In the sixteenth century the modern meaning of courtship - 'wooing someone' - developed from an older sense - 'being at court'. The Rhetoric of Courtship takes this semantic shift as the starting point for an incisive account of the practice and meanings of courtship at the court of Elizabeth I, where 'being at court' pre-eminently came to mean the same as 'wooing' the Queen. Exploring the wider context of social anthropology, philology, cultural and literary history, Catherine Bates presents courtship as a judicious, sensitive and rhetorically conscious understanding of public and private...
In the sixteenth century the modern meaning of courtship - 'wooing someone' - developed from an older sense - 'being at court'. The Rhetoric of Courts...
In the sixteenth century the modern meaning of courtship - 'wooing someone' - developed from an older sense - 'being at court'. The Rhetoric of Courtship takes this semantic shift as the starting point for an incisive account of the practice and meanings of courtship at the court of Elizabeth I, where 'being at court' pre-eminently came to mean the same as 'wooing' the Queen. Exploring the wider context of social anthropology, philology, cultural and literary history, Catherine Bates presents courtship as a judicious, sensitive and rhetorically conscious understanding of public and private...
In the sixteenth century the modern meaning of courtship - 'wooing someone' - developed from an older sense - 'being at court'. The Rhetoric of Courts...
In early modern lyric poetry, the male poet or lover often appears not as powerful and masterly but rather as broken, abject, and feminine. Catherine Bates examines the cultural and literary strategies behind this representation and uncovers radically alternative models of masculinity in the lyric tradition of the Renaissance. Focusing on Sidney, Ralegh, Shakespeare, and Donne, she offers astute readings of a wide range of texts a sonnet sequence, a blazon, an elegy, a complaint, and an epistle. She shows how existing critical approaches have too much invested in the figure of the...
In early modern lyric poetry, the male poet or lover often appears not as powerful and masterly but rather as broken, abject, and feminine. Catherine ...
