Neil Rhodes – författare

This volume explores the development of literary culture in sixteenth-century England as a whole and seeks to explain the relationship between the Reformation and the literary renaissance of the Elizabethan period. Its central theme is the 'common' in its double sense of something shared and something base, and it argues that making common the work of God is at the heart of the English Reformation just as making common the literature of antiquity and of early modern Europe is at the heart of the English Renaissance. Its central question is 'why was the Renaissance in England so late?' That question is addressed in terms of the relationship between Humanism and Protestantism and the tensions between democracy and the imagination which persist throughout the century. Part One establishes a social dimension for literary culture in the period by exploring the associations of 'commonwealth' and related terms. It addresses the role of Greek in the period before and during the Reformation in disturbing the old binary of elite Latin and common English. It also argues that the Reformation principle of making common is coupled with a hostility towards fiction, which has the effect of closing down the humanist renaissance of the earlier decades. Part Two presents translation as the link between Reformation and Renaissance, and the final part discusses the Elizabethan literary renaissance and deals in turn with poetry, short prose fiction, and the drama written for the common stage.

This volume explores the development of literary culture in sixteenth-century England as a whole and seeks to explain the relationship between the Reformation and the literary renaissance of the Elizabethan period. Its central theme is the 'common' in its double sense of something shared and something base, and it argues that making common the work of God is at the heart of the English Reformation just as making common the literature of antiquity and of early modern Europe is at the heart of the English Renaissance. Its central question is 'why was the Renaissance in England so late?' That question is addressed in terms of the relationship between Humanism and Protestantism and the tensions between democracy and the imagination which persist throughout the century. Part One establishes a social dimension for literary culture in the period by exploring the associations of 'commonwealth' and related terms. It addresses the role of Greek in the period before and during the Reformation in disturbing the old binary of elite Latin and common English. It also argues that the Reformation principle of making common is coupled with a hostility towards fiction, which has the effect of closing down the humanist renaissance of the earlier decades. Part Two presents translation as the link between Reformation and Renaissance, and the final part discusses the Elizabethan literary renaissance and deals in turn with poetry, short prose fiction, and the drama written for the common stage.

What existed before there was a subject known as English? How did English eventually come about? Focusing specifically on Shakespeare's role in the origins of the subject, Neil Rhodes addresses the evolution of English from the early modern period up to the late eighteenth century. He deals with the kinds of literary and educational practices that would have formed Shakespeare's experience and shaped his work and traces the origins of English in certain aspects of the educational regime that existed before English literature became an established part of the curriculum. Rhodes then presents Shakespeare both as a product of Renaissance rhetorical teaching and as an agent of the transformation of English in the eighteenth century into the subject that emerged as the modern study of English. By transferring terms from contemporary disciplines, such as 'media studies' and 'creative writing', or the technology of computing, to earlier cultural contexts Rhodes aims both to invite further reflection on the nature of the practices themselves, and also to offer new ways of thinking about their relationship to the discipline of English. Shakespeare and the Origins of English attempts not only an explanation of where English came from, but suggests how some of the things that we do now in the name of 'English' might usefully be understood in a wider historical perspective. By extending our view of its past, we may achieve a clearer view of its future.

What existed before there was a subject known as English? How did English eventually come about? Focusing specifically on Shakespeare's role in the origins of the subject, Rhodes addresses the evolution of English from the early modern period up to the late eighteenth century. He deals with the kinds of literary and educational practices that would have formed Shakespeare's experience and shaped his work and traces the origins of English in certain aspects of the educational regime that existed before English literature became an established part of the curriculum. Rhodes then presents Shakespeare both as a product of Renaissance rhetorical teaching and as an agent of the transformation of rhetoric in the eighteenth century into the subject that emerged as the modern study of English.By transferring terms from contemporary disciplines, such as 'media studies' and 'creative writing', or the technology of computing, to earlier cultural contexts Rhodes aims both to invite further reflection on the nature of the practices themselves, and also to offer new ways of thinking about their relationship to the discipline of English. Shakespeare and the Origins of English attempts not only an explanation of where English came from, but suggests how some of the things that we do now in the name of 'English' might usefully be understood in a wider historical perspective. By extending our view of its past, we may achieve a clearer view of its future.

In the fifteenth century the printing press was the 'new technology'. The first ever information revolution began with the advent of the printed book, enabling Renaissance scholars to formulate new ways of organising and disseminating knowledge.As early as 1500 there were already 20 million books in circulation in Europe. How did this rapid explosion of ideas impact upon the evolution of new disciplines?The Renaissance Computer looks at the fascinating development of new methods of information storage and retrieval which took place at the very beginning of print culture. And it asks some crucial questions about the intellectual conditions of our own digital age. A dazzling array of leading experts in Renaissance culture explore topics of urgent significance today, including:* the contribution of knowledge technologies to state formulation and national identity*the effect of multimedia, orality and memory on education*the importance of the visual display of information and how search engines reflect and direct ways of thinking.

In the fifteenth century the printing press was the 'new technology'. The first ever information revolution began with the advent of the printed book, enabling Renaissance scholars to formulate new ways of organising and disseminating knowledge.As early as 1500 there were already 20 million books in circulation in Europe. How did this rapid explosion of ideas impact upon the evolution of new disciplines?The Renaissance Computer looks at the fascinating development of new methods of information storage and retrieval which took place at the very beginning of print culture. And it asks some crucial questions about the intellectual conditions of our own digital age. A dazzling array of leading experts in Renaissance culture explore topics of urgent significance today, including:* the contribution of knowledge technologies to state formulation and national identity*the effect of multimedia, orality and memory on education*the importance of the visual display of information and how search engines reflect and direct ways of thinking.

'Yet hath it been ever esteemed a matter commendable to collect [works] together, and incorporate them into one body, that we may behold at once, what divers Off-springs have proceeded from one braine.' This observation from the Bishop of Winchester in his preface to King James's 1616 Workes is particularly appropriate, since James's writings cross the boundaries of so many different fields. While several other monarchs engaged in literary composition, King James VI and I stands out as 'an inveterate scribbler' and is certainly the most extensively published of all British rulers. King James VI and I provides a broad representative selection of King James's writings on a range of secular and religious topics. Each text is provided in full, creating an invaluable reference tool for 16th and 17th century scholars working in different disciplines and a fascinating collection for students and general readers interested in early modern history and literature. In contrast to other editions of James's writings, which have been confined to a single aspect of his work, the present edition brings together for the first time his poetry and his religious writing, his political works and his treatises on witchcraft and tobacco, in a single volume. What makes this collection of James's writings especially significant is the distinctiveness of his position as both writer and ruler, an author of incontestable authority. All his authorly roles, as poet, polemicist, theologian, political theorist and political orator are informed by this fact. James's writings were also inevitably influenced by the circumstances of his reigns and this volume reflects the turbulent issues of religion, politics and nationhood that troubled his three kingdoms.

The comic grotesque is a powerful element in a great deal of Elizabethan literature, but one which has attracted scant critical attention. In this study, first published in 1980, Neil Rhodes examines the nature of the grotesque in late sixteenth-century culture, and shows the part it played in the development of new styles of comic prose and drama in Elizabethan England. In defining ‘grotesque’, the author considers the stylistic techniques of Rabelais and Aretino, as well as the graphic arts. He discusses the use of the grotesque in Elizabethan pamphlet literature and the early satirical journalists such as Nashe, and argues that their work in turn stimulated the growth of satirical drama at the end of the century. The second part of the book explains the importance of Nashe’s achievement for Shakespeare and Jonson, concluding that the linguistic resources of English Renaissance comedy are peculiarly – and perhaps uniquely – physical.

The comic grotesque is a powerful element in a great deal of Elizabethan literature, but one which has attracted scant critical attention. In this study, first published in 1980, Neil Rhodes examines the nature of the grotesque in late sixteenth-century culture, and shows the part it played in the development of new styles of comic prose and drama in Elizabethan England. In defining ‘grotesque’, the author considers the stylistic techniques of Rabelais and Aretino, as well as the graphic arts. He discusses the use of the grotesque in Elizabethan pamphlet literature and the early satirical journalists such as Nashe, and argues that their work in turn stimulated the growth of satirical drama at the end of the century. The second part of the book explains the importance of Nashe’s achievement for Shakespeare and Jonson, concluding that the linguistic resources of English Renaissance comedy are peculiarly – and perhaps uniquely – physical.

The Parnassus Plays are a trilogy of university plays, written in English rather than Latin at the end of Queen Elizabeth’s reign, possibly by multiple authors. They offer a unique perspective on the student experience, on literary aspiration and economic reality, and on the London literary scene at the height of the English Renaissance. One of the central characters is based on the prose satirist, Thomas Nashe, and the plays comment extensively on other contemporary writers, including Shakespeare. These plays are presented for the first time in a modernised text which reveals their sparkling satire, while addressing issues of economic precarity that will be immediately familiar to a modern audience.

With more than 16 million PDAs shipped to date, Palm has defined the market for handhelds, having dominated this class of computing devices ever since it began to outpace competitors six years ago. The company's strength is the Palm OS, and developers loyal to this powerful and versatile operating system have created more than 10,000 applications for it. Devices from Handspring, Sony, Symbol, HandEra, Kyocera, and Samsung now use Palm OS, and the number of registered Palm Developers has jumped to 130,000. If you know C or C++, and want to join those who are satisfying the demand for wireless applications, then Palm OS Programming: The Developer's Guide, Second Edition is the book for you. With expanded coverage of the Palm OS--up to and including the latest version, 4.0--this new edition shows intermediate to experienced C programmers how to build a Palm application from the ground up. There is even useful information for beginners. Everything you need to write a Palm OS application is here, from user interface design, to coding a handheld application, to writing an associated desktop conduit.All the major development environments are discussed, including commercial products such as Metroworks CodeWarrior, Java-based environments such as Sun KVM and IBM VisualAge Micro Edition, and the Free Software Foundation's PRC-Tools or GCC. The focus, however, is C programming with CodeWarrior and PRC-Tools. New additions to the second edition include: A tutorial that takes a C programmer through the installation of necessary tools and the creation of a small handheld application. A new chapter on memory, with a comprehensive discussion of the Memory Manager APIs. Greatly expanded discussions of forms, forms objects, and new APIs for the Palm OS. Updated chapters on conduits that reflect the newer Conduit Development Kit. The best-selling first edition of this book is still considered the definitive guide for serious Palm programmers; it's used as the basis of Palm's own developer training materials. Our expanded second edition promises to set the standard for the next generation of Palm developers.

While much has been written on Shakespeare's debt to the classical tradition, less has been said about his roots in the popular culture of his own time. This is the first book to explore the full range of his debts to Elizabethan popular culture. Topics covered include the mystery plays, festive custom, clowns, romance and popular fiction, folklore and superstition, everyday sayings, and popular songs. These essays show how Shakespeare, throughout his dramatic work, used popular culture. A final chapter, which considers ballads with Shakespearean connections in the seventeenth century, shows how popular culture immediately after his time used Shakespeare.