Whilst first and foremost a literary scholar who focuses on the work of John Milton (1608–74), David Loewenstein has, in recent years, done much to undertake and encourage interdisciplinary research into the religio-political culture of early modern England.
With this book on Ireland, the Chesapeake, and the beginnings of the Anglo-Atlantic world, Horning wades into two long-running debates about the nature of early English colonialism. The first is the question of where Ireland fits into the expansion projects set in motion in the 16th century.
Have pity upon poor Andrew Melville. Once he was a towering figure in Presbyterian Scotland, John Knox’s successor as a leader of men, chastiser of proud monarchy and preacher of the truth. A student at St Andrews at the time of the Scottish Reformation, Melville spent a decade studying and teaching in France and Geneva.
This is a self-consciously old-fashioned treatment of an unaccountably neglected chapter in the history of travel which should be placed alongside such classics as John Stoye’s English Travelers Abroad, 1604–1667, whose first edition was published as long ago as 1952, rather than more recent treatments by Chloe Chard and Rosemary Sweet.(1) Indeed, one might go
Ephemeral City. Cheap Print and Urban Culture in Renaissance Venice is surely one of the most significant and impressive works on early modern European print culture to have been published in recent years. Its author, Rosa Salzberg, is an Assistant Professor of Italian Renaissance History at the University of Warwick.
Essay collections are always a mixed bag, and this one is more muddled than most. The warning signs are clear. The volume is part of a series ominously titled ‘Austrian Studies in English’. Six of the 15 essays were papers presented at a 2010 conference of the same name at the University of Vienna.
Fashion Prints in the Age of Louis XIV. Interpreting the Art of Elegance is the record of a symposium held in 2005, sparked by the Los Angeles County Museum of Art (LACMA)’s acquisition of a bound album of 190 hand-colored French fashion plates published between approximately 1670 and 1695.
The study of Spanish dress and fashion in the early modern period has generated exciting, innovative, and interdisciplinary scholarship in the past several years, and complements recent work devoted to historical dress, fashion, and textiles from distinct geographical locations and time periods.
In Kimono: A Modern History, textile historian Terry Satsuki Milhaupt encourages her readers to ‘reflect deeply and broadly on what the kimono has meant at various points in its long history’ (p. 287). In this ambitious project, she identifies ‘modern’ with the period from the 1850s onwards.
The study of fashion is acknowledged to require a composite methodology. Daniel Roche, in his influential The Culture of Clothing: Dress and Fashion in the ‘ancien régime’ (1) put forward five headings under which dress could be interrogated: the artefact, textiles, pictorial representation, social and economic sources, and philological sources.