Rachel Stenner – författare

The typographic imaginary is an aesthetic linking authors from William Caxton to Alexander Pope, this study centrally contends. Early modern English literature engages imaginatively with printing and this book both characterizes that engagement and proposes the typographic imaginary as a framework for its analysis. Certain texts, Rachel Stenner states, describe the people, places, concerns, and processes of printing in ways that, over time, generate their own figurative authority. The typographic imaginary is posited as a literary phenomenon shared by different writers, a wider cultural understanding of printing, and a critical concept for unpicking the particular imaginative otherness that printing introduced to literature. Authors use the typographic imaginary to interrogate their place in an evolving media environment, to assess the value of the printed text, and to analyse the roles of other text-producing agents. This book treats a broad array of authors and forms: printers’ manuals; William Caxton’s paratexts; the pamphlet dialogues of Robert Copland and Ned Ward; poetic miscellanies; the prose fictions of William Baldwin, George Gascoigne, and Thomas Nashe; the poetry and prose of Edmund Spenser; writings by John Taylor and Alexander Pope. At its broadest, this study contributes to an understanding of how technology changes cultures. Located at the crossroads between literary, material, and book historical research, the particular intervention that this work makes is threefold. In describing the typographic imaginary, it proposes a new framework for analysis of print culture. It aims to focus critical engagement on symbolic representations of material forms. Finally, it describes a lineage of late medieval and early modern authors, stretching from the mid-fifteenth to the mid-eighteenth centuries, that are linked by their engagement of a particular aesthetic.

The typographic imaginary is an aesthetic linking authors from William Caxton to Alexander Pope, this study centrally contends. Early modern English literature engages imaginatively with printing and this book both characterizes that engagement and proposes the typographic imaginary as a framework for its analysis. Certain texts, Rachel Stenner states, describe the people, places, concerns, and processes of printing in ways that, over time, generate their own figurative authority. The typographic imaginary is posited as a literary phenomenon shared by different writers, a wider cultural understanding of printing, and a critical concept for unpicking the particular imaginative otherness that printing introduced to literature. Authors use the typographic imaginary to interrogate their place in an evolving media environment, to assess the value of the printed text, and to analyse the roles of other text-producing agents. This book treats a broad array of authors and forms: printers’ manuals; William Caxton’s paratexts; the pamphlet dialogues of Robert Copland and Ned Ward; poetic miscellanies; the prose fictions of William Baldwin, George Gascoigne, and Thomas Nashe; the poetry and prose of Edmund Spenser; writings by John Taylor and Alexander Pope. At its broadest, this study contributes to an understanding of how technology changes cultures. Located at the crossroads between literary, material, and book historical research, the particular intervention that this work makes is threefold. In describing the typographic imaginary, it proposes a new framework for analysis of print culture. It aims to focus critical engagement on symbolic representations of material forms. Finally, it describes a lineage of late medieval and early modern authors, stretching from the mid-fifteenth to the mid-eighteenth centuries, that are linked by their engagement of a particular aesthetic.

This book is the first extended critical study of the early modern poet Edmund Spenser from the perspective of animal studies. With an introduction situating Spenser in current discussions of animal life and literary form, and early modern animal studies, the book proceeds in four sections: “Animals and Cultural Practices”; “Animals, Slavery, and Race”; “Animals in Complaints”; “Readers and Poetics in The Faerie Queene”. Contributors discuss a broad range of Spenser’s work, putting it into dialogue with a number of early modern discourses, including politics, poetics, and natural history.