Bücher veröffentlicht von University of Delaware Press

This book provides wide ranging and comprehensive biographical sketches of forty-two doctors who are best known to the public for their contributions to fields outside of medicine. Largely written by members of the medical profession, the selection of doctors discussed here are those who are, or were, well-known to the public for their contributions to their non-medical fields of choice.In many cases, the readers may have been unaware that well known professionals in fields such as literature, exploration, business, sports, and entertainment was medically qualified.

The first in a multivolume documentary edition that will provide the complete collection of everything Dickinson published on public affairs over the course of his life. The documents include essays, articles, broadsides, resolutions, petitions, declarations, constitutions, regulations, legislation, proclamations, songs and odes.

Presents a reconsideration of literary production in post-Tridentine Italy. With particular attention to the much-maligned tradition of spiritual literature, the volume's contributors weave literary analysis together with religion, theatre, art, music, science, and gender to demonstrate that the literature of this period is positively innovative.

Presents a reconsideration of literary production in post-Tridentine Italy. With particular attention to the much-maligned tradition of spiritual literature, the volume's contributors weave literary analysis together with religion, theatre, art, music, science, and gender to demonstrate that the literature of this period is positively innovative.

Focuses on the Russian literary and folkloric treatment of five rivers - the Dnieper, Volga, Neva, Don, and Angara. Each chapter traces, within a geographical and historical context, the evolution of the literary representation of one river.

Drawing from a wealth of recent historicist and materialist Austen scholarship, this timely work explores Austen's ironic use of art and artifact to probe selfhood, alienation, isolation, and community in ways that defy simple labels and acknowledge the complexity of Austen's thought.

Firmly grounded in literary studies but drawing on religious studies, translation studies, drama, and visual art, Milton Among Spaniards is the first book-length exploration of the afterlife of John Milton in Spanish culture, illuminating underexamined Anglo-Hispanic cultural relations.

In sixteenth-century France, the level of jokes, irony, and ridicule found in pamphlets and plays became aggressively hostile. In Hostile Humor in Renaissance France, Bruce Hayes investigates this period leading up to the French Wars of Religion, when a deliberately harmful and destructive form of satire appeared.

Brayton Polka takes both a textual and theoretical approach to seven plays of Shakespeare: Macbeth, Othello, Twelfth Night, All's Well That Ends Well, Julius Caesar, Troilus and Cressida, and Hamlet. He calls upon the Bible and the ideas of major European thinkers, above all, Kierkegaard and Spinoza, to argue that the concept of interpretation that underlies both Shakespeare's plays and our own lives as moderns is the golden rule of the Bible: the command to love your neighbor as yourself. What you will (the alternative title of Twelfth Night) thus captures the idea that interpretation is the very act by which we constitute our lives. For it is only in willing what others will - in loving relationships - that we enact a concept of interpretation that is adequate to our lives. Polka argues that it is the aim of Shakespeare, when representing the ancient world in plays like Julius Caesar and Troilus and Cressida, and also in his long narrative poem 'The Rape of Lucrece,' to dramatize the fundamental differences between ancient (pagan) values and modern (biblical) values or between what he articulates as contradiction and paradox. The ancients are fatally destroyed by the contradictions of their lives of which they remain ignorant. In contrast, we moderns in the biblical tradition, like those who figure in Shakespeare's other works, are responsible for addressing and overcoming the contradictions of our lives through living the interpretive paradox of 'what you will,' of treating all human beings as our neighbor. Shakespeare's comedies and tragedies, notwithstanding their dramatically different form, share this interpretive framework of paradox. As the author shows in his book, texts without interpretation are blind and interpretation without texts is empty.

Technologies of Empire looks at the ways in which writers of the long eighteenth century treat writing and imagination as technologies that can produce rather than merely portray empire. Authors ranging from Adam Smith to William Wordsworth consider writing not as part of a larger logic of orientalism that represents non-European subjects and spaces in fixed ways, but as a dynamic technology that organizes these subjects and transforms these spaces. Technologies of Empire reads the imagination as an instrument that works in tandem with writing, expanding and consolidating the networks of empire. Through readings across a variety of genres, ranging from Smith's The Wealth of Nations and Edmund Burke's Reflections on the Revolution in France to Maria Edgeworth's Irish fiction and Wordsworth's epic poetry, this study offers a new account of writing's role in empire-building and uncovers a genealogy of the romantic imagination that is shot through by the imperatives of imperialism.

Traveling 'medicine shows,' both ancient and modern, galvanized Jonathan Swift's imagination. Dubbing such multifaceted vagabond entertainments his 'Stage-Itinerant' or 'Mountebank's Stage,' Swift mimicked their argot, puffery, and slapstick in A Tale of a Tub (1704). Hugh Ormsby-Lennon reveals how the stage-itinerant not only furnished the Tale with its irresistible model but still parades that missing link, long sought, which conjoins the dual objects of Swift's ire: 'gross Corruptions in [both] Religion and Learning.'

Women, Epic, and Transition in British Romanticism argues that early nineteenth-century women poets contributed some of the most daring work in modernizing the epic genre. The book examines several long poems to provide perspective on women poets working with and against men in related efforts, contributing together to a Romantic movement of large-scale genre revision. Women poets challenged longstanding categorical approaches to gender and nation in the epic tradition, and they raised politically charged questions about women's importance in moments of historical crisis. While Romantic epics did not all engage in radical questioning or undermining of authority, this study calls attention to some of the more provocative poems in their approach to gender, culture, and history. This study prioritizes long poems written by and about women during the Romantic era, and does so in context with influential epics by male contemporaries. The book takes its cue from a dramatic increase in the publication of epics in the early nineteenth-century. At their most innovative, Romantic epics provoked questions about the construction of ideological meaning and historical memory, and they centralized women's experiences in entirely new ways to reflect on defeat, loss, and inevitable transition. For the first time the epic became an attractive genre for ambitious women poets. The book offers a timely response to recent groundbreaking scholarship on nineteenth-century epic by Herbert Tucker and Simon Dentith, and should be of interest to Romanticists and scholars of 18th- and 19th-century literature and history, gender and genre, and women's studies.

Involuntary Confessions of the Flesh in Early Modern France was inspired by the observation that small slips of the flesh (involuntary confessions of the flesh) are omnipresent in early modern texts of many kinds. These slips (which bear similarities to what we would today call the Freudian slip) disrupt and destabilize readings of body, self, and textthree categories whose mutual boundaries this book seeks to softenbut also, in their very messiness, participate in defining them. Involuntary Confessions capitalizes on the uncertainty of such volatile moments, arguing that it is instability itself that provides the tools to navigate and understand the complexity of the early modern world. Rather than locate the body within any one discourse (Foucauldian, psychoanalytic), this book argues that slips of the flesh create a liminal space not exactly outside of discourse, but not necessarily subject to it, either. Involuntary confessions of the flesh reveal the perpetual and urgent challenge of early modern thinkers to textually confront and define the often tenuous relationship between the body and the self. By eluding and frustrating attempts to contain it, the early modern body reveals that truth is as much about surfaces as it is about interior depth, and that the self is fruitfully perpetuated by the conflict that proceeds from seemingly irreconcilable narratives. Interdisciplinary in its scope, Involuntary Confessions of the Flesh in Early Modern France pairs major French literary works of the sixteenth and seventeenth centuries (by Marguerite de Navarre, Montaigne, Madame de Lafayette) with cultural documents (confession manuals, legal documents about the application of torture, and courtly handbooks). It is the first study of its kind to bring these discourses into thematic (rather than linear or chronological) dialog. In so doing, it emphasizes the shared struggle of many different early modern conversations to come to terms with the bodys volatility.

This volume presents in-depth and contextualized analyses of a wealth of visual materials. These documents provide viewers with a mesmerizing and informative glimpse into how the early modern world was interpreted by image-makers and presented to viewers during a period that spans from manuscript culture to the age of caricature. The premise of this collection responds to a fundamental question: how are early modern texts, objects, and systems of knowledge imaged and consumed through bimodal, hybrid, or intermedial products that rely on both words and pictures to convey meaning? The twelve contributors to this collection go beyond traditional lines of inquiry into word-and-image interaction to deconstruct visual dynamics and politics-to show how images were shaped, manipulated, displayed, and distributed to represent the material world, to propagate official and commercial messages, to support religious practice and ideology, or to embody relations of power. These chapters are anchored in various theoretical and disciplinary points of departure, such as the history of collections and collecting, literary theory and criticism, the histories of science, art history and visual culture, word-and-image studies, as well as print culture and book illustration. Authors draw upon a wide range of visual material hitherto insufficiently explored and placed in context, in some cases hidden in museums and archives, or previously assessed only from a disciplinary standpoint that favored either the image or the text but not both in relation to each other. They include manuscript illuminations representing compilers and collections, frontispieces and other accompanying plates published in catalogues and museographies, astronomical diagrams, mixed pictographic-alphabetic accounting documents, Spanish baroque paintings, illustrative frontispieces or series inspired by or designed for single novels or anthologies, anatomical drawings featured in encyclopedic publications, visual patterns of volcanic formations, engravings representing the New World that accompany non-fictional travelogues, commonplace books that interlace text and images, and graphic satire. Geographically, the collection covers imperial centers (Great Britain, France, the Netherlands, and Spain), as well as their colonial periphery (New France; Mexico; Central America; South America, in particular Brazil; parts of Africa; and the island of Ceylon). Emblematic and thought-provoking, these images are only fragments of the multifaceted and comprehensive visual mosaic created during the early modern period, but their consideration has far reaching implications.

This book features an extraordinary album of ornament designs by the French architect Gilles-Marie Oppenord (1672-1742). In charge of the buildings and grounds of Philippe, duke of Orlans, regent of France during the minority of Louis XV, Oppenord was at the center of the architectural practice of his time. As made evident by this album, his consummate draftsmanship, praised by his contemporaries and coveted by collectors, exceeded by far the practical demands usually required of architects. On a copy of the first French edition of Cesare Ripa's Iconologia, published by Jean Baudoin in 1636 with engravings by Jacques de Bi, Oppenord drew vignettes, head and tail pieces, borders and other ornamental motifs. For the first time, this publication reproduces Oppenord's album in its initial state. Today's reassembled and rebound album of sixty sheets bears little resemblance to Oppenord's original copy. A bibliographic analysis of the Ripa-Baudoin book, based on a copy kept at the Bibliothque nationale de France, and confirmed by a previously unnoticed numbering by Oppenord, guided this first reconstitution. In lieu of a haphazard succession of sketches, it reveals Oppenord's fascinating interplay between text, engraved and drawn images.

Selected contributions to the Ninth World Shakespeare Congress, which took place in July 2011 in Prague, represent the contemporary state of Shakespeare studies in thirty-eight countries worldwide. Apart from readings of Shakespeare's plays and poems, more than forty chapters map Renaissance contexts of his art in politics, theater, law, or material culture and discuss numerous cases of the impact of his works in global culture from the Americas to the Far East, including stage productions, book culture, translations, film and television adaptations, festivals, and national heritage. The last section of the book focuses on the afterlife of Shakespeare in the work of the leading British dramatist Tom Stoppard.Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.

Shakespeare without Boundaries: Essays in Honor of Dieter Mehl offers a wide-ranging collection of essays written by an international team of distinguished scholars who attempt to define, to challenge, and to erode boundaries that currently inhibit understanding of Shakespeare, and to exemplify how approaches that defy traditional bounds of study and criticism may enhance understanding and enjoyment of a dramatist who acknowledged no boundaries in art.The Volume is published in tribute to Professor Dieter Mehl, whose critical and scholarly work on authors from Chaucer through Shakespeare to D. H. Lawrence has transcended temporal and national boundaries in its range and scope, and who, as Ann Jennalie Cook writes, has contributed significantly to the erasure of political boundaries that have endangered the unity of German literary scholarship and, more broadly, through his work for the International Shakespeare Association, to the globalization of Shakespeare studies.Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.

Women as Translators in Early Modern England offers a feminist theory of translation that considers both the practice and representation of translation in works penned by early modern women. It argues for the importance of such a theory in changing how we value women's work. Because of England's formal split from the Catholic Church and the concomitant elevation of the written vernacular, the early modern period presents a rich case study for such a theory. This era witnessed not only a keen interest in reviving the literary glories of the past, but also a growing commitment to humanist education, increasing literacy rates among women and laypeople, and emerging articulations of national sentiment. Moreover, the period saw a shift in views of authorship, in what it might mean for individuals to seek fame or profit through writing. Until relatively recently in early modern scholarship, women were understood as excluded from achieving authorial status for a number of reasonstheir limited education, the belief that public writing was particularly scandalous for women, and the implicit rule that they should adhere to the holy trinity of ';chastity, silence, and obedience.' While this view has changed significantly, women writers are still understood, however grudgingly, as marginal to the literary culture of the time. Fewer women than men wrote, they wrote less, and their ';choice' of genres seems somewhat impoverished; add to this the debate over translation as a potential vehicle of literary expression and we can see why early modern women's writings are still undervalued. This book looks at how female translators represent themselves and their work, revealing a general pattern in which translation reflects the limitations women faced as writers while simultaneously giving them the opportunity to transcend these limitations. Indeed, translation gave women the chance to assume an authorial role, a role that by legal and cultural standards should have been denied to them, a role that gave them ownership of their words and the chance to achieve profit, fame, status and influence.

Familial Forms is the first full-length study to examine how literary writers engaged the politics of genealogy that helped define the 'century of revolution.' By demonstrating how conflicts over the family-state analogy intersected with the period's battles over succession, including: the ascent of James I, the execution of Charles I, disputes over the terms of the Interregnum government, the Restoration of Charles II, the Exclusion Crisis, the deposition of James II, the ascent of William and Mary, and Anne's failure to produce a surviving heir, this study provides a new map of the seventeenth-century politics of family in England. Beginning with a reconsideration of Jacobean patriarchalism, Familial Forms focuses on the work of John Milton, Lucy Hutchinson, John Dryden, and Mary Astell. From their contrasting political and gendered positions, these authors contemplated and contested the relevance of marriage and kinship to government. Their writing illuminates two crucial elements of England's conflicts. First, the formal qualities of poems and prose tracts reveal that not only was there a competition among different versions of the family-state analogy, but also a competition over its very status as an analogy. Second, through their negotiations of linear and nonlinear forms, Milton, Hutchinson, Dryden, and Astell demonstrate the centrality of temporality to the period's political battles. Through close textual analysis of poetry, political tracts, parliamentary records, and nonliterary genealogies, Familial Forms offers a fresh understanding of the seventeenth-century politics of genealogy. It also provides new answers to long-standing critical questions about the poetic form of canonical works, such as Paradise Lost and Absalom and Achitophel, and illuminates the political significance of newly-canonical works by women writers, including Aemilia Lanyer's Salve Deus Rex Judaeoreum, Hutchinson's Order and Disorder, and Astell's A Serious Proposal to the Ladies.

The Tactics of Toleration examines the preconditions and limits of toleration during an age in which Europe was sharply divided along religious lines. During the Age of Religious Wars, refugee communities in borderland towns like the Rhineland city of Wesel were remarkably religiously diverse and culturally heterogeneous places. Examining religious life from the perspective of Calvinists, Lutherans, Mennonites, and Catholics, this book examines how residents dealt with pluralism during an age of deep religious conflict and intolerance. Based on sources that range from theological treatises to financial records and from marriage registries to testimonies before secular and ecclesiastical courts, this project offers new insights into the strategies that ordinary people developed for managing religious pluralism during the Age of Religious Wars.Historians have tended to emphasize the ways in which people of different faiths created and reinforced religious differences in the generations after the Reformation's break-up of Christianity, usually in terms of long-term historical narratives associated with modernization, including state building, confessionalization, and the subsequent rise of religious toleration after a century of religious wars. In contrast, Jesse Spohnholz demonstrates that although this was a time when Christians were engaged in a series of brutal religious wars against one another, many were also learning more immediate and short-term strategies to live alongside one another. This book considers these "tactics for toleration" from the vantage point of religious immigrants and their hosts, who learned to coexist despite differences in language, culture, and religion. It demands that scholars reconsider toleration, not only as an intellectual construct that emerged out of the Enlightenment, but also as a dynamic set of short-term and often informal negotiations between ordinary people, regulating the limits of acceptable and unacceptable behavior.Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.

In the first book to use fiction as theory, Barbara L. Estrin reverses chronological direction, beginning with contemporary novels to arrive at a re-visioned Shakespeare, uncovering a telling difference in the stories that script us and that influence our political unconscious in ways that have never been explored in literary-critical interpretations. Describing the animus against foreign blood, central to the dynamic of the foundling and lyric plots that form the nexus of her study, Estrin describes how late modern writers change those plots. Reading backward through the theoretical lens of their revisions allows us to rethink the Shakespeare we thought we knew. That innovative methodology, in turn, encourages us to read forward again with different tellings, ones that challenge the mythological homogeneity of the traditional classifications and that suggest new formulaic paradigms. With close readings of four contemporary novels and three Shakespeare plays, Estrin identifies the cultural walls that contribute to political gate-keeping as she chronicles the connection between plot variations and gender revisionism in the work of Caryl Phillips, Liz Jensen, Anne Michaels, and W.G. Sebald, as well as two film-makers (Mona Hatoum and Mieke Bal) who demonstrate an understanding that mythical repercussions prove dangerous in the twentieth and twenty-first centuries even as they suggest how the heritage shaping their work, and to which they are themselves drawn, in turn proposes an alternative Shakespeare, one who frees us to ask other questions: At the time that the nation state was beginning to coalesce, what does Shakespeare's frequent use of the foundling plot and his significant variations portend? How does his infusion of a revised lyric dynamic in The Merchant of Venice, Othello and The Winter's Tale change our reading of plays where the two plots coalesce as they do in the contemporary novels that shape Estrin's late modern interpretations? All the works in this study share the underlying premise that the connection between cultural origins and political destinies is reciprocal and that it is necessary and possible to transform the constructsin memory and imaginationthat continue to shape our lives.

This book discusses some rituals of justice-such as public executions, printed responses to the Archbishop of Canterbury's execution speech, and King Charles I's treason trial-in early modern England. Focusing on the ways in which genres shape these events' multiple voices, I analyze the rituals' genres and the diverse perspectives from which we must understand them.The execution ritual, like such cultural forms as plays and films, is a collaborative production that can be understood only, and only incompletely, by being alert to the presence of its many participants and their contributions. Each of these participants brings a voice to the execution ritual, whether it is the judge and jury or the victim, executioner, sheriff and other authorities, spiritual counselors, printer, or spectators and readers. And each has at least one role to play. No matter how powerful some institutions and individuals may appear, none has a monopoly over authority and how the events take shape on and beyond the scaffold. The centerpiece of the mid-seventeenth-century's theatre of death was the condemned man's last dying utterance. This study focuses on the words and contexts of many of those final speeches, including King Charles I's (1649), Archbishop William Laud's (1645), and the Earl of Strafford's (1641), as well as those of less well known royalists and regicides. Where we situate ourselves to view, hear, and comprehend a public execution-through specific participants' eyes, ears, and minds or accounts-shapes our interpretation of the ritual. It is impossible to achieve a singular, carefully indoctrinated meaning of an event as complex as a state-sponsored public execution.Along with the variety of voices and meanings, the nature and purpose of the rituals of justice maintain a significant amount of consistency in a number of eras and cultural contexts. Whether the focus is on the trial and execution of the Marian martyrs, English royalists in the 1640s and 1650s, or the Restoration's regicides, the events draw on a set of cultural expectations or conventions. Because rituals of justice are shaped by diverse voices and agendas, with the participants' scripts and counterscripts converging and colliding, they are dramatic moments conveying profound meanings.Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.

Shakespearean Educations examines how and why Shakespeare's works shaped the development of American education from the colonial period through the 1934 Chicago World's Fair, taking the reader up to the years before the Servicemen's Readjustment Act of 1944 (popularly known as the GI Bill), coeducation, and a nascent civil rights movement would alter the educational landscape yet again. The essays in this collection query the nature of education, the nature of citizenship in a democracy, and the roles of literature, elocution, theater, and performance in both. Expanding the notion of "education" beyond the classroom to literary clubs, private salons, public lectures, libraries, primers, and theatrical performance, this collection challenges scholars to consider how different groups in our society have adopted Shakespeare as part of a specifically "American" education. Shakespearean Educations maps the ways in which former slaves, Puritan ministers, university leaders, and working class theatergoers used Shakespeare not only to educate themselves about literature and culture, but also to educate others about their own experience.Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.