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The Imprint of Gender : Authorship and Publication in the English Renaissance / Wendy Wall.

By: Material type: TextTextPublisher: Ithaca, NY : Cornell University Press, [2019]Copyright date: ©1994Description: 1 online resource (368 p.) : 18 halftonesContent type:
Media type:
Carrier type:
ISBN:
  • 9781501739064
Subject(s): DDC classification:
  • 820.9/003 20/eng/20230216
Other classification:
  • online - DeGruyter
Online resources:
Contents:
Frontmatter -- CONTENTS -- PREFACE -- INTRODUCTION: TO BE “A MAN IN PRINT” -- CHAPTER ONE. TURNING SONNET: -- CHAPTER TWO. AUTHOR(IZ) ING ROYAL SPECTACLE: -- CHAPTER THREE. PREFATORIAL DISCLOSURES: -- CHAPTER FOUR. IMPERSONATING THE MANUSCRIPT: -- CHAPTER FIVE. DANCING IN A NET: -- AFTERWORD: THE POLITICS OF PRINT -- SELECTED BIBLIOGRAPHY -- INDEX
Summary: What did it mean to be published at the end of the sixteenth century? While in polite circles gentlemen exchanged handwritten letters, published authors risked association with the low-born masses. Examining a wide range of published material including sonnets, pageants, prefaces, narrative poems, and title pages, Wendy Wall considers how the idea of authorship was shaped by the complex social controversies generated by publication during the English Renaissance. In the process, she maps the intricate connections between authorship and the gendered rhetoric used to introduce the book as an item for sale.Wall looks at how the dynamics of courtly society in the Renaissance informed the emergence of authorship, and how publication reflected cultural anxiety over shifting social boundaries. When writers, publishers and printers adapted material for the press, she maintains, they promoted a particular concept of literary authority, one that masculinized the domain of authorship and the literary marketplace. Male writers, she argues, employed themes of cross-dressing, voyeurism, and courtly love to designate the feminine as the ground upon which authorship was established. Wall concludes by investigating the ways in which women writers of the Renaissance, in creating new models of authorship, confronted both the objectification of women in tropes used to establish authority and the general problems of publication.Challenging received interpretations of the advent of print culture, The Imprint of Gender will be compelling reading for students and scholars in the fields of Renaissance studies, feminist theory, cultural studies, literary theory, and the history of books.
Holdings
Item type Current library Call number URL Status Notes Barcode
eBook eBook Biblioteca "Angelicum" Pont. Univ. S.Tommaso d'Aquino Nuvola online online - DeGruyter (Browse shelf(Opens below)) Online access Not for loan (Accesso limitato) Accesso per gli utenti autorizzati / Access for authorized users (dgr)9781501739064

Frontmatter -- CONTENTS -- PREFACE -- INTRODUCTION: TO BE “A MAN IN PRINT” -- CHAPTER ONE. TURNING SONNET: -- CHAPTER TWO. AUTHOR(IZ) ING ROYAL SPECTACLE: -- CHAPTER THREE. PREFATORIAL DISCLOSURES: -- CHAPTER FOUR. IMPERSONATING THE MANUSCRIPT: -- CHAPTER FIVE. DANCING IN A NET: -- AFTERWORD: THE POLITICS OF PRINT -- SELECTED BIBLIOGRAPHY -- INDEX

restricted access online access with authorization star

http://purl.org/coar/access_right/c_16ec

What did it mean to be published at the end of the sixteenth century? While in polite circles gentlemen exchanged handwritten letters, published authors risked association with the low-born masses. Examining a wide range of published material including sonnets, pageants, prefaces, narrative poems, and title pages, Wendy Wall considers how the idea of authorship was shaped by the complex social controversies generated by publication during the English Renaissance. In the process, she maps the intricate connections between authorship and the gendered rhetoric used to introduce the book as an item for sale.Wall looks at how the dynamics of courtly society in the Renaissance informed the emergence of authorship, and how publication reflected cultural anxiety over shifting social boundaries. When writers, publishers and printers adapted material for the press, she maintains, they promoted a particular concept of literary authority, one that masculinized the domain of authorship and the literary marketplace. Male writers, she argues, employed themes of cross-dressing, voyeurism, and courtly love to designate the feminine as the ground upon which authorship was established. Wall concludes by investigating the ways in which women writers of the Renaissance, in creating new models of authorship, confronted both the objectification of women in tropes used to establish authority and the general problems of publication.Challenging received interpretations of the advent of print culture, The Imprint of Gender will be compelling reading for students and scholars in the fields of Renaissance studies, feminist theory, cultural studies, literary theory, and the history of books.

Mode of access: Internet via World Wide Web.

In English.

Description based on online resource; title from PDF title page (publisher's Web site, viewed 26. Apr 2024)