The public representation of homosexual men in seventeenth-century England – a corpus based view

2017 ◽  
Vol 3 (2) ◽  
pp. 197-217 ◽  
Author(s):  
Tony McEnery ◽  
Helen Baker
Keyword(s):  
Seventeenth Century ◽  
Early Modern ◽  
Public Discourse ◽  
Historical Context ◽  
Low Frequency ◽  
Close Reading ◽  
English Society ◽  
Sex With Men ◽  
Early English ◽  
The Impact

AbstractIn this article we explore public discourse around one marginalized group in early-modern English society, men who engaged in sexual relations with other males. To do this we use a large corpus of seventeenth century texts, the Early English Books Online corpus. Our exploration leads us to consider a number of methodological issues, notably low frequency data and the classical framing of some words. We consider the historical context which brings this about, the impact of such data on our study and the importance of close reading in understanding words in discourse. In addition, we show that, even where frequency does not seem to be an issue, close reading, guided by corpus analysis, is vital in allowing the analyst to move past a superficial analysis of the data towards an understanding of the conventions attached to the use of words which appear to reference men who have sex with men in this period. Through such analyses, this paper sheds light on the typically negative meanings associated with this group in early modern England, and provides both challenge and refinement to existing lexicography, both modern and early modern, relating to the group in this period.

CIRCULATING MUSICAL KNOWLEDGE IN EARLY SEVENTEENTH-CENTURY GERMANY: MUSICA POETICA TREATISES OF JOHANN HERMANN SCHEIN AND MICHAEL ALTENBURG IN THE LIBRARY OF JOHANN CASPAR TROST

2016 ◽  
Vol 35 ◽  
pp. 131-201
Author(s):  
Inga Mai Groote ◽  
Dietrich Hakelberg
Keyword(s):  
Seventeenth Century ◽  
Early Modern ◽  
Book History ◽  
Historical Context ◽  
Early Modern Period ◽  
Learning And Teaching ◽  
Musical Education ◽  
Modern Period ◽  
Musical Knowledge ◽  
Musica Poetica

Recent research on the library of Johann Caspar Trost the Elder, organist in Halberstadt, has led to the identification of a manuscript with two unknown treatises on musica poetica, one a lost treatise by Johann Hermann Schein and the other an unknown treatise by Michael Altenburg. Together they offer fresh insights into the learning and teaching of music in the early modern period. The books once owned by Trost also have close connections to his personal and professional life. This article situates the newly discovered manuscript in the framework of book history and Trost’s biography, and discusses the two treatises against the background of contemporary books of musical instruction (Calvisius, Lippius, or Finolt). The historical context of the manuscript, its theoretical sources and its origins all serve to contribute to and further the current understanding of musical education in early modern central Germany. An edition of the treatises is provided.

Breeched and Unbridled: Bifurcated Equestrian Garments for Women in Early Modern Europe

Costume ◽  
2021 ◽  
Vol 55 (2) ◽  
pp. 163-185
Author(s):  
Valerio Zanetti
Keyword(s):  
Seventeenth Century ◽  
Early Modern ◽  
Visual Representations ◽  
Historical Narratives ◽  
Close Reading ◽  
Early Modern Europe ◽  
Affective Meaning ◽  
Documentary Sources ◽  
Modern Europe

This article discusses the wearing of bifurcated equestrian garments for women in early modern Europe. Considering visual representations as well as documentary sources, the first section examines the fashion for red riding breeches between the late sixteenth and seventeenth centuries. Worn for their comfort and functionality in the saddle, these garments were also invested with powerful symbolic and affective meaning. The second section provides new insights about female equestrian outfits in late seventeenth-century France. Through the close reading of two written accounts, the author sheds light on the use of breeches as undergarments in the saddle and discusses the appearance of a hybrid riding uniform that incorporated knee-length culottes. By presenting horsewomen who wore bifurcated garments in the pursuit of leisure rather than transgression, this study revises historical narratives that cast the breeched woman exclusively as a symbol of gender upheaval.

The Making of a Success Story

2021 ◽  
pp. 18-32
Author(s):  
Stefania Tutino
Keyword(s):  
Seventeenth Century ◽  
Early Modern ◽  
Historical Context ◽  
Power Dynamics ◽  
High Ranking ◽  
The Social ◽  
Kingdom Of Naples ◽  
High Ranking Official ◽  
Main Protagonist ◽  
Political Economic

This chapter introduces the main protagonist of the book: Carlo Calà Duke of Diano, a jurist and high-ranking official in the viceregal administration. This chapter also sets the historical context of the story of the forgery by describing the main political, economic, social, and religious characteristics of the Kingdom of Naples in the seventeenth century. More specifically, this chapter explains the social, cultural, and intellectual advantages that a noble pedigree conferred to the Neapolitan non-aristocratic elites; explores the main sources of tension between the papacy and the Neapolitan viceroy; sheds light on the power dynamics between the Roman Inquisition and the local ecclesiastical leaders; and introduces the complexities of the liturgical and devotional life of early modern Catholics.

scholarly journals Revisiting the Early Modern Philosophical Canon

2016 ◽  
Vol 2 (3) ◽  
pp. 365-383 ◽  
Author(s):  
LISA SHAPIRO
Keyword(s):  
Seventeenth Century ◽  
Early Modern ◽  
History Of Science ◽  
Philosophy Of Mind ◽  
Historical Context ◽  
History Of Philosophy ◽  
History Of ◽  
Philosophical Questions

ABSTRACT:I reflect critically on the early modern philosophical canon in light of the entrenchment and homogeneity of the lineup of seven core figures: Descartes, Spinoza, Leibniz, Locke, Berkeley, Hume, and Kant. After distinguishing three elements of a philosophical canon—a causal story, a set of core philosophical questions, and a set of distinctively philosophical works—I argue that recent efforts contextualizing the history of philosophy within the history of science subtly shift the central philosophical questions and allow for a greater range of figures to be philosophically central. However, the history of science is but one context in which to situate philosophical works. Looking at the historical context of seventeenth-century philosophy of mind, one that weaves together questions of consciousness, rationality, and education, does more than shift the central questions—it brings new ones to light. It also shows that a range of genres can be properly philosophical and seamlessly diversifies the central philosophers of the period.

scholarly journals The Impact of the Netherlandish Landscape Tradition on Poetry and Painting in Early Modern England*

2013 ◽  
Vol 66 (3) ◽  
pp. 866-903 ◽  
Author(s):  
Sara Trevisan
Keyword(s):  
Seventeenth Century ◽  
Early Modern ◽  
Rare Case ◽  
Early Modern England ◽  
Historical Knowledge ◽  
Complex Product ◽  
Problematic Relationship ◽  
History Of ◽  
The Impact ◽  
The Relationship

AbstractThe relationship between poetry and painting has been one of the most debated issues in the history of criticism. The present article explores this problematic relationship in the context of sixteenth- and seventeenth-century England, taking into account theories of rhetoric, visual perception, and art. It analyzes a rare case in which a specific school of painting directly inspired poetry: in particular, the ways in which the Netherlandish landscape tradition influenced natural descriptions in the poem Poly-Olbion (1612, 1622) by Michael Drayton (1563–1631). Drayton — under the influence of the artistic principles of landscape depiction as explained in Henry Peacham’s art manuals, as well as of direct observation of Dutch and Flemish landscape prints and paintings — successfully managed to render pictorial landscapes into poetry. Through practical examples, this essay will thoroughly demonstrate that rhetoric is capable of emulating pictorial styles in a way that presupposes specialized art-historical knowledge, and that pictorialism can be the complex product as much of poetry and rhetoric as of painting and art-theoretical vocabulary.

Distant Reading the Body, 1640–1699

2019 ◽  
Vol 70 (296) ◽  
pp. 681-701
Author(s):  
Rachel Mann ◽  
Michael Gavin
Keyword(s):  
Seventeenth Century ◽  
Human Body ◽  
The Body ◽  
Close Reading ◽  
Distant Reading ◽  
Close Attention ◽  
Conceptual Structures ◽  
Abstract Entities ◽  
Social Entity ◽  
Early English

Abstract This paper analyses seventeenth-century discourse of the human body over the Early English Books Online full-text corpus. Anatomy and medicine depict the body as a physiological object, knowable mainly through its parts and processes. Fiction and poetry tend to represent the body as a social entity, knowable primarily through intersubjective action and ethical ideals. In both contexts, bodies are perceived and described through close attention to their parts, but when bodies are conceived as such, they are described as abstract entities that organize the whole. This distinction is difficult to see at the level of close reading but unmistakable at larger scale. Deep conceptual structures at work underneath both anatomy and fiction, we argue, underlie a conception of the body that informs more particularized notions of mobility, sociality, and physicality.

Theatrical torture versus dramatic cruelty: subjection through representation or praxis1

2017 ◽  
Author(s):  
Frans-Willem Korsten
Keyword(s):  
Seventeenth Century ◽  
Early Modern ◽  
The Other ◽  
Close Reading ◽  
Political Event ◽  
Other Hand ◽  
Early Modern Era ◽  
The Mind ◽  
Modern Era ◽  
Peculiar Case

The distinction between the theatrical and the dramatic is pivotal for different modes of subjection in the early modern era. Institutionally speaking, society was organized ideologically, theatrically by the introjection of what was shown publicly to private, but equally collective, theatres of the mind. This could be described as a logic of torture. In contrast, and on the other hand, the dramatic application of punishment on ships, and the pain it involved, served what Robert Cover called a ‘balance of terror’, based on a logic of what Deleuze defined as ‘cruelty’. In order to clarify this distinction, and the implication it has for our ideas on gouvernmentalité, this chapter will propose a close reading of a painting by Lieve Verschuier that either depicts a peculiar case of keelhauling or, allegorically, the lynching of the brothers De Witt in 1672. Although the painting is clearly theatrical, formally speaking, it superimposes a dramatic logic on the traumatic political event of the lynching of the brothers De Witt. This will be considered in the chapter as one instance of a more general shift in the seventeenth century: a shift away from the theatrical logic of torture to the dramatic logic of cruelty.

scholarly journals Custom and the Social Organisation of Writing in Early Modern England

1999 ◽  
Vol 9 ◽  
pp. 257-269 ◽  
Author(s):  
Andy Wood
Keyword(s):  
Seventeenth Century ◽  
Early Modern ◽  
Oral Tradition ◽  
Mirror Image ◽  
Customary Law ◽  
Poor People ◽  
Early Modernity ◽  
Local Identities ◽  
English Society ◽  
Mind Set

Social historians of sixteenth- and seventeenth-century England have tended to see literacy as a modernising force which eroded oral tradition and overrode local identities. Whereas the increasing literacy of the period has long appeared an important constituent element of Tudor and Stuart England's early modernity, custom has been represented as its mirror image. Attached to cumbersome local identities, borne from the continuing authority of speech, bred within a plebeian culture which was simultaneously pugnacious and conservative, customary law has been taken to define a traditional, backward-looking mind-set which stood at odds to the sharp forces of change cutting into the fabric of early modern English society. 1 Hence, social historians have sometimes perceived the growing elite hostility to custom as a part of a larger attack upon oral culture. In certain accounts, this elite antipathy is presented as a by-product of die standardising impulses of early capitalism. 2 Social historians have presented the increasing role of written documents in the defence of custom as the tainting of an authentic oral tradition, and as further evidence of the growing dom-nation of writing over speech. Crudely stated, orality, and hence custom, is seen as ‘of the people’; while writing was ‘of the elite’. In this respect as in others, social historians have therefore accepted all too readily John Aubrey's nostalgic recollections of late seventeenth century that Before printing, Old Wives tales were ingeniose and since Printing came in fashion, till a little before the Civil warres, the ordinary Sort of people were not taught to reade & now-a-dayes Books are common and most of the poor people understand letters: and the many good Bookes and the variety of Turnes of Affaires, have putt the old Fables out of dores: and the divine art of Printing and Gunpowder have frighted away Robin-good-fellowe and the Fayries.

Psyche in Historical Context: Identity and Existence in Captain Ahab and King Lear

2017 ◽  
Vol 41 (S1) ◽  
pp. S717-S718
Author(s):  
G. Egloff
Keyword(s):  
Seventeenth Century ◽  
Collective Identity ◽  
Historical Context ◽  
King Lear ◽  
Close Reading ◽  
Moby Dick ◽  
Quest For Meaning ◽  
Competing Interest ◽  
Paradigmatic Change ◽  
The Individual

IntroductionWhat ties Ahab, the notorious captain of the Pequod in Herman Melville's 1851 novel, Moby-Dick, to King Lear, the desperate old regent from William Shakespeare's eponymous play published in 1608, is not only their overabundant quest for meaning, or their obsession with pursuing their targets, but their idiosyncratic experiencing of themselves in their personal realities.AimsCaptain Ahab is put in relation with King Lear, in order to show in what way issues of identity and of existence emerge in the course of their fictional lives. Lear is considered to have had deep influence on Melville the author in creating the character of Ahab. Since, in terms of present-day psychopathology, both fictional characters present with symptoms, their issues when put in historical context can untangle their personal realities.MethodsThrough a close reading of the characters’ behaviour and experiencing in historical context, issues of identity and of existence are elaborated on in order to advance to the psychodramatic substrate.ResultsWhereas at the beginning of the seventeenth century conflicts are newly transposed to characters’ minds instead of surroundings, the nineteenth century still sees Ahab's monomania on the outside. Identity and existence have increasingly been placed in individual psyche, though.ConclusionsA paradigmatic change in personality concept at the turn of the modern epoch enables psychiatry and psychopathology to conceptualize the individual and to derive identity and existence from. Collective identity gives way to personal identity. With that, choice, interpretation, and failing are individualized.Disclosure of interestThe author has not supplied his/her declaration of competing interest.

Ravishing Strides: Signs of the Peripatetic in Early Modern Performance

2001 ◽  
Vol 17 (1) ◽  
pp. 18-30
Author(s):  
David Roberts
Keyword(s):  
Seventeenth Century ◽  
Early Modern ◽  
Literary Studies ◽  
Cultural Activity ◽  
Theatre History ◽  
Romantic Period ◽  
The Status ◽  
Funded Project ◽  
Cross Dressing ◽  
Early English

Actors' feet are accepted as part of their expressive equipment – but doubts are often expressed that this has always been so. The evidence of early English theatre history is adduced to suggest otherwise, while recent treatments of the peripatetic in literary studies argue that the ‘visible walk’ attains prominence only in the Romantic period. But David Roberts argues that, from the emergence of permanent theatres, walking offered a metonymy for performance which persisted throughout the seventeenth century. Cross-dressing highlighted the expressive potential of the feet, while close examination of play-texts implies evolving styles of the peripatetic in performance, and the scenic theatres of the Restoration frequently portrayed walking as a cultural activity bound up with the status of both actors and scenery in post-revolutionary London. David Roberts teaches English and Drama at University College Worcester, and has published widely on theatre and literature from 1550 to 1789. He leads an AHRB-funded project on theatre criticism.

Sign in / Sign up

Export Citation Format

Share Document