppressors. The German villain characterizes the conquest of Germany in the following terms: "For I let you know, if you do not know it, that when... (shrink)