Maureen Quilligan – författare

The phrase "the Black Legend" was coined in 1912 by a Spanish journalist in protest of the characterization of Spain by other Europeans as a backward country defined by ignorance, superstition, and religious fanaticism, whose history could never recover from the black mark of its violent conquest of the Americas. Challenging this stereotype, "Rereading the Black Legend" contextualizes Spain's uniquely tarnished reputation by exposing the colonial efforts of other nations whose interests were served by propagating the Black Legend. A distinguished group of contributors here examine early modern imperialisms, including the Ottomans in Eastern Europe, the Portuguese in East India, and the cases of Mughal India and China, to historicize the charge of unique Spanish brutality in encounters with indigenous peoples during the Age of Exploration. The geographic reach and linguistic breadth of this ambitious collection will make it a valuable resource for any discussion of race, national identity, and religious belief in the European Renaissance.

The phrase “The Black Legend” was coined in 1912 by a Spanish journalist in protest of the characterization of Spain by other Europeans as a backward country defined by ignorance, superstition, and religious fanaticism, whose history could never recover from the black mark of its violent conquest of the Americas. Challenging this stereotype, Rereading the Black Legend contextualizes Spain’s uniquely tarnished reputation by exposing the colonial efforts of other nations whose interests were served by propagating the “Black Legend.” A distinguished group of contributors here examine early modern imperialisms including the Ottomans in Eastern Europe, the Portuguese in East India, and the cases of Mughal India and China, to historicize the charge of unique Spanish brutality in encounters with indigenous peoples during the Age of Exploration. The geographic reach and linguistic breadth of this ambitious collection will make it a valuable resource for any discussion of race, national identity, and religious belief in the European Renaissance.

This collection of original essays brings together some of the most prominent figures in new historicist and cultural materialist approaches to the early modern period, and offers a new focus on the literature and culture of the Renaissance. Traditionally, Renaissance studies have concentrated on the human subject. The essays collected here bring objects - purses, clothes, tapestries, houses, maps, feathers, communion wafers, tools, pages, skulls - back into view. As a result, the much-vaunted early modern subject ceases to look autonomous and sovereign, but is instead caught up in a vast and uneven world of objects which he and she makes, owns, values, imagines, and represents. This book puts things back into relation with people; in the process, it elicits new critical readings, and new cultural configurations.

This collection of original essays brings together some of the most prominent figures in new historicist and cultural materialist approaches to the early modern period, and offers a new focus on the literature and culture of the Renaissance. Traditionally, Renaissance studies have concentrated on the human subject. The essays collected here bring objects - purses, clothes, tapestries, houses, maps, feathers, communion wafers, tools, pages, skulls - back into view. As a result, the much-vaunted early modern subject ceases to look autonomous and sovereign, but is instead caught up in a vast and uneven world of objects which he and she makes, owns, values, imagines, and represents. This book puts things back into relation with people; in the process, it elicits new critical readings, and new cultural configurations.

This lively and innovative work treats a body of literature not previously regarded as a unified genre. Offering comparative readings of a number of texts that are traditionally called allegories and that cover a wide time span, Maureen Quilligan formulates a vocabulary for talking about the distinctive generic elements they share. The texts she considers range from the twelfth-century De planctu naturae to Pynchon's Gravity's Rainbow, and include such works as Le Roman de la Rose, Langland's Piers Plowman, Hawthorne's Scarlet Letter, Melville's Confidence Man, and Spenser's Faerie Queene. Whether or not readers agree with this book, they will enjoy and profit from it.

The first professional female writer, Christine de Pizan (1363-1431) was widowed at age twenty-five and supported herself and her family by enlisting powerful patrons for her poetry. Her Livre de la Cité des Dames (1405) is the earliest European work on women's history by a woman. An allegorical poem that revises masculine traditions, it asserts and defends the authority of women in general and of its author in particular. In this generously illustrated book, Maureen Quilligan provides a persuasive and penetrating interpretation of the Cité.

This lively and innovative work treats a body of literature not previously regarded as a unified genre. Offering comparative readings of a number of texts that are traditionally called allegories and that cover a wide time span, Maureen Quilligan formulates a vocabulary for talking about the distinctive generic elements they share. The texts she considers range from the twelfth-century De planctu naturae to Pynchon's Gravity's Rainbow, and include such works as Le Roman de la Rose, Langland's Piers Plowman, Hawthorne's Scarlet Letter, Melville's Confidence Man, and Spenser's Faerie Queene. Whether or not readers agree with this book, they will enjoy and profit from it.

The first professional female writer, Christine de Pizan (1363-1431) was widowed at age twenty-five and supported herself and her family by enlisting powerful patrons for her poetry. Her Livre de la Cité des Dames (1405) is the earliest European work on women's history by a woman. An allegorical poem that revises masculine traditions, it asserts and defends the authority of women in general and of its author in particular. In this generously illustrated book, Maureen Quilligan provides a persuasive and penetrating interpretation of the Cité.

Maureen Quilligan explores the remarkable presence in the Renaissance of what she calls "incest schemes" in the books of a small number of influential women who claimed an active female authority by writing in high canonical genres and who, even more transgressively for the time, sought publication in print.It is no accident for Quilligan that the first printed work of Elizabeth I was a translation done at age eleven of a poem by Marguerite de Navarre, in which the notion of "holy" incest is the prevailing trope. Nor is it coincidental that Mary Wroth, author of the first sonnet cycle and prose romance by a woman printed in English, described in these an endogamous, if not legally incestuous, illegitimate relationship with her first cousin. Sir Philip Sidney and his sister, the Countess of Pembroke, translated the psalms together, and after his death she finished his work by revising it for publication; the two were the subject of rumors of incest. Isabella Whitney cast one of her most important long poems as a fictive legacy to her brother, arguably because such a relationship resonated with the power of endogamous female agency. Elizabeth Carey's closet drama about Mariam, the wife of Herod, spends important energy on the tie between sister and brother. Quilligan also reads male-authored meditations on the relationship between incest and female agency and sees a far different Cordelia, Britomart, and Eve from what traditional scholarship has heretofore envisioned.Incest and Agency in Elizabeth's England makes a signal contribution to the conversation about female agency in the early modern period. While contemporary anthropological theory deeply informs her understanding of why some Renaissance women writers wrote as they did, Quilligan offers an important corrective to modern theorizing that is grounded in the historical texts themselves.

Maureen Quilligan explores the remarkable presence in the Renaissance of what she calls "incest schemes" in the books of a small number of influential women who claimed an active female authority by writing in high canonical genres and who, even more transgressively for the time, sought publication in print.It is no accident for Quilligan that the first printed work of Elizabeth I was a translation done at age eleven of a poem by Marguerite de Navarre, in which the notion of "holy" incest is the prevailing trope. Nor is it coincidental that Mary Wroth, author of the first sonnet cycle and prose romance by a woman printed in English, described in these an endogamous, if not legally incestuous, illegitimate relationship with her first cousin. Sir Philip Sidney and his sister, the Countess of Pembroke, translated the psalms together, and after his death she finished his work by revising it for publication; the two were the subject of rumors of incest. Isabella Whitney cast one of her most important long poems as a fictive legacy to her brother, arguably because such a relationship resonated with the power of endogamous female agency. Elizabeth Carey's closet drama about Mariam, the wife of Herod, spends important energy on the tie between sister and brother. Quilligan also reads male-authored meditations on the relationship between incest and female agency and sees a far different Cordelia, Britomart, and Eve from what traditional scholarship has heretofore envisioned.Incest and Agency in Elizabeth's England makes a signal contribution to the conversation about female agency in the early modern period. While contemporary anthropological theory deeply informs her understanding of why some Renaissance women writers wrote as they did, Quilligan offers an important corrective to modern theorizing that is grounded in the historical texts themselves.