Elizabeth I The Competition for Representation SUSAN FRYE New York Oxford OXFORD UNIVERSITY PRESS... more Elizabeth I The Competition for Representation SUSAN FRYE New York Oxford OXFORD UNIVERSITY PRESS -iii-.
Journal of Medieval and Early Modern Studies, Oct 1, 2002
Esther Inglis (1571–1624), the miniaturist, embroiderer, calligrapher, translator, and self-descr... more Esther Inglis (1571–1624), the miniaturist, embroiderer, calligrapher, translator, and self-described “writer,” produced nearly sixty known calligraphic manuscripts bound as small, usually miniature, books. These books frequently consist of a central pious text placed within covers of Inglis’s own making and introduced by a variety of materials including a title page, selfportrait, and dedication to someone of rank, including Elizabeth I, James VI, Prince Henry, and Lucy Harington, Countess of Bedford. In the late sixteenth and early seventeenth centuries in England, such texts continued to circulate in manuscript form even as print became the more available technology; sometimes even printed books were copied by scribes to recreate the look of less widely marketed books.1 Esther Inglis’s books are significant because as objects they are tiny (the smallest measure one and a half inches by two inches or two inches by three inches), and because, written in dozens of different scripts accompanied by drawings and ornaments, they are marked as the work of her hand. But the most significant aspect of her books lies in the relation between their existence as handmade objects and the ways that she uses their objectivity to represent her subjectivity as a woman author who appropriates both the conventions of presentation manuscripts and of print culture. Every material feature of Inglis’s books asserts her project, to assemble and publish exquisite textual objects whose value resides in the tension between manuscript and print cultures, the hand and the machine. In creating a place for herself between these two cultures, I argue, Inglis connected the writing woman to desired political and social affiliations, negotiated in part by and for her family at the same time that her books materialized an authorial self. In order to demonstrate how Inglis worked within and against the discouragement of women’s publication in early modern Scotland and
... CHASTITY AND VIOLENCE Frye ... But we for-get that women not only lived within the confines o... more ... CHASTITY AND VIOLENCE Frye ... But we for-get that women not only lived within the confines of such masculinist codes as chivalry, poetry, and the law ... only claimed the queen and her court as his subject and audience but also openly participated in that most courtly activity, the ...
Spectres of historical queens in several of Shakespeare’s plays recall the political importance n... more Spectres of historical queens in several of Shakespeare’s plays recall the political importance not only of queens themselves, but of the vexed issue of sovereignty as it was gendered in early modern political thought. Representations of and allusions to Elizabeth I and Mary Queen of Scots in Henry V, Henry VIII, and The Winter’s Tale expose the strategies through which actual queens as well as their supporters authorized and defended early modern female sovereignty. At the same time, because female sovereignty rests on the connection between the female body and the political body, definitions of female sovereignty remain unstable, capable of both reinforcing and disrupting the connection. When Shakespeare creates his historical and fictional queens, he raises their spectres as untimely versions of female sovereignty as well as the uncanny role of the female body in representing time itself.
Elizabeth I The Competition for Representation SUSAN FRYE New York Oxford OXFORD UNIVERSITY PRESS... more Elizabeth I The Competition for Representation SUSAN FRYE New York Oxford OXFORD UNIVERSITY PRESS -iii-.
Elizabeth I The Competition for Representation SUSAN FRYE New York Oxford OXFORD UNIVERSITY PRESS... more Elizabeth I The Competition for Representation SUSAN FRYE New York Oxford OXFORD UNIVERSITY PRESS -iii-.
Journal of Medieval and Early Modern Studies, Oct 1, 2002
Esther Inglis (1571–1624), the miniaturist, embroiderer, calligrapher, translator, and self-descr... more Esther Inglis (1571–1624), the miniaturist, embroiderer, calligrapher, translator, and self-described “writer,” produced nearly sixty known calligraphic manuscripts bound as small, usually miniature, books. These books frequently consist of a central pious text placed within covers of Inglis’s own making and introduced by a variety of materials including a title page, selfportrait, and dedication to someone of rank, including Elizabeth I, James VI, Prince Henry, and Lucy Harington, Countess of Bedford. In the late sixteenth and early seventeenth centuries in England, such texts continued to circulate in manuscript form even as print became the more available technology; sometimes even printed books were copied by scribes to recreate the look of less widely marketed books.1 Esther Inglis’s books are significant because as objects they are tiny (the smallest measure one and a half inches by two inches or two inches by three inches), and because, written in dozens of different scripts accompanied by drawings and ornaments, they are marked as the work of her hand. But the most significant aspect of her books lies in the relation between their existence as handmade objects and the ways that she uses their objectivity to represent her subjectivity as a woman author who appropriates both the conventions of presentation manuscripts and of print culture. Every material feature of Inglis’s books asserts her project, to assemble and publish exquisite textual objects whose value resides in the tension between manuscript and print cultures, the hand and the machine. In creating a place for herself between these two cultures, I argue, Inglis connected the writing woman to desired political and social affiliations, negotiated in part by and for her family at the same time that her books materialized an authorial self. In order to demonstrate how Inglis worked within and against the discouragement of women’s publication in early modern Scotland and
... CHASTITY AND VIOLENCE Frye ... But we for-get that women not only lived within the confines o... more ... CHASTITY AND VIOLENCE Frye ... But we for-get that women not only lived within the confines of such masculinist codes as chivalry, poetry, and the law ... only claimed the queen and her court as his subject and audience but also openly participated in that most courtly activity, the ...
Spectres of historical queens in several of Shakespeare’s plays recall the political importance n... more Spectres of historical queens in several of Shakespeare’s plays recall the political importance not only of queens themselves, but of the vexed issue of sovereignty as it was gendered in early modern political thought. Representations of and allusions to Elizabeth I and Mary Queen of Scots in Henry V, Henry VIII, and The Winter’s Tale expose the strategies through which actual queens as well as their supporters authorized and defended early modern female sovereignty. At the same time, because female sovereignty rests on the connection between the female body and the political body, definitions of female sovereignty remain unstable, capable of both reinforcing and disrupting the connection. When Shakespeare creates his historical and fictional queens, he raises their spectres as untimely versions of female sovereignty as well as the uncanny role of the female body in representing time itself.
Elizabeth I The Competition for Representation SUSAN FRYE New York Oxford OXFORD UNIVERSITY PRESS... more Elizabeth I The Competition for Representation SUSAN FRYE New York Oxford OXFORD UNIVERSITY PRESS -iii-.
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