The Anonymous Renaissance: Cultures of Discretion in Tudor-Stuart England
University of Chicago Press, 15 mei 2003 - 309 pagina's
"The Anonymous Renaissance offers a paradigm-shifting look at print culture in early modern England. North demonstrates through sound historical discussions and readings that anonymity was one of the defining practices of Renaissance authorship. It is difficult to overstate the originality and importance of this new study."-Jennifer Summit, Stanford University
The Renaissance was in many ways the beginning of modern and self-conscious authorship, a time when individual genius was celebrated and an author's name could become a book trade commodity. Why, then, did anonymous authorship flourish during the Renaissance rather than disappear? In addressing this puzzle, Marcy L. North reveals the rich history and popularity of anonymity during this period.
The book trade, she argues, created many intriguing and paradoxical uses for anonymity, even as the authorial name became more marketable. Among ecclesiastical debaters, for instance, anonymity worked to conceal identity, but it could also be used to identify the moral character of the author being concealed. In court and coterie circles, meanwhile, authors turned name suppression into a tool for the preservation of social boundaries. Finally, in both print and manuscript, anonymity promised to liberate an authentic female voice, and yet made it impossible to authenticate the gender of an author. In sum, the writers and book producers who helped to create England's literary culture viewed anonymity as a meaningful and useful practice.
Written with clarity and grace, The Anonymous Renaissance will fill a prominent gap in the study of authorship and English literary history.
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ONE Medieval Anonymity and the Modern Author
TWO Ignoto and the Book Industry
THREE Printed Anonymity and Its Readers
Anonymitys Moral Ambiguityin Elizabethan Catholic Controversy
Anonymity in Elizabethan Puritan Controversy
Coterie Anonymity and Poetic Commonplace Books
Overige edities - Alles bekijken
ambiguity anagram anony anonymity marks anonymity’s argues Arundel Harington ascriptions attribution audience author’s name authors and book authorship bishops book producers Cambridge Catholic century church circle claims commonplace books compilers controversy coterie coterie anonymity coterie culture critical Dalhousie manuscripts deﬁne deﬁnition Devonshire diﬀerent diﬃcult discretion discussion disguise Donne Donne’s early print edition eﬀect eﬀort elite Elizabethan English female voice female-voiced ﬁgure ﬁnd ﬁrst ﬂexibility frame function gender Hughey Ibid identiﬁes identity individual inﬂuence initials John John Donne Lilliat literary literature manipulation manuscript culture Marotti Marprelate controversy Martin Marprelate Martinist medieval Miscellany name suppression Nicholas Breton nymity oﬀer paratexts Pasquill poem’s poems poet poetic poetry popular Press print culture printer pseudonym publication published Puritan readers Renaissance response reveal satires scholars scribal signature social speaker speciﬁc Spenser Sutcliﬀe text’s textual Thomas Thomas Nashe tion traditional transmission Univ ventriloquism verse Wigand woman women authors writing
Pagina xxxiv - In order to function, that is, in order to be legible, a signature must have a repeatable, iterable, imitable form; it must be able to detach itself from the present and singular intention of its production. It is its sameness which, in altering its identity and singularity, divides the seal.
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