Litteraturstudier: fra 1400 til 1600

Die Ehe wird in der Frühen Neuzeit zu einem zentralen Thema in einem europaweit geführten, ordnungspolitische und seelsorgerische Interessen verbindenden Diskurs. Das schlägt sich im 16. Jahrhundert in einer rasant anschwellenden, auch von der medialen Revolution des Buchdrucks getragenen und bis heute kaum überschaubaren Flut von Schriften vor allem protestantischer Autoren nieder, die sich in vielfältigen literarischen Formen an ein Laienpublikum wenden und die Ehe ohne Ansehen des Standes zur verbindlichen, Gottes Segen und Prosperität versprechenden Lebensform erklären. Das mehrbändige Repertorium macht die überlieferte Fülle deutschsprachiger Eheliteratur am Beispiel der reichen Bestände in den Bibliotheken von Berlin und Wolfenbüttel exemplarisch zugänglich, indem es die einschlägigen Texte bibliographisch, inhaltlich und überlieferungsgeschichtlich aufarbeitet. Es richtet sich gleichermaßen an Kirchen-, Literatur- und Sozialhistoriker. Der vorliegende Band I/2 präsentiert zusammen mit dem bereits erschienenen Band I/1 die Texte in den Berliner Bibliotheken. Folgebände mit den Handschriften und Drucken der HAB Wolfenbüttel und ein Gesamtverzeichnis aller bibliographisch eruierten Texte sind in Vorbereitung.

Tan largo me lo fiáis, popularizado como El burlador de Sevilla, es la versión original del mito de Don Juan. Su autor, Andrés de Claramonte, escribió otra comedia dramática ambientada en la misma época (mediados del siglo XIV) publicada indistintamente a nombre de Lope de Vega y de Calderón, que editamos también en este volumen como complemento.El tema de un gran señor que seduce y engaña a varias doncellas bajo promesa de matrimonio es típico del teatro de Claramonte. En ambos casos se juega con elementos metateatrales que refuerzan el sentido ejemplarizante de las obras. Trasladar la acción al siglo XIV permite distanciar un problema moral y político alejándolo de la actualidad de su tiempo.La importancia del mito de Don Juan, en estas dos obras emparentadas, permite comprender los orígenes del mito del seductor.

"This is the first study of the relationship between French theater and war at a time of revolution and colonial violence. Drawing together theater and performance studies, literary close-reading, cultural, military and gender history, it provides holistic analysis of theater's engagement with military activity at a time of radical transformation"--

This study punctures stereotyped portrayals of Marlowe, and in doing so reveals the social and cultural discourses out of which such myths emerged.

This is the third and final volume of essays issuing from the Leverhulme International Network 'Renaissance Conflict and Rivalries: Cultural Polemics in Europe, c. 1300-c. 1650'. The overall aim of the network was to examine the various ways in which conflict and rivalries made a positive contribution to cultural production and change during the Renaissance. The present volume, which contains papers delivered at the third colloquium, draws that examination to a close by considering a range of different strategies deployed in the period to manage conflict and rivalries and to bring them to a positive resolution. The papers explore these developments in the context of political, diplomatic, social, institutional, religious, and art history.

Imagined as an armed old man leaping like a locust or as a young man walking in the dark, doubt occupies a prominent place in the mental landscape of Renaissance Italians. Intriguing stories of doubters, as well as allegories and tales of doubt populated sonnets, dialogues, novelle, religious tracts, and a wealth of other vernacular texts. In an age of crisis and renewal, doubt no longer pointed to an exclusively individual condition nor was it solely the object of philosophical and theological reflections. Rather, doubt became a complex cultural object at the centre of numerous cultural strategies. Why was it so? Were Renaissance Italians especially inclined to doubt? And, if so, what were the cultural and emotional consequences of such an attitude? Resorting to a large and diverse array of literary and visual sources, Marco Faini reconstructs how doubt became a privileged tool to make sense of an increasingly complex world.Marco Faini is Assistant Professor of Italian at the University at Buffalo (SUNY).

Im Fokus dieses interdisziplinären Bandes stehen Phänomene der kulturellen Aneignung in der Vormoderne. Dabei geht es weniger um das konkrete ,Was', sondern das ,Wie' der Aneignung. Im ,Framing', vor allem aber im Prozess von ,Deframing' zu ,Reframing' ist das ,Aneignen' bereits praxeologisch enthalten. Strukturen, Mechanismen und Strategien der ,Framing'-Prozesse und damit verbundene kulturelle Produktivität werden ebenso beleuchtet wie über sie (re-)produzierte Machtverhältnisse. Gefragt wird nach der Motivation und dem Engagement der Akteur:innen, die angeeignete Gegenstände in neuen Deutungsmustern positionieren, den Bedingungen, unter denen sich solche Gegenstände für eine Übernahme anbieten, sowie den Mechanismen der ,Framing'-Prozesse selbst und den daraus resultierenden Verschiebungen und neuen Formationen. Vereint werden historische, germanistische, kunst- und literaturhistorische, ethnologische und theologische Zugänge.

Das Buch versammelt geschichts-, sprach- und literaturwissenschaftlichePerspektiven auf den Wissenstransfer in Mittelalter und Früher Neuzeit. Einbesonderer Fokus wird dabei auf den Gemeinschaftsbezug gelegt. Er ist indidaktischen Wissensverhandlungen, in Netzwerken und Gruppenbildungen,selbst im rhetorischen und poetischen Bezugsraum präsent. Die Studien beleuchtentheoretisches wie praktisches Wissen in mündlicher und schriftlicherForm sowie in ritualisierten Kontexten. Im Mittelpunkt der Beiträge stehen kollektiveWissenshorizonte, Ideale und Deutungsmuster, welche in Mittelalter undFrüher Neuzeit einen beträchtlichen identitätsstiftenden Wert aufwiesen. Die14 Beiträge geben vielfältige Einblicke in dynamische Wissensverhandlungenund tragen damit zum Verstehen vormoderner Gemeinschaften bei.

Winner of the 2022 Baillie Gifford Prize for Non-FictionWinner of the 2022 Slightly Foxed Best First Biography PrizeShortlisted for the 2023 Plutarch AwardA Wall Street Journal Top 10 Best Book of 2022 A New York Times Notable Book of the YearNamed a Best Book of the Year by The New Yorker, Times Literary Supplement, and Literary HubFrom the standout scholar Katherine Rundell, Super-Infinite presents a sparkling and very modern biography of John Donne: the poet of love, sex, and death.Sometime religious outsider and social disaster, sometime celebrity preacher and establishment darling, John Donne was incapable of being just one thing.He was a scholar of law, a sea adventurer, a priest, a member of Parliament-and perhaps the greatest love poet in the history of the English language. He converted from Catholicism to Protestantism, was imprisoned for marrying a sixteen-year-old girl without her father's consent, struggled to feed a family of ten children, and was often ill and in pain. He was a man who suffered from surges of misery, yet expressed in his verse many breathtaking impressions of electric joy and love.In Super-Infinite, Katherine Rundell embarks on a fleet-footed act of evangelism, showing us the many sides of Donne's extraordinary life, his obsessions, his blazing words, and his tempestuous Elizabethan times-unveiling Donne as the most remarkable mind and as a lesson in living.

The Aphrodysial is one of six plays written by William Percy (c. 1570-1648), brother of the Ninth Earl of Northumberland (1564-1632). This edition reproduces the copy of the text preserved in Huntington Library MS HM4, with a substantial collation of variants between it and the other extant version preserved in Alnwick Castle Library MS 509. This 'Marinall' is set at the underwater court of Oceanus. The action is concerned with piscatory and amatory pursuits that take place during Cytheræa's Aphrodysial feast-day. The play offers a retelling of the Hero and Leander story, Jupiter and Neptune's quest for Thetis's lost magic bracelet, and the comical attempts of some fishermen, led by Proteus, to capture a talking whale. The play is notable for its extensive stage directions, which envisage performance by boy actors and adult actors respectively.

During the Renaissance, the most renowned model of epic poetry was Virgil's Aeneid, a poem promoting an influential concept of heroism based on the commitment to one's nation and gods. However, Longinus' theory of the sublime - newly recovered during the Renaissance - contradicted this absolute devotion to nation as a marker of religious piety. Heroic Awe explores how Renaissance epic poetry used the sublime to challenge the assumption that epic heroism was primarily about civic duty and glorification of state.The book demonstrates how the significant investment of Renaissance epic poetry in Longinus' theory of the sublime reshaped the genre of epic. To do so, Kelly Lehtonen examines the intersection between the Longinian sublime and early modern Protestant and Catholic discourses in Renaissance poems such as the Gerusalemme Liberata, Les Semaines, The Faerie Queene, and Paradise Lost. In illuminating the role of Longinus along with that of religious discourses, Heroic Awe offers a new perspective on epic heroism in Renaissance epic poetry, redefining heroism as the capacity to be overwhelmed emotionally, psychologically, and spiritually by encounters with divine glory. In considering the links between religion, the sublime, and epic, the book aims to shed new light on several core topics in early modern studies, including epic heroism, Renaissance philosophy, theories of emotion, and the psychology of religion.

Blending theatre history and sensory studies this book recaptures the sound of early modern drama, acknowledging its intangibility while attempting to both describe those sounds heard on the stage and to try and identify those sound's effects on the playgoers.

"Literary Theory and Criticism in the Later Middle Ages This collection makes a new, profound and far-reaching intervention into the rich yet little-explored terrain between Latin scholastic theory and vernacular literatures. Written by a multidisciplinary team of leading international authors, the chapters honour and advance Alastair Minnis' field-defining scholarship. A wealth of expert essays refract the nuances of theory through the medium of authoritative Latin and vernacular medieval texts, providing fresh interpretative treatment to known canonical works while also bringing unknown materials to light"--

"This is the first comprehensive and interdisciplinary study of sympathy in the early modern period, providing an extensive and deeply researched examination of its development in Anglophone literature and culture"--

This volume re-examines traditional interpretations of the rise of modern aesthetics in eighteenth-century Britain and Germany. It provides a new account that connects aesthetic experience with morality, science, and political society. In doing so, it challenges long-standing teleological narratives that emphasize disinterestedness and the separation of aesthetics from moral, cognitive, and political interests.The chapters are divided into three thematic parts. The chapters in Part I demonstrate the heteronomy of eighteenth-century British aesthetics. They chart the evolution of aesthetic concepts and discuss the ethical and political significance of the aesthetic theories of several key figures: namely, the third Earl of Shaftesbury, David Hume, and Adam Smith. Part II explores the ways in which eighteenth-century German, and German-oriented, thinkers examine aesthetic experience and moral concerns, and relate to the work of their British counterparts. The chapters here cover the work of Kant, Moses Mendelssohn, Alexander Gottlieb Baumgarten, and Madame de Staël. Finally, Part III explores the interrelation of science, aesthetics, and a new model of society in the work of Goethe, Johann Wilhelm Ritter, Friedrich Hölderlin, and William Hazlitt, among others.This volume develops unique discussions of the rise of aesthetic autonomy in the eighteenth century. In bringing together well-known scholars working on British and German eighteenth-century aesthetics, philosophy, and literature, it will appeal to scholars and advanced students in a range of disciplines who are interested in this topic.The Introduction and Chapters 2, 10, and 12 of this book are freely available as downloadable Open Access PDFs at http://www.taylorfrancis.com under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license.