Katherine R. Larson – författare

Given the variety and richness of the sixteenth- and seventeenth-century English ''songscape'', it might seem unsurprising to suggest that early modern song needs to be considered as sung. When a reader encounters a song in a sonnet sequence, a romance, and even a masque or a play, however, the tendency is to engage with it as poem rather than as musical performance. Opening up the notion of song from a performance-based perspective, The Matter of Song in EarlyModern England considers the implications of reading song not simply as lyric text but as an embodied and gendered musical practice.Animating the traces of song preserved in physiological and philosophical commentaries, singing handbooks, poetic treatises, and literary texts ranging from Mary Sidney Herbert''s Psalmes to John Milton''s Comus, the book confronts song''s ephemerality, its lexical and sonic capriciousness, and its airy substance. These features can resist critical analysis but were vital to song''s affective workings in the early modern period. The volume foregrounds the need to attend much moreclosely to the embodied and musical dimensions of literary production and circulation in sixteenth- and seventeenth-century England. It also makes an important and timely contribution to our understanding of women''s engagement with song as writers and as performers. A companion recording of fourteen songs featuringLarson (soprano) and Lucas Harris (lute) brings the project''s innovative methodology and central case studies to life.

Given the variety and richness of the sixteenth- and seventeenth-century English ''songscape'', it might seem unsurprising to suggest that early modern song needs to be considered as sung. When a reader encounters a song in a sonnet sequence, a romance, and even a masque or a play, however, the tendency is to engage with it as poem rather than as musical performance. Opening up the notion of song from a performance-based perspective, The Matter of Song in EarlyModern England considers the implications of reading song not simply as lyric text but as an embodied and gendered musical practice.Animating the traces of song preserved in physiological and philosophical commentaries, singing handbooks, poetic treatises, and literary texts ranging from Mary Sidney Herbert''s Psalmes to John Milton''s Comus, the book confronts song''s ephemerality, its lexical and sonic capriciousness, and its airy substance. These features can resist critical analysis but were vital to song''s affective workings in the early modern period. The volume foregrounds the need to attend much moreclosely to the embodied and musical dimensions of literary production and circulation in sixteenth- and seventeenth-century England. It also makes an important and timely contribution to our understanding of women''s engagement with song as writers and as performers. A companion recording of fourteen songs featuringLarson (soprano) and Lucas Harris (lute) brings the project''s innovative methodology and central case studies to life.

Given the variety and richness of the sixteenth- and seventeenth-century English 'songscape', it might seem unsurprising to suggest that early modern song needs to be considered as sung. When a reader encounters a song in a sonnet sequence, a romance, and even a masque or a play, however, the tendency is to engage with it as poem rather than as musical performance. Opening up the notion of song from a performance-based perspective, The Matter of Song in Early Modern England considers the implications of reading song not simply as lyric text but as an embodied and gendered musical practice.Animating the traces of song preserved in physiological and philosophical commentaries, singing handbooks, poetic treatises, and literary texts ranging from Mary Sidney Herbert's Psalmes to John Milton's Comus, the book confronts song's ephemerality, its lexical and sonic capriciousness, and its airy substance. These features can resist critical analysis but were vital to song's affective workings in the early modern period. The volume foregrounds the need to attend much more closely to the embodied and musical dimensions of literary production and circulation in sixteenth- and seventeenth-century England. It also makes an important and timely contribution to our understanding of women's engagement with song as writers and as performers. A companion recording of fourteen songs featuring Larson (soprano) and Lucas Harris (lute) brings the project's innovative methodology and central case studies to life.

Given the variety and richness of the sixteenth- and seventeenth-century English 'songscape', it might seem unsurprising to suggest that early modern song needs to be considered as sung. When a reader encounters a song in a sonnet sequence, a romance, and even a masque or a play, however, the tendency is to engage with it as poem rather than as musical performance. Opening up the notion of song from a performance-based perspective The Matter of Song in Early Modern England considers the implications of reading song not simply as lyric text but as an embodied and gendered musical practice. Animating the traces of song preserved in physiological and philosophical commentaries, singing handbooks, poetic treatises, and literary texts ranging from Mary Sidney Herbert's Psalmes to John Milton's Comus, the book confronts song's ephemerality, its lexical and sonic capriciousness, and its airy substance. These features can resist critical analysis but were vital to song's affective workings in the early modern period. The volume foregrounds the need to attend much more closely to the embodied and musical dimensions of literary production and circulation in sixteenth- and seventeenth-century England. It also makes an important and timely contribution to our understanding of women's engagement with song as writers and as performers. A companion recording of fourteen songs featuring Larson (soprano) and Lucas Harris (lute) brings the project's innovative methodology and central case studies to life.

Song offers a vital case study for examining the rich interplay of music, gender, and representation in the early modern period. This collection engages with the question of how gender informed song within particular textual, social, and spatial contexts in sixteenth- and seventeenth-century England. Bringing together ongoing work in musicology, literary studies, and film studies, it elaborates an interdisciplinary consideration of the embodied and gendered facets of song, and of song’s capacity to function as a powerful-and flexible-gendered signifier. The essays in this collection draw vivid attention to song as a situated textual and musical practice, and to the gendered processes and spaces of song's circulation and reception. In so doing, they interrogate the literary and cultural significance of song for early modern readers, performers, and audiences.

The Post-Pandemic University: Storying Possibilities explores what higher education might become in the aftermath of Covid-19. Challenging narratives of a simple “return to normal,” this collection argues that the pandemic exposed deep inequities and vulnerabilities within universities while also creating opportunities to imagine different futures.Bringing together scholars, educators, academic leaders, and creative practitioners, the volume considers how grappling with the disruption and grief wrought by the pandemic can inform more humane and equitable approaches to teaching, learning, leadership, and institutional life. Through a combination of critical, reflective, and creative contributions, the book examines themes including care, belonging, and the costs of existing in the margins; collective action and community-building; pandemic pedagogy; institutional leadership; and the future of academic structures. Contributors from across Canada and the United States reflect on lived experiences within and beyond the academy, situating literary studies and story as powerful frameworks for exploring how the pandemic reshaped higher education, exposing systemic challenges and opening new pathways for collaboration, creativity, and change. This volume will be of interest to scholars and students of higher education, literary and cultural studies, educational development, and leadership studies, as well as academic administrators and practitioners. Offering both critical insight and imaginative possibility, The Post-Pandemic University provides a valuable resource for those seeking to understand the pandemic’s enduring impacts and envision more just and sustainable futures for the university.The Open Access version of this book, available at http://www.taylorfrancis.com, has been made available under a Creative Commons Attribution-Non Commercial-No Derivatives (CC BY-NC-ND) 4.0 license.

The Post-Pandemic University: Storying Possibilities explores what higher education might become in the aftermath of Covid-19. Challenging narratives of a simple “return to normal,” this collection argues that the pandemic exposed deep inequities and vulnerabilities within universities while also creating opportunities to imagine different futures.Bringing together scholars, educators, academic leaders, and creative practitioners, the volume considers how grappling with the disruption and grief wrought by the pandemic can inform more humane and equitable approaches to teaching, learning, leadership, and institutional life. Through a combination of critical, reflective, and creative contributions, the book examines themes including care, belonging, and the costs of existing in the margins; collective action and community-building; pandemic pedagogy; institutional leadership; and the future of academic structures. Contributors from across Canada and the United States reflect on lived experiences within and beyond the academy, situating literary studies and story as powerful frameworks for exploring how the pandemic reshaped higher education, exposing systemic challenges and opening new pathways for collaboration, creativity, and change. This volume will be of interest to scholars and students of higher education, literary and cultural studies, educational development, and leadership studies, as well as academic administrators and practitioners. Offering both critical insight and imaginative possibility, The Post-Pandemic University provides a valuable resource for those seeking to understand the pandemic’s enduring impacts and envision more just and sustainable futures for the university.The Open Access version of this book, available at http://www.taylorfrancis.com, has been made available under a Creative Commons Attribution-Non Commercial-No Derivatives (CC BY-NC-ND) 4.0 license.

Song offers a vital case study for examining the rich interplay of music, gender, and representation in the early modern period. This collection engages with the question of how gender informed song within particular textual, social, and spatial contexts in sixteenth- and seventeenth-century England. Bringing together ongoing work in musicology, literary studies, and film studies, it elaborates an interdisciplinary consideration of the embodied and gendered facets of song, and of song’s capacity to function as a powerful-and flexible-gendered signifier. The essays in this collection draw vivid attention to song as a situated textual and musical practice, and to the gendered processes and spaces of song''s circulation and reception. In so doing, they interrogate the literary and cultural significance of song for early modern readers, performers, and audiences.

Song offers a vital case study for examining the rich interplay of music, gender, and representation in the early modern period. This collection engages with the question of how gender informed song within particular textual, social, and spatial contexts in sixteenth- and seventeenth-century England. Bringing together ongoing work in musicology, literary studies, and film studies, it elaborates an interdisciplinary consideration of the embodied and gendered facets of song, and of song’s capacity to function as a powerful-and flexible-gendered signifier. The essays in this collection draw vivid attention to song as a situated textual and musical practice, and to the gendered processes and spaces of song''s circulation and reception. In so doing, they interrogate the literary and cultural significance of song for early modern readers, performers, and audiences.