Early Modern Women S Complaint

This collection examines early modern women’s contribution to the culturally central mode of complaint. Complaint has largely been understood as male-authored, yet, as this collection shows, early modern women used complaint across a surprising variety of forms from the early-Tudor period to the late-seventeenth century. They were some of the mode’s first writers, most influential patrons, and most innovative contributors. Together, these new essays illuminate early modern women’s participation in one of the most powerful rhetorical modes in the English Renaissance, one which gave voice to political, religious and erotic protest and loss across a diverse range of texts. This volume interrogates new texts (closet drama, song, manuscript-based religious and political lyrics), new authors (Dorothy Shirley, Scots satirical writers, Hester Pulter, Mary Rowlandson), and new versions of complaint (biblical, satirical, legal, and vernacular). Its essays pay specific attention to politics, form, and transmission from complaint’s first circulation up to recent digital representations of its texts. Bringing together an international group of experts in early modern women’s writing and in complaint literature more broadly, this collection explores women’s role in the formation of the mode and in doing so reconfigures our understanding of complaint in Renaissance culture and thought.

Female protagonists are commonly overlooked in the history of crime; especially in early modern Italy, where women’s scope of action is often portrayed as heavily restricted. This book redresses the notion of Italian women’s passivity, arguing that women’s crimes were far too common to be viewed as an anomaly. Based on over two thousand criminal complaints and investigation dossiers, Sanne Muurling charts the multifaceted impact of gender on patterns of recorded crime in early modern Bologna. While various socioeconomic and legal mechanisms withdrew women from the criminal justice process, the casebooks also reveal that women – as criminal offenders and savvy litigants – had an active hand in keeping the wheels of the court spinning.

This exciting collection of original essays on early modern women’s writing offers a range of approaches to a growing field. As a whole, the volume introduces readers to a number of writers, such as Mirabai and Liu Rushi, who are virtually invisible in Anglophone scholarship, and to writers who remain little known, such as Elizabeth Melville, Elizabeth Hatton, and Jane Sharpe. The volume also represents critical strategies designed to open up the emergent canon of early modern women’s writing to new approaches, especially those that have consolidated the integration of literary and intellectual history, with an emphasis on religion, legal issues, and questions of genre. The authors expand the methodological possibilities available to approach early modern women who wrote in a diverse number of genres, from letters to poetry, autobiography and prose fiction. The sixteen essays are a major contribution to an area that has attracted the interest of a number of fields, including literary studies, history, cultural studies, and women’s studies.

This investigation contributes to the existing scholarship on women and medicine in early modern Britain by examining the diagnosis and treatment of female patients by male professional medical practitioners from 1590 to 1740. In order to obtain a clearer understanding of female illness and medicine during this period, this study examines ailments that were specific and unique to female patients as well as illnesses and conditions that afflicted both female and male patients. Through a qualitative and quantitative analysis of practitioners' records and patients' writings - such as casebooks, diaries and letters - an emphasis is placed on medical practice. Despite the prevalence of females amongst many physicians' casebooks and the existence of sex-based differences in the consultations, diagnoses and treatments of patients, there is no evidence to indicate that either the health or the medical care of females was distinctly disadvantaged by the actions of male practitioners. Instead, the diagnoses and treatments of women were premised on a much deeper and more nuanced understanding of the female body than has previously been implied within the historiography. In turn, their awareness and appreciation of the unique features of female anatomy and physiology meant that male practitioners were sympathetic and accommodating to the needs of individual female patients during this pivotal period in British medicine.

This book argues that the early modern public/private boundary was surprisingly dynamic and flexible in early modern literature, drawing upon authors including Shakespeare, Anne Lock, Mary Wroth, and Aphra Behn, and genres including lyric poetry, drama, prose fiction, and household orders. An epilogue discusses postmodern privacy in digital media.

Offering a broad and eclectic approach to the experience and activities of early modern women, Challenging Orthodoxies presents new research from a group of leading voices in their respective fields. Each essay confronts some received wisdom, ‘truth’ or orthodoxy in social and cultural, scientific and intellectual, and political and legal traditions, to demonstrate how women from a range of social classes could challenge the conventional thinking of their time as well as the ways in which they have been traditionally portrayed by scholars. Subjects include women's relationship to guns and gunpowder, the law and legal discourse, religion, public finances, and the new science in early modern Europe, as well as women and indentured servitude in the New World. A testament to the pioneering work of Hilda L. Smith, this collection makes a valuable contribution to scholarship in women’s studies, political science, history, religion and literature.

The Drama of Complaint: Ethical Provocations in Shakespeare's Tragedy is the first book-length study of complaint in Shakespearean drama. Emily Shortslef makes two main arguments. One is that poetic forms of complaint—expressions of discontent and unhappiness—operate in and across the period's literary and nonliterary discourses as sites of thought about human flourishing, the subject of ethical inquiry. The other is that Shakespearean configurations of these ubiquitous forms in theatrical scenes of complaint model new ways of thinking about ethical subjectivity, or ways of desiring, acting, and living consonant with notions of the good life. The Drama of Complaint develops these interlocking arguments through five chapters that demonstrate the thinking materialized in and through five prolific forms of complaint (existential, judicial, spectral, female, and deathbed). Built around some of the most electrifying scenes in Shakespearean tragedy, each chapter is a case study that identifies and theorizes one of these forms of complaint; delineates a matrix of ethical thought that structures that form; and develops a new reading of a Shakespearean tragedy to which that form of complaint and those ethical questions are integral.

An investigation of a wide range of contemporary sources, from domestic conduct guides to emblem books, this study offers fresh perspectives on both culture and literature.