Charting Change In France Around 1540

During the decade or so surrounding 1540, there is a change in French thinkers' assumptions about themselves, their country, and their place in the world. This evolutionary change is examined from multidisciplinary points of view, providing readers with tools for interpreting, defining, and understanding it in a broader sense. The character of the change being explored here is neither rupture nor revolution. It is a displacement of center that contributes to, or in some cases actually creates, a changed relation between past and mid-sixteenth-century present as well as between that present and attitudes toward the future. During the period around 1540, French thinkers and French perceptions opened to the notion that what-had-never-been now could be, what for lack of a better term, called the new, often accompanied by a nationalism proclaiming it for France. This brings a fresh understanding of what it means to be French - in language, in music, even in food. It brings an expansion of categories to be treated as part of the French economy, like Canadian fish, or more surprisingly, leisure, or music. Marian Rothstein is Professor of French at Carthage College.

In this fresh and original monograph on the ecclesiology of John Calvin, Tadataka Maruyama sifts exhaustively through the corpus of Calvin’s writings—in both Latin and French—to crystalize the French reformer’s conception of the Christian church. After elucidating Calvin’s influence from other reformers such as Jacques Lefèvre, Guillaume Farel, and Martin Bucer, Maruyama shows how Calvin’s ecclesiology evolved throughout his life while remaining firmly rooted in key principles and interests. Maruyama discerns three phases in Calvin’s ecclesiology: Catholic ecclesiology—in which Calvin saw the church as a unified and ideal institution situated both above and within history Reformed ecclesiology—in which Calvin described the concrete, historical form of the Christian church over against the Catholic Church Reformation ecclesiology—in which Calvin came to understand the Christian church as an eschatological reality situated in a broader European context, which Calvin portrayed as the “theater of God’s providence” This trajectory mirrors the way the Protestant Reformation was focused on reforming particular churches while also reimagining the Christian world as a whole. Indeed, as Maruyama thoroughly illustrates, Calvin never lost sight of his original vision of reforming the church of his French homeland even as his work grew into a much larger movement.

In Speaking of Love: The Love Dialogue in Italian and French Renaissance Literature, Reinier Leushuis examines a corpus of sixteenth-century love dialogues that exemplifies the dialogue’s mimetic qualities and validates its place in the literary landscape of the Italian and French Renaissance.

Often abstracted by the aesthetic implications of music itself, musical instruments can be seen as physical signifiers apart from the music that they produce. In Sounding Objects, Carla Zecher studies the representation of musical instruments in French Renaissance poetry and art, arguing that the efficacy of these material objects as literary and pictorial images was derived from their physical characteristics and acoustic properties, as well as from their aesthetic product. Sounding Objects is concerned with ways in which musical culture provided poets with a rich, nuanced vocabulary for reflecting on their own art and its roles in courtly life, the civic arena, and salon society. Poets not only depicted the world of musical practice but also appropriated it, using musical instruments figuratively to establish their literary identities. Drawing on music treatises and archival sources as well as poems, paintings, and engravings, this unique study aims to enrich our understanding of the interplay of poetry, music, and art in this period, and highlights the importance of musical materiality to Renaissance culture.

Advertising the Self in Renaissance France explores how authors and readers are represented in printed editions of three major literary figures: Jean Lemaire de Belges, Clément Marot, and François Rabelais. Print culture is marked by an anxiety of reception that became much more pronounced with increasingly anonymous and unpredictable readerships in the sixteenth century. To allay this anxiety, authors, as well as editors and printers, turned to self-fashioning in order to sell not only their books but also particular ways of reading. They advertised correct modes of reading as transformative experiences offered by selfless authors that would help the actual reader attain the image of the ideal reader held up by the text and paratext. Thus, authorial personae were constructed around the self-fashioning offered to readers, creating an interdependent relationship that anticipated modern advertising. Distributed for the University of Delaware Press

Memory and Community in Sixteenth-Century France engages the question of remembering from a number of different perspectives. It examines the formation of communities within diverse cultural, religious, and geographical contexts, especially in relation to the material conditions for producing texts and discourses that were the foundations for collective practices of memory. The Wars of Religion in France gave rise to numerous narrative and graphic representations of bodies remembered as icons and signifiers of the religious ’troubles.’ The multiple sites of these clashes were filled with sound, language, and diverse kinds of signs mediated by print, writing, and discourses that recalled past battles and opposed different factions. The volume demonstrates that memory and community interacted constantly in sixteenth-century France, producing conceptual frames that defined the conflicting groups to which individuals belonged, and from which they derived their identities. The ongoing conflicts of the Wars hence made it necessary for people both to remember certain events and to forget others. As such, memory was one of the key ideas in a period defined by its continuous reformulations of the present as a forum in which contradictory accounts of the recent past competed with one another for hegemony. One of the aims of Memory and Community in Sixteenth-Century France is to remedy the lack of scholarship on this important memorial function, which was one of the intellectual foundations of the late French Renaissance and its fractured communities.

First comprehensive examination of the ways in which printers, publishers and booksellers adapted and rewrote Arthurian romance in early modern France, for new audiences and in new forms.

What does it mean to author a piece of music? What transforms the performance scripts written down by musicians into authored books? In this fascinating cultural history of Western musicÕs adaptation to print, Kate van Orden looks at how musical authorship first developed through the medium of printing. When music printing began in the sixteenth century, publication did not always involve the composer: printers used the names of famous composers to market books that might include little or none of their music. Publishing sacred music could be career-building for a composer, while some types of popular song proved too light to support a reputation in print, no matter how quickly they sold. Van Orden addresses the complexities that arose for music and musicians in the burgeoning cultures of print, concluding that authoring books of polyphony gained only uneven cultural traction across a century in which composers were still first and foremost performers.