First published in 1956, Ruth Kelso's Doctrine for the Lady of the Renaissance is a landmark work that has lived up to its early, laudatory reviews by remaining in demand among scholars of Renaissance studies and of women in the Renaissance. It both offers a comprehensive account of Renaissance views on woman and acknowledges that women were ''in many ways excluded from the freedom and enlightenment characteristic of the period.''This new printing retains the foreword by Katharine Rogers that was added to the 1978 edition.
This is one of a series of bibliographical guides designed to meet the needs of undergraduates, postgraduates and their teachers in universities and colleges of further education. All volumes in the series share a number of common characteristics. They are selective, manageable in size, and include those books and articles which are considered most important and useful. All are editied by practising teachers of the subject in question and are based on their experience of the needs of students. The arrangement combines chronological with thematic divisions. Most of the items listed receive some descriptive comment.
This extensive collection of English-language essays examines the many strategies of resistance to male domination that women in France from the 16th through the 18th centuries utilized in their lives and their writings.
Winner, 2009 Best Book Award, Society for the Study of Early Modern WomenWinner, 2008 PROSE Award for Best Book in Language, Literature, and Linguistics. Professional and Scholarly Publishing Division of the Association of American Publishers This is the first comprehensive study of the remarkably rich tradition of women’s writing that flourished in Italy between the fifteenth and early seventeenth centuries. Virginia Cox documents this tradition and both explains its character and scope and offers a new hypothesis on the reasons for its emergence and decline. Cox combines fresh scholarship with a revisionist argument that overturns existing historical paradigms for the chronology of early modern Italian women’s writing and questions the historiographical commonplace that the tradition was brought to an end by the Counter Reformation. Using a comparative analysis of women's activities as artists, musicians, composers, and actresses, Cox locates women's writing in its broader contexts and considers how gender reflects and reinvents conventional narratives of literary change.
Though individual prologues and epilogues have been treated in depth, very little scholarship has been published on early modern framing texts as a whole. The Framing Text in Early Modern English Drama fills a gap in the literature by examining the origins of these texts, and investigating their growing importance and influence in the theatre of the period. This topic-led discussion of prologues and epilogues deals with the origins of these texts, the difficulty of definition, and the way in which many prologues and epilogues appear to interact on such subjects as the composition of the theatre audience and the perceived place of women in such an audience. Author Brian Schneider also examines the reasons for, and the evidence leading to, the apparently sudden burgeoning of these texts after the Restoration, when prologues and epilogues grace nearly all the dramas of the time and become a virtual cottage industry of their own. The second section-a comprehensive list of prologues and epilogues-details play titles, playwrights, theatres and theatre companies, first performance and the earliest edition in which the framing text(s) appears. It quotes the first line of the prologue and/or epilogue and uses the printer's signature to denote the page on which the texts can be found. Further information is provided in notes appended to the relevant entry. A final section deals with 'free-floating' and 'free-standing' framing texts that appear in verse collections, manuscripts, and other publications and to which no play can be positively ascribed. Combining original analysis with carefully compiled, comprehensive reference data, The Framing Text in Early Modern English Drama provides a genuinely new angle on the drama of early modern England.
Analyzes John Calvin's doctrine of Christian freedom, describes his teachings about women's public role, and examines its pertinence to women's ordination
First published in 1690, The Court Midwife made Justine Siegemund (1636-1705) the spokesperson for the art of midwifery at a time when most obstetrical texts were written by men. More than a technical manual, The Court Midwife contains descriptions of obstetric techniques of midwifery and its attendant social pressures. Siegemund's visibility as a writer, midwife, and proponent of an incipient professionalism accorded her a status virtually unknown to German women in the seventeenth century. Translated here into English for the first time, The Court Midwife contains riveting birthing scenes, sworn testimonials by former patients, and a brief autobiography.
