LITMIR.BIZ

Animal Bodies, Renaissance Culture examines how the shared embodied existence of early modern human and nonhuman animals challenged the establishment of species distinctions. The material conditions of the early modern world brought humans and animals into complex interspecies relationships that have not been fully accounted for in critical readings of the period's philosophical, scientific, or literary representations of animals. Where such prior readings have focused on the role of reason in debates about human exceptionalism, this book turns instead to a series of cultural sites in which we find animal and human bodies sharing environments, mutually transforming and defining one another's lives. To uncover the animal body's role in anatomy, eroticism, architecture, labor, and consumption, Karen Raber analyzes canonical works including More's Utopia , Shakespeare's Hamlet and Romeo and Juliet , and Sidney's poetry, situating them among readings of human and equine anatomical texts, medical recipes, theories of architecture and urban design, husbandry manuals, and horsemanship treatises. Raber reconsiders interactions between environment, body, and consciousness that we find in early modern human-animal relations. Scholars of the Renaissance period recognized animals' fundamental role in fashioning what we call «culture,» she demonstrates, providing historical narratives about embodiment and the cultural constructions of species difference that are often overlooked in ecocritical and posthumanist theory that attempts to address the «question of the animal.»

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With its dominance as a European power and the explosion of its prose and dramatic writing, Spain provided an irresistible literary source for English writers of the early modern period. But the deep and escalating political rivalry between the two nations led English writers to negotiate, disavow, or attempt to resolve their fascination with Spain and their debt to Spanish sources. Amid thorny issues of translation and appropriation, imperial competition, the rise of commercial authorship, and anxieties about authenticity, Barbara Fuchs traces how Spanish material was transmitted into English writing, entangling English literature in questions of national and religious identity, and how piracy came to be a central textual metaphor, with appropriations from Spain triumphantly reimagined as heroic looting. From the time of the attempted invasion by the Spanish Armada of the 1580s, through the rise of anti-Spanish rhetoric of the 1620s, The Poetics of Piracy charts this connection through works by Ben Jonson, William Shakespeare, Francis Beaumont, John Fletcher, and Thomas Middleton. Fuchs examines how their writing, particularly for the stage, recasts a reliance on Spanish material by constructing narratives of militaristic, forcible use. She considers how Jacobean dramatists complicated the texts of their Spanish contemporaries by putting them to anti-Spanish purposes, and she traces the place of Cervantes's Don Quixote in Beaumont's The Knight of the Burning Pestle and Shakespeare's late, lost play Cardenio . English literature was deeply transnational, even in the period most closely associated with the birth of a national literature. Recovering the profound influence of Spain on Renaissance English letters, The Poetics of Piracy paints a sophisticated picture of how nations can serve, at once, as rivals and resources.

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How did this vagabond word, bohemia , migrate across national borderlines over the course of the nineteenth century, and what happened to it as it traveled? In International Bohemia , Daniel Cottom studies how various individuals and groups appropriated this word to serve the identities, passions, cultural forms, politics, and histories they sought to animate. Beginning with the invention of bohemianism's modern sense in Paris during the 1830s and 1840s, Cottom traces the twists and turns of this phenomenon through the rest of the nineteenth century and into the early years of the twentieth century in the United States, England, Italy, Spain, and Germany. Even when they traveled under the banner of l'art pour l'art , the bohemians of this era generally saw little reason to observe borderlines between their lives and their art. On the contrary, they were eager to mix up the one with the other, despite the fact that their critics often reproached them on this account by claiming that bohemians were all talk—do-nothings frittering away their lives in cafés and taverns. Cottom's study of bohemianism draws from the biographies of notable and influential figures of the time, including Thomas Chatterton, George Sand, George Eliot, Henry Murger, Alexandre Privat d'Anglemont, Walt Whitman, Ada Clare, Iginio Ugo Tarchetti, and Arthur Conan Doyle. Through a wide range of novels, memoirs, essays, plays, poems, letters, and articles, International Bohemia explores the many manifestations of this transnational counterculture, addressing topics such as anti-Semitism, the intersections of race and class, the representation of women, the politics of art and masquerade, the nature of community, and the value of nostalgia.

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While the Spanish Inquisition has laid the greatest claim to both scholarly attention and the popular imagination, the Roman Inquisition, established in 1542 and a key instrument of papal authority, was more powerful, important, and long-lived. Founded by Paul III and originally aimed to eradicate Protestant heresy, it followed medieval antecedents but went beyond them by becoming a highly articulated centralized organ directly dependent on the pope. By the late sixteenth century the Roman Inquisition had developed its own distinctive procedures, legal process, and personnel, the congregation of cardinals and a professional staff. Its legal process grew out of the technique of inquisitio formulated by Innocent III in the early thirteenth century, it became the most precocious papal bureaucracy on the road to the first «absolutist» state. As Thomas F. Mayer demonstrates, the Inquisition underwent constant modification as it expanded. The new institution modeled its case management and other procedures on those of another medieval ancestor, the Roman supreme court, the Rota. With unparalleled attention to archival sources and detail, Mayer portrays a highly articulated corporate bureaucracy with the pope at its head. He profiles the Cardinal Inquisitors, including those who would play a major role in Galileo's trials, and details their social and geographical origins, their education, economic status, earlier careers in the Church, and networks of patronage. At the point this study ends, circa 1640, Pope Urban VIII had made the Roman Inquisition his personal instrument and dominated it to a degree none of his predecessors had approached.

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Though debates over immigration have waxed and waned in the course of American history, the importance of immigrants to the nation's identity is imparted in civics classes, political discourse, and television and film. We are told that the United States is a «nation of immigrants,» built by people who came from many lands to make an even better nation. But this belief was relatively new in the twentieth century, a period that saw the establishment of immigrant quotas that endured until the Immigrant and Nationality Act of 1965. What changed over the course of the century, according to historian Robert L. Fleegler, is the rise of «contributionism,» the belief that the newcomers from eastern and southern Europe contributed important cultural and economic benefits to American society. Early twentieth-century immigrants from southern and eastern Europe often found themselves criticized for language and customs at odds with their new culture, but initially found greater acceptance through an emphasis on their similarities to «native stock» Americans. Drawing on sources as diverse as World War II films, records of Senate subcommittee hearings, and anti-Communist propaganda, Ellis Island Nation describes how contributionism eventually shifted the focus of the immigration debate from assimilation to a Cold War celebration of ethnic diversity and its benefits—helping to ease the passage of 1960s immigration laws that expanded the pool of legal immigrants and setting the stage for the identity politics of the 1970s and 1980s. Ellis Island Nation provides a historical perspective on recent discussions of multiculturalism and the exclusion of groups that have arrived since the liberalization of immigrant laws.

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In modern capitalist societies, the executives of large, profit-seeking corporations have the power to shape the collective life of the communities, local and global, in which they operate. Corporate executives issue directives to employees, who are normally prepared to comply with them, and impose penalties such as termination on those who fail to comply. The decisions made by corporate executives also affect people outside the corporation: investors, customers, suppliers, the general public. What can justify authority with such a broad reach? Political philosopher Christopher McMahon argues that the social authority of corporate executives is best understood as a form of political authority. Although corporations are privately owned, they must be managed in a way that promotes the public good. Public Capitalism begins with this claim and explores its implications for issues including corporate property rights, the moral status of corporations, the permissibility of layoffs and plant closings, and the legislative role played by corporate executives. Corporate executives acquire the status of public officials of a certain kind, who can be asked to work toward social goods in addition to prosperity. Public Capitalism sketches a new framework for discussion of the moral and political issues faced by corporate executives.

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From Puritan Execution Day rituals to gangsta rap, the black criminal has been an enduring presence in American culture. To understand why, Jeannine Marie DeLombard insists, we must set aside the lenses of pathology and persecution and instead view the African American felon from the far more revealing perspectives of publicity and personhood. When the Supreme Court declared in Dred Scott that African Americans have «no rights which the white man was bound to respect,» it overlooked the right to due process, which ensured that black offenders—even slaves—appeared as persons in the eyes of the law. In the familiar account of African Americans' historical shift «from plantation to prison,» we have forgotten how, for a century before the Civil War, state punishment affirmed black political membership in the breach, while a thriving popular crime literature provided early America's best-known models of individual black selfhood. Before there was the slave narrative, there was the criminal confession. Placing the black condemned at the forefront of the African American canon allows us to see how a later generation of enslaved activists—most notably, Frederick Douglass—could marshal the public presence and civic authority necessary to fashion themselves as eligible citizens. At the same time, in an era when abolitionists were charging Americans with the national crime of «manstealing,» a racialized sense of culpability became equally central to white civic identity. What, for African Americans, is the legacy of a citizenship grounded in culpable personhood? For white Americans, must membership in a nation built on race slavery always betoken guilt? In the Shadow of the Gallows reads classics by J. Hector St. John de Crèvecoeur, Edgar Allan Poe, Frederick Douglass, Herman Melville, George Lippard, and Edward Everett Hale alongside execution sermons, criminal confessions, trial transcripts, philosophical treatises, and political polemics to address fundamental questions about race, responsibility, and American civic belonging.

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Anyone who has paid the entry fee to visit Shakespeare's Birthplace on Henley Street in Stratford-upon-Avon—and there are some 700,000 a year who do so—might be forgiven for taking the authenticity of the building for granted. The house, as the official guidebooks state, was purchased by Shakespeare's father, John Shakespeare, in two stages in 1556 and 1575, and William was born and brought up there. The street itself might have changed through the centuries—it is now largely populated by gift and tea shops—but it is easy to imagine little Will playing in the garden of this ancient structure, sitting in the inglenook in the kitchen, or reaching up to turn the Gothic handles on the weathered doors. In Shakespeare's Shrine Julia Thomas reveals just how fully the Birthplace that we visit today is a creation of the nineteenth century. Two hundred years after Shakespeare's death, the run-down house on Henley Street was home to a butcher shop and a pub. Saved from the threat of an ignominious sale to P. T. Barnum, it was purchased for the English nation in 1847 and given the picturesque half-timbered façade first seen in a fanciful 1769 engraving of the building. A perfect confluence of nationalism, nostalgia, and the easy access afforded by rail travel turned the house in which the Bard first drew breath into a major tourist attraction, one artifact in a sea of Shakespeare handkerchiefs, eggcups, and door-knockers. It was clear to Victorians on pilgrimage to Stratford just who Shakespeare was, how he lived, and to whom he belonged, Thomas writes, and the answers were inseparable from Victorian notions of class, domesticity, and national identity. In Shakespeare's Shrine she has written a richly documented and witty account of how both the Bard and the Warwickshire market town of his birth were turned into enduring symbols of British heritage—and of just how closely contemporary visitors to Stratford are following in the footsteps of their Victorian predecessors.

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Perhaps the most significant development of the Georgian theater was its multiplication of ethnic, colonial, and provincial character types parading across the stage. In Theatrical Nation , Michael Ragussis opens up an archive of neglected plays and performances to examine how this flood of domestic and colonial others showcased England in general and London in particular as the center of an increasingly complex and culturally mixed nation and empire, and in this way illuminated the shifting identity of a newly configured Great Britain. In asking what kinds of ideological work these ethnic figures performed and what forms were invented to accomplish this work, Ragussis concentrates on the most popular of the «outlandish Englishmen,» the stage Jew, Scot, and Irishman. Theatrical Nation understands these stage figures in the context of the government's controversial attempts to merge different ethnic and national groups through the 1707 Act of Union with Scotland, the Jewish Naturalization Bill of 1753, and the Act of Union with Ireland of 1800. Exploring the significant theatrical innovations that illuminate the central anxieties shared by playhouse and nation, Ragussis considers how ethnic identity was theatricalized, even as it moved from stage to print. By the early nineteenth century, Anglo-Irish and Scottish novelists attempted to deconstruct the theater's ethnic stereotypes while reimagining the theatricality of interactions between English and ethnic characters. An important shift took place as the novel's cross-ethnic love plot replaced the stage's caricatured male stereotypes with the beautiful ethnic heroine pursued by an English hero.

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As rigid and unforgiving as the boarding schools established for the education of Native Americans could be, the intellectuals who engaged with these schools—including Mohegans Samson Occom and Joseph Johnson, and Montauketts David and Jacob Fowler in the eighteenth century, and Cherokees Catharine and David Brown in the nineteenth—became passionate advocates for Native community as a political and cultural force. From handwriting exercises to Cherokee Syllabary texts, Native students negotiated a variety of pedagogical practices and technologies, using their hard-won literacy skills for their own purposes. By examining the materials of literacy—primers, spellers, ink, paper, and instructional manuals—as well as the products of literacy—letters, journals, confessions, reports, and translations— English Letters and Indian Literacies explores the ways boarding schools were, for better or worse, a radical experiment in cross-cultural communication. Focusing on schools established by New England missionaries, first in southern New England and later among the Cherokees, Hilary E. Wyss explores both the ways this missionary culture attempted to shape and define Native literacy and the Native response to their efforts. She examines the tropes of «readerly» Indians—passive and grateful recipients of an English cultural model—and «writerly» Indians—those fluent in the colonial culture but also committed to Native community as a political and cultural concern—to develop a theory of literacy and literate practice that complicates and enriches the study of Native self-expression. Wyss's literary readings of archival sources, published works, and correspondence incorporate methods from gender studies, the history of the book, indigenous intellectual history, and transatlantic American studies.

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