Introduction: playwrights as play-patchers 1. Plot-scenarios 2. Playbills and title-pages 3. 'Arguments' in playhouse and book 4. Prologues, epilogues, interim entertainments 5. Songs and masques 6. Scrolls 7. Backstage plots 8 and 9. The approved 'book' and actors' parts Conclusion: repatching the play.

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Documents of Performance in Early Modern England

The word renaissance means "rebirth," and the most obvious example of this phenomenon was the regeneration of Europe's classical Roman roots. The Renaissance began in northern Italy in the late 14th century and culminated in England in the early 17th century. Emphasis on the dignity of man (though not of woman) and on human potential distinguished the Renaissance from the previous Middle Ages. In poetry and literature, individual thought and action were prevalent, while depictions of the human form became a touchstone of Renaissance art. In science and medicine the macrocosm and microcosm of the human condition inspired remarkable strides in research and discovery, and the Earth itself was explored, situating Europeans within a wider realm of possibilities. Organized thematically, the Handbook to Life in Renaissance Europe covers all aspects of life in Renaissance Europe: History; religion; art and visual culture; architecture; literature and language; music; warfare; commerce; exploration and travel; science and medicine; education; daily life.

Handbook to life in Renaissance Europe

Questions of gender, feminism, and ecriture feminine in individual cases continue to be given priority in studies of women’s writing in Baroque Spain, to the exclusion of study of the wealth of original sources that show women participating freely and equally in all aspects of the Republic of Letters, as contemporaries called the literary profession. 
My doctoral thesis seeks to correct this imbalance by charting the rise and consolidation of the status and image of women as authors in and around the period now recognized as having seen the beginnings of the literary profession, 1600-1650. I take as my field the republica literaria in the Spanish Atlantic empire in the period 1450–1700, with parallels from England, France and Italy. Using Genette’s studies of the paratext (2001) and Darnton’s theory of the “communication circuit” (2006), and building on the work of cultural historians (Bouza 1992, 1997, 2001; Bourdieu 1993; Chartier 1994; Cayuela 1996 & 2005), I examine the role of women as authors and readers, chiefly through an analysis of the discourse of their paratexts in a representative corpus of texts patronized, written, or published by women in Catalan, Portuguese, and Spanish. The key criterion of selection has been the projection of a female voice in public texts, whether via a sobriquet, a real name, grammatical gender, or a pseudonym. However, where appropriate, it has been extended to include also literary correspondence, book inventories, and texts, which despite being published anonymously, have been shown to be by women. 
The study is divided into two parts wherein extant sources have been selected and arranged chronologically and by theme, rather than by author. Part I, comprising Chapters 1 and 2, examines the rise and expansion of women’s symbolic capital in the public literary sphere. Part II, comprising Chapters 3 and 4, shows that, by the seventeenth century, women’s literary practices had achieved commercial, professional and didactic renown on both sides of the Atlantic. 
Chapter 1 shows the rhetorical significance embedded in women’s first metadiscourses, whether in identifiable or anonymous authorship, dating back to the fifteenth century. Chapter 2 illustrates women’s rising literary authority by reviewing their public endeavours and literary self-consciouness in the sixteenth century. Chapter 3 shows the rise of discourses of fame and professionalization in single publications by identifiable female authors, a shift most noticeable in commercial traditions in print (ephemera, the novela and the theatre). Chapter 4 challenges the fallacy that women chose anonymity or hid behind a patron (or publisher) because of their sexual difference. It thus assesses whether the question of women’s literary successes ultimately depended on a negation of their female sex —through publishing anonymously, under a pseudonym, or in the name of a publisher— or was, rather, influenced by their authorial intent, social and religious status. 
In sum, the thesis shows that women’s sexual difference did not prevent them from gaining a successful and recognized place within the rising Republic of Letters, but was on the contrary turned to their advantage as a promotional point. Women were as important as men as agents in the emergence of the modern concept of the author as independent artist.

Women and the Republic of Letters in the Luso-Hispanic world, 1447-1700

“If we had organs, musical instruments and singers, all of Miyako and Sakai would be converted without any doubt within a year” – so said the Italian missionary GnecchiSoldo Organtino (1530–1609) in 1577 after seven years of proselytisation in Japan. The power attributed here to music as an intercultural communicative device is linked to the three weapons of the Catholic Reformation: rhetoric, cultural accommodation, and missionary formation. For the Society of Jesus, an itinerant order of men (known as Jesuits), the forging of these weapons was invoked by the command of Christ to spread the gospel to the ends of the earth (Matthew, 28:19). Indeed, apostolic mobility was woven into the very fabric of the Jesuits’ work by their founder, Ignatius of Loyola (1491–1556), from the order’s institution in 1540. The Jesuits’ foundation of a truly global outlook and practice thus created remote contact zones where the friction of first encounters with indigenous populations propelled the development of unique approaches to apostolic work. No more clearly is this use of accommodatio over a tabula rasa approach to proselytisation demonstrated, than in the Jesuit mission to Japan during its so-called ‘Christian Century’ (1549–1650). Musical and theatrical practices by Jesuit missionaries in Japan are thus interpreted in this dissertation as part and parcel of the Society’s “cultural mission”. In engaging with recent debates over the ‘global turn’ in historical scholarship, the multifaceted nature of these cultural encounters reveal shared pathways for discussion about states of global interconnectedness in the early modern period. This dissertation overviews the treatment of globalisation in Jesuit historiography to date and offers a new theoretical synthesis, with a focus on the nexus between Jesuit ‘universalism’ and various forms of local ‘particularism’ in the sixteenth to eighteenth centuries. As ‘cross-cultural brokers’, Jesuit missionaries are identified as ‘glocal’ intermediaries, facilitating the localisation of Jesuit religious and sociocultural traditions. The metaphor of a ‘Glocal Mirror’ is employed as a way of capturing the bi-directional nature of intercultural exchange, in addition to the ways in which ‘culture’ (in defining the inter-cultural) functions on two important levels: as recognition of boundaries (be they religious, ethnic, or linguistic) to be overcome; and/or the acknowledgment of shared understandings. The first half of the dissertation (‘The Object’) looks to the performative practices of conversion employed by Jesuit missionaries in Japan. In analysing how music and theatre were practiced and experienced in these local contexts, examples of performative syncretism are explored. The second half of the dissertation (‘The Reflection’) demonstrates how globalisation in this period entailed both a real and imagined defiance of geography. In this way, the ‘Glocal Mirror’ not only relayed a re-imagined image of Japan across Catholic Europe, but it also served as a medium through which continental Jesuits could see an exemplary reflection of their own faith in the seventeenth and eighteenth centuries. Three case studies of different compositional genre (melodrama, oratorio, and tragedy) in Europe are analysed for evidence of how and why Japan’s Christian Century was interpreted and re-interpreted over space and time. The ‘object’ and its ‘reflection’ are two halves of a whole that have yet to be considered in the same space. Indeed, this dissertation argues that these examples of European ‘Japanese plays’ were part of a broader process of intercultural exchange, central to an understanding of the global and local history of the Japanese Church.

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Encounters in the glocal mirror: The role of the performing arts in Japan’s Christian century and its reflection in early modern Europe, 1549–1783

This article examines the controversial fashion of veiling in the early modern Spanish world. Working across the media of art, literature, and the law, it explores the intersecting ways in which moralists, legislators, playwrights, painters, and poets constructed the figure of the veiled lady ( tapada ) as a social type at once alluring and deeply unsettling. We provide an explanation of the terminology and taxonomy of veiling, with illustrations to show the various styles of face-covering popular in early modern Spain. We then argue that this fashion and the controversy—as well as the entertainment—it generated were closely tied to Spain’s rise as an imperial power, especially to the new forms of urbanism that developed in the ancient city of Seville and the much younger capitals of Madrid and Lima. As these rapidly expanding cities offered their inhabitants new spaces of social interaction and new possibilities for social mobility, wealth, and consumerism, their changing urban landscapes and complex demographics also generated anxieties of failure and deception. Cultural concerns regarding religious practice, the regulation of domestic and public space, and racial and class distinctions coalesced around the figure of the tapada . Seductive, mysterious, and rebellious, she absorbed the fantasies and fears of urban life in three of the most dynamic cities of imperial Spain.

The Veiled Ladies of the Early Modern Spanish World: Seduction and Scandal in Seville, Madrid, and Lima

Preface Abbreviations Part I: 1. Introduction 2. The pre-Lopistas 3. Cervantes and the Valencians Part II: 4. The bandolera 5. The mujer esquiva 6. The amazon, the leader, the warrior 7. The scholar, the career woman 8. The bella cazadora 9. The avenger 10. Sources and influences 11. Conclusion Index.

Woman and Society in the Spanish Drama of the Golden Age: A Study of the Mujer Varonil

List of plates Preface List of abbreviations Introduction 1. The birth of the drama 2. From drama to theatre 3. The Comedia: some definitions and problems 4. Lope de Vega 5. Tirso de Molina and the other Lopistas 6. The reign of Calderon 7. The Corrales and their audience 8. Theatre at court 9. Theatre in the street: the auto sacramental Postscript Notes Bibliography Index.

Melveena McKendrick

Papers

Woman and Society in the Spanish Drama of the Golden Age: A Study of the Mujer Varonil

Theatre in Spain 1490-1700

Theatre in Spain, 1490-1700

Playing the King: Lope de Vega and the Limits of Conformity

Woman and Society in the Spanish Drama of the Golden Age