Download PDF by Helen Wilcox: 1611: Authority, Gender and the Word in Early Modern England
By Helen Wilcox
1611: Authority, Gender, and the be aware in Early sleek England explores problems with authority, gender, and language inside and around the number of literary works produced in a single of such a lot landmark years in literary and cultural history.
- Represents an exploration of a 12 months within the textual lifetime of early smooth England
- Juxtaposes the diversity and variety of texts that have been released, performed, learn, or heard within the comparable 12 months, 1611
- Offers an account of the textual tradition of the yr 1611, the surroundings of language, and the tips from which the permitted model of the English Bible emerged
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Additional info for 1611: Authority, Gender and the Word in Early Modern England
As we approach the end of the year, ‘The omnipotency of the word’ 23 Donne’s ‘Anatomy of the World’ (published in November) is the focal point of the eighth chapter, along with other poignant commemorations of women in prose, verse and marble. After the final (ninth) chapter discussing Shakespeare’s The Tempest and its dramatic contexts, the study of 1611 ends with a brief synthesis of the links between the texts from this year, looking back at the overriding preoccupations of the year and suggesting ways in which we can interpret these from our twenty-first century standpoint.
It is tempting to assume that the author of the 1611 text The Sale of Salt. Or the Seasoning of Souls, who published under the name of John Spicer, was hiding behind a particularly apt pseudonym, while a significant number of authors, including the person responsible for The Picture of Christ, allowed initials (in this case, I. ) rather than a full name to appear on the title page. If authorship does not offer itself as an appropriate category for grouping early modern texts together, we could instead take a tour of the works of 1611 determined by their location – that is, to group works together on the basis of the places in which they were created, performed or received.
Indeed, the whole thrust of the masque, in its temporal urgency, textual detail, personnel and performance, is towards unity. The masque as a genre brings together words and music, tableaux and movement, sight and sound, while Prince Henry united in his own person a Scottish dynasty, an English court and a Welsh title. The visual effects of Oberon similarly emphasise continuity and transformation rather than opposition. Whereas in most masques there is a firm contrast between the ‘anti-masque’ – a preliminary section emphasising disharmony – and 28 Jonson’s Oberon and friends: masque and music in 1611 Figure 1 Inigo Jones, design for the palace of the fairy prince in Ben Jonson’s masque Oberon.
1611: Authority, Gender and the Word in Early Modern England by Helen Wilcox