Did the Stuart queens create their own courts, and can these courts shed new light on women's poetry, drama and performance? This book investigates the literature, theater, patronage and commissioning of the courts of Anna of Denmark (1603-19) and Henrietta Maria (1625-42). Unearthing the neglected history of the Stuart queens, these essays look afresh at the early modern European female elite to create a new picture of femininity for students and scholars of early modern culture.
This is a ground-breaking edition of three seventeenth-century plays that all engage in diverse and exciting ways with questions of gender and performance. The collection, edited by three pioneering scholars of elite female culture and early modern drama, makes the texts of three much-discussed plays - John Fletcher's The Wild-Goose Chase, James Shirley's The Bird in a Cage and Margaret Cavendish's The Convent of Pleasure - available together in a full scholarly edition for the first time.The Wild Goose Chase (1621) and The Bird in a Cage (1633) were both performed in the commercial London theatres in the Jacobean and Caroline periods respectively. The Convent of Pleasure (1668) is a so-called 'closet' drama, designed primarily for reading but drawing on a tradition of aristocratic theatricals. In a wide-ranging co-authored introduction to the volume, the editors explore the concerns of these playtexts in relation to contemporary debates surrounding popular festivity and anti-theatricalism, as well as the agency of elite female culture in the Stuart period and the emergence of the professional female actor in the Restoration.The volume will be an invaluable teaching and research tool for students and scholars of early modern drama, women's writing and performance studies more generally, as well as providing a rich sourcebook for the reader interested in seventeenth-century theatrical culture.
Through detailed historicized and interdisciplinary readings of the performances of Anna Denmark in the Scottish and English Jacobean Courts, Women on the Renaissance Stage fundamentally reassesses women's relationship to early modern performance. It investigates the staging conditions, practices, and gendering of Denmark's performances, and brings current critical theorizations of race, class, gender, space, and performance to bear on the female court of the early 17th century.
This book examines a range of royalist women’s cultural responses to war, dislocation, diaspora and exile through a rich variety of media across multiple geographies of the archipelago of the British Isles and as far as The Hague and Antwerp on the Continent, thereby uniquely documenting comparative links between women’s cultural production, types of exile and political allegiance. Offering the first full length study to therorize the royalist condition as one of diaspora, it chronologically charts a series of ruptures beginning with initial displacement and dispersal due to civil war in the early 1640s and concludes with examination of the homecoming for royalist exiles after the restoration in 1660. As it retrieves its subjects’ varied experiences of exile, and documents how these politically conscious women produce contrasting yet continuous forms of cultural, personal and political identities, it challenges conventional paradigms which all too neatly categorize royalism and exile during this seminal period in British and European history.
As one of the first books to treat portraits of early modern women as a discrete subject, this volume considers the possibilities and limits of agency and identity for women in history and, with particular attention to gender, as categories of analysis for women's images. Its nine original essays on Italy, the Low Countries, Germany, France, and England deepen the usefulness of these analytical tools for portraiture. Among the book's broad contributions: it dispels false assumptions about agency's possibilities and limits, showing how agency can be located outside of conventional understanding, and, conversely, how it can be stretched too far. It demonstrates that agency is compatible with relational gender analysis, especially when alternative agencies such as spectatorship are taken into account. It also makes evident the importance of aesthetics for the study of identity and agency. The individual essays reveal, among other things, how portraits broadened the traditional parameters of portraiture, explored transvestism and same-sex eroticism, appropriated aspects of male portraiture to claim those values for their sitters, and, as sites for gender negotiation, resistance, and debate, invoked considerable relational anxiety. Richly layered in method, the book offers an array of provocative insights into its subject.
This is a comprehensive reference guide examining the language employed by Shakespeare to represent women in the full range of his poetry and plays. Including over 350 entries, Alison Findlay shows the role of women within Shakespearean drama, their representations on the Shakespearean stage, and their place in Shakespeare's personal and professional lives.
In this book, Bonnie Lander Johnson explores early modern ideas of chastity, demonstrating how crucial early Stuart thinking on chastity was to political, medical, theological and moral debates, and that it was also a virtue that governed the construction of different literary genres. Drawing on a range of materials, from prose to theatre, theological controversy to legal trials, and court ceremonies - including royal birthing rituals - Lander Johnson unearths previously unrecognised opinions about chastity. She reveals that early Stuart theatrical and court ceremonies were part of the same political debate as prose pamphlets and religious sermons. The volume also offers new readings of Milton's Comus, Shakespeare's The Winter's Tale, Henrietta Maria's queenship and John Ford's plays. It will appeal to scholars of early modern literature, theatre, political, medical and cultural history, and gender studies.
In this revised and greatly expanded edition of the Companion, 80 scholars come together to offer an original and far-reaching assessment of English Renaissance literature and culture. A new edition of the best-selling Companion to English Renaissance Literature, revised and updated, with 22 new essays and 19 new illustrations Contributions from some 80 scholars including Judith H. Anderson, Patrick Collinson, Alison Findlay, Germaine Greer, Malcolm Jones, Arthur Kinney, James Knowles, Arthur Marotti, Robert Miola and Greg Walker Unrivalled in scope and its exploration of unfamiliar literary and cultural territories the Companion offers new readings of both ‘literary’ and ‘non-literary’ texts Features essays discussing material culture, sectarian writing, the history of the body, theatre both in and outside the playhouses, law, gardens, and ecology in early modern England Orientates the beginning student, while providing advanced students and faculty with new directions for their research All of the essays from the first edition, along with the recommendations for further reading, have been reworked or updated
