Podcasts about renaissance england

Greg Jenner is joined in the sixteenth century by Dr Alanna Skuse and comedian Ria Lina to learn all about medicine and medical professionals in Tudor and Stuart England. In Renaissance-era England, medicine was still based on the theory of the four humours, passed down from ancient Greek and Roman physicians like Hippocrates and Galen. But from the reign of Henry VIII, there were signs of change. The invention of the printing press led to an explosion in medical and anatomical books, and the circulation of ideas from across Europe. The College of Physicians was founded in 1518, and the Company of Barber-Surgeons in 1543. Medicine became a real business, with a range of specialists, professional bodies overseeing different kinds of healthcare, and an explosion of medical providers advertising their services to the general public. This episode explores the landscape of healthcare in sixteenth- and seventeenth-century England, looking at everyone from physicians, surgeons and apothecaries to domestic healers and midwives, and even taking in quacks and frauds. Along the way, it examines the sensible social distancing measures taken during the Great Plague, the cures both sensible and dangerous offered for all kinds of diseases, and the cutting-edge experiments men like William Harvey and Christopher Wren were carrying out on the circulation of the blood. If you're a fan of the history of everyday life in Tudor England, petty professional rivalries, and the whacky wellness trends of the past, you'll love our episode on medicine in Renaissance England. If you want more from Ria Lina, listen to our episodes on pirate queen Zheng Yi Sao and medieval traveller Marco Polo. And for more on the history of health and wellness, check out our episodes on Ancient Medicine, Renaissance Beauty and the Kellogg Brothers. You're Dead To Me is the comedy podcast that takes history seriously. Every episode, Greg Jenner brings together the best names in history and comedy to learn and laugh about the past. Hosted by: Greg Jenner Research by: Katharine Russell Written by: Dr Emmie Rose Price-Goodfellow, Dr Emma Nagouse, and Greg Jenner Produced by: Dr Emmie Rose Price-Goodfellow and Greg Jenner Audio Producer: Steve Hankey Production Coordinator: Gill Huggett Senior Producer: Dr Emma Nagouse Executive Editor: Philip Sellars

This episode of The Common Reader podcast is a little different. I spoke to both Jeffrey Lawrence and Julianne Werlin about literature, politics, and the future of the academic humanities. Questions included: what do we mean when we talk about literature and markets? Can we leave politics out of literary discussion? Should we leave it out? If we can't leave it out, can we have nice friendly conversations about it? What is academic Marxism? We also talked about whether Stephen Greenblatt is too ideological and why universities are necessary to literary culture, academics on Substack. Julianne writes Life and Letters. Jeffrey writes Avenues of the Americas. Here is Julianne's interview in The Republic of Letters. Transcript (AI generated, will contain some errors)Henry Oliver (00:00)Today I am talking to Jeffrey Lawrence and Julianne Werlin.Jeffrey is a professor of English literature and comparative literature at Rutgers University. He specializes in the 20th and 21st century and he writes the sub stack, Avenues of America. Julianne probably needs no introduction to a sub stack audience. She writes Life and Letters, one of my favorite sub stacks. She's a professor of English at Duke University, where as well as specializing in early modern poetry, she is interested in sociological and demographic studies of literature.and we are going to have a big conversation about literature and markets, politics, what do we mean when we talk about literature and markets, can we leave politics out of literary discussion, should we leave it out, if we can't leave it out, can we have nice friendly conversations about it, and also maybe what is academic Marxism and what should it be and why is it so confusing? Jeffrey and Julianne, hello.Julianne (00:59)Hi.Jeffrey Lawrence (01:01)Hi, thanks for having us.Julianne (01:02)Yeah, thank you.Henry Oliver (01:04)I am going to start by referencing an interview that you did, Julianne, for Republic of Letters, which everyone has been reading. And you said, I've printed it out wrong, so I can't read the whole quote. But you said something like, you joined Substack because you wanted people to talk with and because you felt a lack of debate in your academic field. There are lots of good things about scholarship being slow and careful, but it also needs to be animated by debate and conversation.and a sense of the stakes of what we're doing, and that is eroding in the academy. So I want you both to talk about that. Why is that happening? How much of a problem is it? How much is Substack or the internet more generally the solution? What should we be doing? Why don't we go to Julianne first, because it's your quote.Julianne (01:54)Sure, I mean, won't go on too long ⁓ since I have already spoken about this, but my sense within English departments is, you know, they're becoming smaller, fewer people are taking our classes, we have much less of a role in public conversation and public debate, except as kind of a stalking horse for certain types of arguments. And certainly, if you are an early modernist, it's very hard to locate a kind of a...Henry Oliver (02:14)YouJulianne (02:25)discrete set of debates within early modern literature because there is so little public salience to literary fields. And I think this is happening in all literature. It's especially pronounced if you're working in the earlier periods. So my sense in joining SUBSTAC was that perhaps there will be debates by people who are not already so deep within the particular professional and disciplinary structures of a field that they canfind new points of connection between literature and public life along different ⁓ axes that we have maybe not explored adequately within English departments and are maybe becoming harder to explore as English departments contract and recede from public life.Henry Oliver (03:04)Mm-hmm.So we're bringing Milton back to the people and also finding out why they care about him at all. ⁓ What do you think about it, Geoff?Julianne (03:16)Well, hopefully. I mean, that's the goal.Jeffrey Lawrence (03:21)Great, ⁓ so I actually restacked that specific quote from Julianne because it resonated so much with me. Yeah, I mean, my sense is that as someone who works on 20th and 21st century literature, there is more crossover there, I would say, between sort of academic scholarship and public debate. But I really wanna just echo what Julianne said there, that ⁓ I have gotten the feeling that withinlet's call it like the legacy media. There are particular arguments that come from academia that are pushed forward and that become representative of the field of 20th and 21st century literature as a whole. And those kind of come to stand in for academic debate more generally. And I think it becomes very difficult. One of the things that I was noticing so much isthat the people who had access to those legacy journals, are places like the Atlantic, the New York Times, that those began to dominate the debates and people just aren't recognizing that in scholarships. So one of the things I particularly like about Substack is that I feel like although it has some of the same problems as social media more generally about kind of like who gets to participate and algorithmic culture and all of that sort of stuff.I did feel like the ideological diversity both left and right compared to the sort of a kind of monoculture, mono, you know, sort of academic argument that I found over and over in these legacy magazines, that Substack was the place where a lot of these debates are happening. And I only joined maybe four or five months ago, but for me,⁓ sort of just in terms of my relationship to the Academy, it's really changed my sense of what can be said and what's being said by academics.Henry Oliver (05:17)feels to me like in some way humanities academia needs deregulating because there's all sorts of things people can't feel like they can't say and can't do. But it's such a tangled mess that the easiest thing is for you all to just go to Substack and do it there and just try and avoid the bureaucracy because it's gone too far. But when you're on Substack...I feel like you're often faced with people saying, these English literature academics, it's all woke BS. They don't know anything. They've killed this, right? You're simultaneously in a kind of semi hostile environment. How do you, how does that seem to you?Julianne (05:56)Yeah, mean, that's certainly true. I think that we are avatars on Substack for a kind of authority that we feel in our own lives we do not possess in any way. So we're in this position where, you know, at least I feel this, I'm responding to comments that are, you know, very much, by people who very much feel that they're attacking authority figures. And I'm, you know, I'm just a person on the internet, you know, talking with them when I'm on Substack. What I like about it is precisely that it levels any kind of authority structures insofar as they exist, which is debatable at this phase. But that's not always the reality on Substack. I also feel there's an additional thing, again, as an early modernist, where you feel like, you you don't have...Henry Oliver (06:27)Yeah.Julianne (06:52)there's not a lot of interest by people who are kind of on the left in contemporary politics in the Renaissance. It's seen as kind of a conservative, canonical thing to study. And there's a lot of pushback. even within English departments, there's a lot of pushback ⁓ surrounding the idea that people should study Shakespeare or study Milton. It's seen as kind of old and fussy and conservative. And then at the same time, you go on the internet and you're the kind of ⁓ exemplar.Henry Oliver (06:59)Mmm. Yeah.Mmm.Julianne (07:22)of woke cultural discourse. So you feel like as a Renaissance scholar, you can't win. You're nobody's idea of what people should be doing intellectually or culturally.Henry Oliver (07:25)HahahaDo you think, someone asked me this the other day about why academics write in this funny way and why no one reads their books and all this. That was the way they phrased it. And I said, I think what you're saying is like, why is there no AC Bradley today? Because Shakespeare in tragedy, so I don't remember the number, of like quarter of a million copies or something that to us just feels like an insane number.Is there some legitimate criticism there that A.C. Bradley wrote in a way that, you know, your grandmother could understand? And a lot of what comes out of the Academy today is much more cut off from the ordinary reading experience.Julianne (08:18)Yeah, I mean, think that's not debatable. think there have been quantitative studies, ⁓ DH studies that have shown that academic prose has become more difficult. I think it's much more a consequence of how literary culture has become this sort of narrow and marginalized field that is preserved within academic debate and academic structures of argument and disciplinarity. Stephen Greenblatt certainly tries to benew A.C. Bradley and he does reach readers outside of academia but his audience is you know especially as a share of the population is not A.C. Bradley's audience and I don't think that's a fault of his prose. Well that's true.Henry Oliver (08:59)might be the fault of some of his ideas.Well, Jeff, I want to come to you on that. A.C. Bradley was not politically ideological. Maybe he's a crazy Hegelian and he's insane on that level. But is the problem that Stephen Greenblatt's just obviously kind of a bit cranky in some ideological way, is this a general problem of the modern humanities academia?Jeffrey Lawrence (09:24)Yeah, I mean, I tend to see the problem as it's kind of being a dual problem. One, I think, is the fact that we are facing in a lot of the academy a kind of scarcity politics. there are very, if you look at just academic hiring since the financial crisis in 2008, there's just much less of it that's happening. And so I think, I mean, part of what I see is this sense that there are certainI mean, we could say certain ideological lines that over the past 10 years, but even let's say over the past 15 years ⁓ have been the ones that have become dominant in the academy. And I think my problem is not that people connect politics to literature. I think that that's something that we all do to a certain degree. think the part of the problem is that we are now entering a situation in whichif you deviate from a particular political line, which I have sort of identified with the Democratic Party, because I think you can follow a foul of it to the right, you can also follow a foul of it to the left, then you are seen as someone who is saying something that is not in line with the contemporary academy. And I think it used to be that when there were many jobs and many different departments that you could go to,Henry Oliver (10:28)Mm, mm.Jeffrey Lawrence (10:48)there were fewer consequences for making those types of statements that were out of sync with the dominant. And now I think it's it's become very, very punitive. And this is also reinforced again by the fact that what public scholarship we do have tends to be in line with this because the institutions that are kind of the elite, I would say Ivy league.institutions are also the ones that are feeding people into ⁓ sort of that public legacy discourse.Henry Oliver (11:23)Let's talk about politics and literature because I don't like making literature political as such. But whenever I read, Julianne's probably read the Lisa Liebes substack. I don't know if you've got to that yet, Jeff. She's like, there should be no politics at all and it's all aesthetics, which I kind of sympathize with. But then it just makes me think like, well, what about Edmund Spenser?Like there's a certain extent to which a lot of poetry is political and we have to be political when we talk about it, otherwise we're just ignoring a big part of it. ⁓ So how do we solve that problem? Like are we like badly trained in thinking about politics in the humanities academy or is it like what's going on?have we got to a point where you can say there should be no politics about explicitly political writers?Julianne (12:19)Do you want to begin, Jeff?Jeffrey Lawrence (12:20)Yeah, I mean, I can just say briefly because I mean, I teach courses, a number of courses that are about politics and literature. I actually think, I mean, I started doing this in 2016, right after Trump's election. I taught Steve Bannon's film about the financial crisis alongside ⁓ the Big Short and a couple of kind of like trying to show kind of like the left and right responses. I mean, that's not literature, that's film, but many of thethe literary works that we look at in those courses. There are conservatives, there are more classic liberals, there are Marxists. I mean, my personal feeling is that we need to talk about politics and literature, that it is a fair, it is a reasonable object of study. The problem, I think, is partially when you act as if certain...certain political writers or certain topics are simply out of bounds for study. And so there was actually a post by Dan Silver today about why I teach conservative thinkers and a response from the points John Baskin saying, who would think that you wouldn't teach conservative thinkers in a sociology course? But I do think that it's become par for the course thatHenry Oliver (13:20)Mmm.Ha ha ha ha ha ha ha.Jeffrey Lawrence (13:37)teaching someone, whether you're on the right and you're teaching someone who's a Marxist or you're a Marxist and you're teaching conservatives, that somehow this is kind an ethical failure. And I think that's a real problem of not assuming that what you're teaching is kind of necessarily what you believe in or talking about politics means necessarily taking an ideological stance.Julianne (14:04)Yeah, I think that's completely right. I think there's this very pervasive confusion between ⁓ talking about the politics of literature andarticulating an authoritative political perspective on that literature. Almost everybody who studies literature, especially in a historical context or in a contemporary context, honestly, is going to be talking about politics. Spencer, course, right? Milton. ⁓ How do you talk about somebody who was a literal revolutionary who wrote in favor of regicide and not talk about politics? You have to talk about politics.Henry Oliver (14:31)YouJulianne (14:37)⁓ But then there's become this confusion where people assume that if you are talking about the politics of literature, you have not just a political, but actually an ethical ⁓ teaching that you are imparting by way of that literature. And that if you're not doing that, you're somehow not talking about literature, you're not teaching the literature. That's the confusion that has been so devastating to us and I think so devastating to literary study.Henry Oliver (15:03)So what's the alternative? What should we be doing instead?Julianne (15:07)I I think that we should be talking about the politics of literature while acknowledging that literature raises political debates, not endless debates. know, there's not any given author is going to raise, you know, a certain salient set of questions that we can talk about, that we can debate and acknowledging that people historically have had different responses to these, that it has been used in different ways in different moments and that it is still used in different ways today. That doesn't mean that as intellectuals and scholars, we won't have our own positions that may inform our scholarshipin our writing and even our teaching, it just means that our positions do not shut down conversation and do not exhaust the range of possible positions.Henry Oliver (15:48)Yeah, and we should say, we're saying about, you you should teach conservative thought and stuff. I don't think either of you would identify as being on the right or conservative. So you're saying that from a, from that position. ⁓ How do we, how do we get out of this then? How do we leave politics at the door? Because when I read modern ⁓ literary scholarship, to me, it's either like very useful because it's not political.Julianne (16:01)Yeah.Henry Oliver (16:17)Or I just, as I did with that book that we all, or that Jeff and I, sort of disagreed about. I just find it almost unreadable because it's not scholarship anymore. It's just partisanship. How do we move past this? Like, what's the solution?Jeffrey Lawrence (16:33)I mean, if I can jump in just there, I mean, I would say one of the issues is having an ideological litmus test for scholars. And I think I see this in 20th and 21st century literature in a very strong way. And so what I would say is that, you know, allowing people to occupy different political positions, and I really meanJulianne (16:33)I mean, if I could jump in just there, I mean, I would say one of the issues is having an ideological litmus test for scholars. And I think I see this in 20th and 21st century literature in a very strong way. And so what I would say is that allowing people to occupy different political positions, and I really mean,Henry Oliver (16:36)Yeah.Jeffrey Lawrence (17:03)like people who I know on the left because they're not toeing a particular line are also not welcome or are also kind of meat pushback in contemporary humanities departments that I think we need to get rid of that. And my thought about the Adam Kelly book, ⁓ the New Sincerity book is that to me, I think that what he's trying to do in that bookHenry Oliver (17:10)Yeah, yeah.Jeffrey Lawrence (17:31)is to understand neoliberalism as an economic and political philosophy that has effects on culture and to try to understand how authors themselves are dealing with that in their prose.To me, that is somewhat different from the way that neoliberalism is occasionally bandied about in the academy, where it doesn't just, it isn't just another word for saying, okay, this is the Chicago school or the Austrian school, and we're gonna kind of take it seriously as a mode of thought. if just saying like, neoliberalism is like our ontological condition in the 21st century, and therefore everything is.necessarily an expression of neoliberalism and we don't need to necessarily define it. So I mean, I think that may be where the disagreement extends is that I think that ⁓ Adam Kelly is trying to sort of be precise about that politics in order to understand how contemporary writers generally on the left are using it. Whereas I think that the kind of more wishy washy version of that isHenry Oliver (18:37)Mm-hmm.Jeffrey Lawrence (18:44)You know, just to say that neoliberalism is the air that we breathe. And there, I think I agree with you that it's just not super helpful.Henry Oliver (18:49)Mmm.Yeah, my problem with the book was that he would not tell you what did Hayek think or say. He would say Hayek was a cheerleader for the free market. Or he would not tell you what is the Gary Becker view of human capital. He would say human capital is an ideology that infuses itself into every aspect of your life so that you can no longer be separate from the market. And it's all this stuff, and it's like, well, that's nothing to do with Hayek and Gary Becker. ⁓Jeffrey Lawrence (19:19)Can I just,just one thing on that, is that, I mean, I did go back and I mean, he has these moments where he's talking specifically about Hayek and the road to serfdom and saying, I think that this is a worldview in which, he'll quote Hayek talking about the problem with representative democracy and say, the real moral choices are choices that are made in the market.To me, I think that that is to engage to a certain degree with the thought. It is true, I think, as often happens in scholarship that you have the people who are defining a phenomenon from the perspective that you may be interested in. So there are a number of people from the left who are criticizing neoliberalism. I see him as engaging a little bit more than you do.Henry Oliver (20:11)Mmm.Jeffrey Lawrence (20:11)in that in that direct thought and particularly compared to other humanities scholars who do I think what you're saying which is to just do that. So that's where I think I see him as doing.Henry Oliver (20:18)sure, yeah.I guess you could summy critique up as being like, if this is the good version, things are worse than I thought. Yeah. Yeah. So from here, let's go to the question of what is academic Marxism?Jeffrey Lawrence (20:27)Okay, well.Henry Oliver (20:35)Because I think a lot of people think that there's a lot of Marxism in the academy and that if they're not woke, they're Marxists or maybe they're both, right? And ⁓ personally, I spend a lot of time trying to work out what these Marxists think and it's quite confusing. And there seem to be lots of, and Julianne, you and I have talked about this, all the different, some Marxists aren't Marxists, as it were. tell us, give us a quick overview of how Marxist things really are.Julianne (21:04)Yeah, I mean it's a very complicated question to answer.because Marxism is too, well, debatably a living tradition. ⁓ And there's a huge amount of disagreement about what constitutes Marxism, ⁓ what is a legitimate form of Marxism, what is not, where do the boundaries lie, what is reconcilable with other schools of thought, what is not. But I think the big picture is that beginning, even in the 60s, Marxism moved into academia. This is a story that is told very inflectionallyHenry Oliver (21:11)youJulianne (21:37)and Perry Anderson's considerations on Western Marxism, where he argues that in the West, Marxism becomes alienated from actual political, economic, and social movements. It moves into academia. And as a result, it becomes much more philosophical, much more abstruse, much less concerned with the traditional concerns of Marxism, labor and the politics of labor and the politics and economics of labor. And that this continues and is accelerated, in fact, in the Cold War. So what you get atthe same time, you have something called the cultural turn in history and in sociology, ⁓ the rise of what is, debatably called identity politics. so Marxism remains a current within that, but it's far less of an influential current as time goes by. ⁓ And I think that many, many people...use the word Marxism and would say that there are Marxist influences in their work, but they're not viewing it as a kind of systematic approach to economics or to economic history. And so at that point, I do think you have to ask, well, what does Marxism actually mean? There are certainly people that work with, you know, ideas that they refer to as Marxist, but that have implications that to my mind are entirely antithetical to Marxism. And so I kind of feelas somebody who does work within what I would call the historical materialist tradition.⁓ in a very sort of straightforwardly economic sense, know, are markets becoming more efficient in Renaissance England? Those kinds of questions. How much does bread cost? How much do books cost? Those kinds of questions. ⁓ If you're interested in that tradition within Marxist thought, you feel that it's actually really incredibly peripheral within academia in comparison to, say, the politics of gender ⁓ or other considerations of that kind. And there's just not always sensitivityHenry Oliver (23:16)Mm-hmm.Julianne (23:35)to whether these different schools of thought actually cohere in any meaningful or deep way. What would you say, Jeff?Jeffrey Lawrence (23:44)Yeah, that's, I mean, just to pick up on that, think that that's really helpful in that trajectory, which I also, know, the Perry Anderson, a lot of people who have talked about how Marxism.moves into the academy after the 1960s, I think it is just really important to say it becomes a different thing. And I think part of the confusion, Henry, may also be that it's like, so the Christopher Ruffo version of this is it's like, it's all Marxism, it's all everywhere. But then I think that becomes, it's so broad a definition of Marxism that what we're really talking about is aof progressive politics or sort of an amalgam of different ideas that may have some roots in Marxism of previous periods, but really don't, as Julianne is saying, really don't align with like Marxist thought or Marxian thought as such. And also as someone who does take that tradition very seriously, I think a lot about Silvia Federici, who's a feminist, know, a Marxist feminist. Like these are people who are absolutely steeped.in a Marxist political tradition. And in some ways, these are figures that may be very important to the contemporary tradition. But if you actually read what they're writing, it's like, it's an extremely watered down version that we get in the academy in part, and I'll just end with this, in part because to Julianne's point, I think it like when Marxism also becomesHenry Oliver (24:59)Mmm.Jeffrey Lawrence (25:10)a kind of one discourse among many that you are using in what are often very bourgeois institutions, then it becomes a kind of intellectual tool and sometimes even an intellectual weapon, as many of these things are, where the question of how it relates to practical politics, working class politics,politics outside of the academy becomes sort of secondary. And so then really we're not talking about someone who's a Marxist as in they're like fighting for the working class. You're talking about someone who's just using Marx as a tool, which is fine, but that certainly shouldn't give them any sort of like, you know, moral high ground when speaking from the position of the left is my view.Henry Oliver (25:53)Is there some inherent aspect of literature that means it has been more amenable to Marxist study of any description than it has been to, you know, ⁓systems of thought that come more from a kind of Adam Smith, Friedrich Hayek tradition. Because it's very striking to me how few liberals and libertarians they're currently, publicly currently, I know a lot of them keep it to themselves, some of them have said as much to me. ⁓ But is there some good literary reason for this? Or is it just an institutional ⁓ problem?Julianne (26:33)That's an interesting question. ⁓ I mean, there are sort of traditional reasons for this in thatMarxism from, you know, in Marxist writing from very early on was interested in the relationship between culture and historical change. So there's a very, even by the time you get to the beginning of the 20th century, there's already a very well developed materialist tradition for thinking about cultural change and cultural transformation over the long run in a way that I don't think is true ⁓ of rival ideologies. Not that there isn't great literary work, but that there's not the sameHenry Oliver (27:09)Sure, sure, sure.Julianne (27:11)kind of sense of a methodological tradition. So there's a lot of momentum there.⁓ But in terms of more intrinsic reasons, I don't know. I mean, it doesn't seem obvious. Certainly at other times and places, we haven't had the situation that we have now. I often find myself thinking of, know, Piketty's arguments, which this does not pertain to Marxism, but this does pertain to the ⁓ difference between the political parties in the US, which is just that ⁓ education has become the means of differentiating between two rival elites, you know, not...Henry Oliver (27:27)Mm.Julianne (27:47)a difference between a working class and an elite, but two rival elites that are actually distinguished by the university itself. So as long as the university plays that structural role, it seems unlikely that its politics are going to drift to the other side, because that is actually precisely what the university has become. ⁓ I don't know, what do you think, Jeff?Jeffrey Lawrence (28:06)Yeah, I mean, it's a really good question. I mean, I share the sense that, I mean, I think that there is an extraordinary ⁓ Marxist literary tradition that goes back to, you know, sort of Lukacs and these debates, Adorno, Horkheimer. These are critics that are important to me, cultural studies with people like Stuart Hall and Raymond Williams. I mean, they very much, I think, were, though,Henry Oliver (28:20)Mm-hmm.Jeffrey Lawrence (28:30)That was a kind of insurgent force, we could say, within the academy that has now become, I would say, almost entirely dominant. I personally, mean, one of the things when I was writing my first book was on US and Latin American literature. I was very interested in a certain liberal tradition that comes from, you know, John Dewey. We would now say that, I mean, it's not the liberalism of, you know, Milton Friedman and von Hayek, but it is,Dewey, think, was for many people the most important philosopher, aesthetic philosopher of the early part of the 20th century. And he was a sort of radical liberal who thought a lot about the liberal tradition. I people like Lionel Trilling with the liberal imagination, these were, I think, writers who were very important.Henry Oliver (29:16)Mm-hmm.Jeffrey Lawrence (29:19)in a particular moment. And I guess, you this is, you may see this as a dodge, I, Henry, but I definitely feel like these are books that are really important to my formation and whether or not I associate with a certain particular strain of contemporary ⁓ liberalism, I don't tend to think of myself necessarily in those terms. And so,Henry Oliver (29:26)HahahaJeffrey Lawrence (29:43)I think we really should be reading those because those types of people, people like John Dewey, people like Lionel Trilling, know, Philip Rav, these kind of mid-century intellectuals, they were really engaging in major debates and they were foundational for the field, even if now I think there may be some desire to take distance from them.Henry Oliver (30:07)It's the bigger problem that we should just get back to more for literature as literature.And once we allow a kind of methodological approach from one tradition or another, we're just no longer really studying literature. We're using literature to, like I had a professor once and they said an essay about Anglo-Saxon poetry with some Harold Bloom quote saying, none of this is any good. It's like the great age before the flood, that kind of thing. And I basically wrote an essay saying, yes, that's correct. And she did not like that. And I said, look, I bet you don't actually love anyof this poetry. I bet you don't care about any of this. You know, I just sort of... And she said, that's not the point. The point is that we can use it to impose the... You we can use it as a way of dealing with the ideas we want to deal with and having methodological... And I was just like, I'm never coming back. You know, goodbye. And that to me is kind of... Is that the more foundational problem, right? Some people want to take a kind of...Northrop Frye, Christopher Ricks, literature as literature approach, and some people want to have an extra literary methodology. Be it Freudian, be it feminist, be it identity politics, be it whatever. And that is the bigger sort of division here, and is the solution to just say Shakespeare is Shakespeare and you can keep the other stuff for your other classes.Julianne (31:33)Well, I don't know because, I mean, in terms of what actually goes into the classroom, I think that's a different question. I don't teach very much theory in the classroom. ⁓ But I don't think that we can just say that because the ability to say, you know, these are great works, this is part of a canon, it came with its own set of ideological commitments that are now...Henry Oliver (31:40)Show. Show, show, show.Julianne (31:57)sort of vanishing, right? So we need some kind of framework for making sense of why we read literary history at all, what its coherence is, what its shape is, what its structure is. A lot of those frameworks were implicit. didn't, you know, they were articulated, they didn't need to be articulated every single time because they were so woven into the whole system of education. As that becomes increasingly untrue, I think we do find ourselves in a position where we need to explain why we care about this object literature at all.in the first place. And I don't think just saying, you know, literature for literature's sake without situating it within some kind of wider account of culture really works. I don't know that situating it within some wider account of culture really works either in terms of persuading anyone, but I don't think you can say to people, look, Shakespeare is Shakespeare, we have to read him because he's great. I think you need to...Jeffrey Lawrence (32:45)Mm-hmm.Henry Oliver (32:45)HahahaJulianne (32:53)have an argument about the place that Shakespeare has in culture ought to have ⁓ because that is increasingly not true.Henry Oliver (33:02)So I mostly agree, but it is very striking to me. I mean, I sort of half agree. It is very striking to me that the just read it because it's great argument is winning a lot of ⁓ admirers on the internet, while some version of what you've just said is sort of dying in the academy. And I'm not saying that therefore that's a decisive factor and we should just do this. But in terms of getting people interested,that does see something on the internet among the new humanities culture on Substack and other places, does just seem to be resistant to these methodologies and ideology, right? Do you see what I'm saying? ⁓Jeffrey Lawrence (33:43)Can I, I mean, yeah, Imean, I would say, and we may just disagree on this, but I agree with Julianne that, I mean, the ideological context of a work, the historical context of work seems incredibly important. I saw Henry, yeah, yeah. And so I think that there, yeah, yeah, but I think that's not, I mean, I think we can't totally gloss over that because all three of us have had long educational sort of,Henry Oliver (33:58)sure, yeah. We're all historicists, yeah, yeah, yeah, yeah.Jeffrey Lawrence (34:11)a long educational formation that has allowed us to even have this conversation, let alone read these works. I, you you, you, I think you had a post about this on, on Austin about like, you know, sort of there, there are certain things that are helpful for you to know in order, once you're going into work. I think that that's different from the thing that you're pointing to and where I think I would agree with you, which is that when, when methodology becomes the TrumpHenry Oliver (34:15)Yes.Yeah, yeah, yeah.Jeffrey Lawrence (34:41)card over literature. think that that is that is an important cultural shift. And I think we are now at the point in which this is my formulation for it. It's like if you're just going to read literature for, you know, for a particular political thing, for Marxism, let's say, in order to understand, you know, sort of like a Marxist conception of society, why not just read Marxism?Henry Oliver (34:42)Hmm.Jeffrey Lawrence (35:11)like Marxist theory. mean, so I do think that that is a real problem and the failure, and to be fair to humanities scholars, this is, has been a big debate over the past five or 10 years. I think it's just more contested in the academic space than it is on Substack, where I think Substack is kind of demonstrating to my mind also that some of the more frank, I, I sweat, some of the more BS, yeah.Henry Oliver (35:11)Yes.Say what you want.Jeffrey Lawrence (35:39)Some of the more b******t arguments that I see about like, ⁓ well, there aren't X people, like there aren't white men who are writing and reading, and then you just see the tremendous number of people who are reading, they may just feel alienated from certain ways of doing things. And that, I think, that's a wide range of people. And I think it's a wide range of people who are turned off by certain things in the academy.Henry Oliver (35:49)yeah.Jeffrey Lawrence (36:07)I think a lot of that though has to do with a general problem that we need people in literary studies who deeply care about literature, regardless of what ideological thing, you know, where they're coming from. And if you are always just interested in the methodology that you're bringing to it, as opposed to literature, then this is going to be a long-term problem because people are going to start asking, why is it that we are reading literature?Henry Oliver (36:34)To what extent is that the basic problem that the universities have right now? To me that just seems to be it's that, right?Julianne (36:39)I think that's a huge problem. Yeah, I think it's a huge problem.Yeah, it's a huge problem. guess, you know, while sort of agreeing with you and definitely agreeing with Jeff, I guess what I would say to sort of refine what I was saying earlier is, no, I don't think you should study the methodologies instead of studying literature. Of course not.⁓ But the questions that the methodologies ask are really basic to the questions that we need to ask about the study of literature. So it's not that you should be studying Marxism or feminism or this or that instead of studying literature, but I don't think you can...totally do away with the questions of, what is this thing? What is its role in culture? What does it mean? Why do we study it over long, long periods of time? ⁓ It is, it has become very hard to make that, that case. And it's not that I think making that case explicitly is going to win converts as opposed to talking about the literature itself. In the end, it's going to be the literature itself, if it's going to be anything at all. But to have an account of the meaning of what we're doing, even for our own sakes, we do need to be thinking about questions like what is this thing?and why, right, which are supposed to be questions that methods help us ask.Jeffrey Lawrence (37:53)And can I just add to that kind of the, I mean, a word that we haven't used so far is specialization. And I think to a certain degree, like what may unite us in this conversation is a sense too, that like, that literature is not just like this particular corner that you're studying and that you're interested in because it's your field. And so,Henry Oliver (38:13)Mmm.Jeffrey Lawrence (38:16)Those type of turf battles, I think, are also really important to this. The sense that your topic is the thing that you specifically focus on and the difficulty of communicating that is an issue. And also just the sense that, like, I mean, my sense is you can be interested in history and sociology. Julianne and I are both interested in that. And also literature, so that it doesn't, I mean, part of it is, I think, restoring the notion that a kind of broadHenry Oliver (38:19)Yeah.Jeffrey Lawrence (38:46)like intellectual training is not a liability, but is actually something that you need in order to understand literature and that heightens your appreciation.Henry Oliver (38:57)Somewhere in one of Iris Murdoch's interviews, she talks about the state of literary undergraduates today, because obviously she was married to John Bailey and had a lot of, and this is like in the 80s or something, ⁓ and she said, well, they're not interested in just reading the literature and understanding the history of it anymore. They want to have all these crazy theories.It's very striking when you see stuff like that from 50 years ago. Did the cannon wars ever end? Did we ever change the arguments? In some ways, is this not just the Harold Bloom thing? It's still going, right? And one route out that I think you've identified is just ⁓ be broader. Just read more outside your own area.The people who everyone loves on Twitter, like CS Lewis and Harold Bloom, are the ones who weren't in their public facing work. They weren't narrow specialists. CS Lewis would do everything from some random Latin medieval writer to Jane Austen. And in a way, is that what we need? We just need to have more of that appreciation of the long history of literature.Jeffrey Lawrence (40:10)I mean, just one thing, then Julianna, I'd be curious to like from like a ⁓ 20th and 21st century perspective. Like I agree with that, but I also think that like that was Toni Morrison as well. I mean, talking about the classics, mean, part of the problem I think is that we have these readings of figures that become then sort of symbolic or totemic of.Henry Oliver (40:23)Yeah.Jeffrey Lawrence (40:33)like a contemporary, you know, whatever that may be, an identity category or whatever it may be. Whereas if you actually read Toni Morrison, absolutely voracious, absolutely thinking about like, you know, the classics, you know, thinking through Greek drama, ⁓ know, Faulkner, you know, ⁓ master's thesis on the outsider in Faulkner and Virginia Woolf. I mean, I think some of this also has to dowith something that has happened very specifically in the past 10 years of also subjecting figures of the past who were interested in that more Catholic notion of culture to these kind of like very selective readings. I mean, it's true of James Baldwin. I thought about this a lot. Like a lot of these figures who just didn't want to be boxed in in a particular identity way get then taken up asHenry Oliver (41:11)Hmm.Jeffrey Lawrence (41:26)kind of figures for that when actually, mean, in some ways they were, you know, I'm sure Toni Morrison and Harold Bloom wouldn't have agreed on everything, but there was actually, I mean, but really there is actually more alignment there than like the 2025 reading of them would give credit for.Henry Oliver (41:40)Yeah, yeah, yeah.Jeffrey Lawrence (41:47)Yeah, don't know, Julianne, if yeah.Julianne (41:49)Yeah, no, mean, I obviously I agree so, so entirely with.everything you're saying, but especially with your comments about longer literary histories, more capacious reading, know, longer, wider. Obviously you read cross linguistically and do work cross linguistically. So both broader and longer literary histories, much more than kind of a focus on methodology. Part of the reason I'm defending methodology here is because methodology, if used well, forces you outside of disciplinary specialization or can, has that capacity. In my field, the problem is not thatpeople are adhering to big sweeping methodologies anymore. In my field, the problem is that the big questions have almost disappeared, replaced by, in many cases, extremely excellent, detailed, narrow, pointillist empiricist work. I think that work is...valuable and it's foundational, but you can't have a field that just has that. You have to have something that makes the field cohere. You have to have questions that the field coheres around. know, and increasingly, I'm a historicist. I got into this because I love this kind of like, ⁓ you know,tell me everything about this particular edition of the Fairy Queen. ⁓ I love that kind of thing. ⁓ And yet at the same time, there is part of me that is starting to wonder.Henry Oliver (43:09)YouJeffrey Lawrence (43:10)YouJulianne (43:17)is it actually more relevant even for being a Renaissance literary scholar to have read every single person writing in England in 1592 and then maybe instead of Dante or going the other way, right? Instead of...Richardson or Voltaire. Like maybe we should be reading more Voltaire instead of every non-entity. And I'm guilty of this because my whole project is every non-entity who published a book in 1592. So this is very much self-critique. But that more capacious sense, and that more capacious sense exactly as Jeff says, is very much aligned with how writers themselves, especially great writers, approach literature. I teach Toni Morrison in my Shakespeare class sometimes because she has a short play on Desdemona.Jeffrey Lawrence (43:47)If you ⁓Henry Oliver (44:06)So we're obviously all going to await your blog about the different editions of the Fairy Queen and your favorite things about each of them. Just give us some examples of what the big questions would be and what these empirical questions that people are. Just make it sort of concrete for us what you're talking about there.Julianne (44:11)Hawell i mean there are a lot of people who have big ideas ⁓that maybe make their way into their own work, that show up in the introduction of their own work, but that are not defining the field in a meaningful way. There are a few debates that think are actually happening within my field that are interesting, like the extent to which ⁓ Renaissance literature should be understood on national versus international lines. I think that's quite an active one that's very interesting. ⁓ But I think a lot of books written in the Renaissance, and I don't wantHenry Oliver (44:39)Mm-hmm.Julianne (45:03)topoint to any one book because these are all you know good books and books that I like but a lot of books will be have a very narrow date range a set there you know the typical organization of a book in literary studies is to have a sort of thematic topic not always thematics sometimes it'sbook historical or cultural, but ⁓ often it will be a thematic topic. Say a topic like ⁓ shame in Renaissance literature, right? So you'll take shame in Renaissance literature. This is fictional. This isn't anybody's book. If it is accidentally somebody's book, I apologize. Shame in Renaissance literature, okay? And then you'll have this ⁓ contextualizing introduction where you might bring in a bit of Foucault and you might bring in various other theorists.Henry Oliver (45:23)Mm-hmm.Sure, sure,Jeffrey Lawrence (45:39)YouJulianne (45:52)But you will also go very, very deeply into, say, sermons, right, the sermon literature. And then you'll have five chapters. you know, one will be like Shakespeare play, and then maybe one will be Spencer. And then maybe one will be somebody, you know, more marginal or be Ben Johnson or there'll be Webster, you know. ⁓ And then you will put them, you know, this is the method of New Hizorizis. You'll put them beside legal documents and you'll put them beside sermons and you'll put them beside other very, very contextualized and often very well contextualized.works from the period. But you won't write a book that is like, you know, literature and shame, you know, across three centuries ⁓ that would then maybe potentially think about, you know, is there a fundamentally different way that drama versus the novel represent shame? Does this help us understand long range debates about interiority? And again, it's not that nobody ever does this. It's that the feelI feel English literature used to be more aligned over around these kind of shared long-term questions and debates and they're much less aligned around them now because of specialization and because of the sort of dynamic of know decline and and narrowing of prospects that Jeff has mentioned.Henry Oliver (47:11)A lot of people complain about the administrators, the way funding is done, the way you can only get funding for certain types of work, career structures, all these structural factors that make life either difficult as an academic or just force you into certain decisions and activities. ⁓ To what extent is writing on Substack actually going to be a beneficial solution?to get around those problems and to what extent is it just going to be a sort of useful addition and is going to be very stimulating for you all but might not, you know, might not actually change things. What's your sense of that?Jeffrey Lawrence (47:54)This was something I've thought about this a lot because I wrote for the Chronicle of Higher Education. think Julianne and I have both write or have written for the Chronicle and something that was on the public humanities and I very specifically this is 2022 or 2023 said like, sub stack is not going to be the solution. Partially and my point there was something that I still believe to a certain extent which is thatas someone who has worked in different public humanities ⁓ programs, as someone who knows to a certain degree the publishing industry in the US and Latin America and has done work on that, I think that it's hard to ⁓ exaggerate the degree to which funding for this type of research, it's just really expensive and the existing funding models that exist for something like Substack or I mean any other sort of ⁓platform economy, even public humanities projects, it's just really hard to do. So I'm much more in favor. So I think Substack is really important as a venue. I think that as a potential model for, you know, a sustainable model for doing academic scholarship, I see a lot more limitations. And that's why I've said, I mean, I think in some ways, if the types of conversations that happen on Substack,could be then imported back into our fields. Like, I don't think we should just destroy the institutions and get rid of these departments. I think that there needs to be a sort of infusion of these types of debates that are happening on Substack in the university, because the universities have funding, you know, have funding. And I think it's partially about fighting for that, this kind of holistic thing that we've been talking about up to this point.Julianne (49:49)Yeah, I completely agree. That's my view as well. I don't think that Substack's funding model would actually be good for scholarship. I'm not saying that you couldn't get a few people making it viable, but for a scholarship as a whole, I think it would be terrible for scholarship as a whole. At the same time, for the reasons we've been discussing here, we need to be talking with other people and not just with people in our subfield of a subfield of a subfield. And Substack is great for that.Henry Oliver (50:18)I sometimes think that if you can draw a distinction between scholarship and criticism, the academy can keep the scholarship and the criticism needs to come outside. You can all still write it, right? But it needs to be done in a way that is free of all the institutional incentives and constraints and just all that problem and you can all just be free to say other things online.Jeffrey Lawrence (50:43)I mean, just very quickly on that, I mean, I do think that in my personal case, because I came to Substack partially because I had a very bad experience with a kind of ⁓ a piece that I had pitched to like a venue that was, you know, sort of like progressive venue where I felt like I was saying things about contemporary author that everyone else was saying, right? It was a kind of public secret, a kind of critique of this writer.And I felt like it was not going to be published in any of those venues and in the Academy itself, that would be a problem. And not because this was something that even, you know, sort of ⁓ departed so much from things that people would say, but just because of kind of like the power structures. And since I've been on Substack, I've had multiple people, particularly with the first Substack piece that I wrote, but with other ones as well.Henry Oliver (51:11)Mmm.Jeffrey Lawrence (51:35)people in academia telling me, thank you for saying this. And also I'm reading your sub stack as an academic right now. But I also, do think that there remains, I mean, it's changing, but I do think that there's speaking of shame, like there are people who they're just not sure as graduate students.what they can say and what they can't say. And I think that's a real issue. So I agree, criticism is important, but even for scholarships too, I think that there need to be taboos that are broken in order for scholarship, as Julianne said, to kind of like return to that more sort of vibrant feel that it once had.Julianne (52:20)Yeah, I think that's right. Obviously those taboos are less present in my field than in yours because the contemporary stakes are much less clear. ⁓ And sometimes I'm jealous of people who work in the contemporary field because there are stakes. And then I hear things like what you just said and I'm no longer so jealous. But yeah, no, do think that...Henry Oliver (52:35)YouJeffrey Lawrence (52:35)YouJulianne (52:46)People, even beyond what you would think that they would plausibly need to be, people are very cautious and graduate students especially are very cautious and even having the example of people saying things publicly is incredibly important and helpful.Henry Oliver (53:02)It's interesting how many PhD students there are on Substack. There are several English literature PhD students and I find it amazing actually that they're writing a Substack ⁓ rather than writing something academic. This to me is a very clear signal of something is changing, right? Something important is changing.Jeffrey Lawrence (53:28)I would say it's pragmatic too. I mean, I don't think that there's any reason people shouldn't graduate students. I don't think that they necessarily need to have a substack, but I also, I just think that there's a kind of recognition that, you know, especially at this moment, mean, frankly, with a lot of this does have to do with the Trump administration and kind of the way that it's been directed very specifically at, you know, sort of the humanities andHenry Oliver (53:47)Mm-hmm.Jeffrey Lawrence (53:53)So I do think that there's a kind of sense that the hiring isn't happening. And so it's like, well, why am I going to invest in this very small possibility of getting an, an academic job or even better yet, I'm going to build my own audience. I'm going to talk about these things because that's going to empower me at the moment in which I'm actually looking for jobs. So I, I, I'm like, I agree with you that I think it's just like, ⁓ it's a pretty astonishing thing.in the sense of the sort of initiative, but it also kind of makes sense given the world that exists.Julianne (54:30)Yeah, mean, you know, our graduate students are not.coming in, I'm sure yours are the same way, they're not coming in thinking they're going to get jobs ⁓ anymore. So they're coming in thinking, I have six years to build the kind of intellectual life to become the kind of writer and the kind of thinker that I want to be. And that's the priority, much more than anything sort of pragmatic about what they might do in terms of future career prospects, because most of them have absolutely no idea. It's much more about how can I find an intellectual community? How can I become the kindintellectual I want to be. And if academia is not going to be their home long term for that, it cannot be in academia. It has to be elsewhere. In addition, now that there are fewer conferences, journals, you know, are delayed by years. That was another thing that got me on Substack is I wrote a review.And I wrote the review as soon as I got the book. I wrote the review that I was asked to review. Then like, you know, six weeks, sent it back. ⁓ It took four years for the review to appear in that journal. And I was like, why, how can we possibly have a conversation when this journal has just been sitting on this copy edited review until they could find a slot for it in their, you know, in this day and age? How can that be the case? You know, so I think, you know, that's also part of what's going on.Henry Oliver (55:49)Yes.So are you running introduction to sub-stack classes for your graduate students? This is not yet, yes.Julianne (55:59)No, not yet, not yet.Jeffrey Lawrence (56:00)Yeah, yeah. I mean,interestingly, we had an event with Lincoln Michelle, who's a very popular at Rutgers, who's a very popular Substack writer. I mean, that was one of our, was a hugely well attended event. I mean, I do think, and it doesn't necessarily need to be just Substack, but I think public intellectual work, think graduate students and also undergraduates, they want to understand this because they know ⁓Henry Oliver (56:08)Mm-mm.Jeffrey Lawrence (56:29)precisely what Julianne said, that it's not gonna work for them to just stay in their lane and keep the blinders on and keep going. Even if they want a career in academia, they know that they need to be involved in these other things. so, I mean, to the extent that I think we can do that in our institutions and give them a sense of what's going on, I mean, definitely we're thinking about that at Rutgers.Henry Oliver (56:55)If the humanities goes into some sort of terminal decline and there are fewer departments and the student numbers never recover and all these blah blah blah, all these bad things, ⁓ does it matter?Julianne (57:08)Well, for what? mean...Jeffrey Lawrence (57:10)Ha ha.Henry Oliver (57:10)Well, because everyone talksabout it like, the humanities are dying, this is terrible. And I'm like, what's the problem? We had like English literature was the number one subject for undergraduates, and now it's not, right? What is the actual problem if the humanities are in this terminal decline? No, I get that it's all bad for you. Yeah, no, for all of you, of course, right? But like, what's the what's the actual problem here? Yeah.Jeffrey Lawrence (57:27)You mean besides the jobs of, mean, because part of that, right, right, Yeah, for us. But for society.Henry Oliver (57:38)Obviously when someone doesn't have a job or can't get a job, like of course, of course. But can you give us a succinct explanation of why people who are not involved in it should care about the decline of the humanities or should recognize that it's something that we don't want to happen in some way?Julianne (57:56)I mean, I think the sort of simplest thing is that we still do have, it's fading, but we still do have some shared cultural literary heritage ⁓ or basis. Yeah, I don't use the word heritage since it's a kind of nationally charged word, but some kind of shared basis that allows us to talk with each other about literature. ⁓ And most of this, think, is predicated not on the university, but on the high school canon.Henry Oliver (58:11)Sure.Julianne (58:25)is an extension of that. So I think our number one thing should be the high school curriculum. ⁓ But then our number two thing should be ⁓ ensuring that people have some kind of foundation in, you know, a...as wide a range as we can give them of literary texts that they get in university because that is the basis of a shared literary culture. I don't think you get, you know, I don't think you get a wider literary culture where people can talk about things, ⁓ you know, like 18th century books or, you know, 19th or 20th century books across the world ⁓ without having some kind of institutional basis, having some kind of shared institutional structure that people have passed through. Otherwise, what you will get is people, you know, picking up thingsyou know, a bit here, a bit there. Some of them will be so unfamiliar that they will be put off by it. Some of them maybe won't. ⁓ But you won't get anything like a common culture. And for me, that's sort of intrinsically good. But there is also this kind of idealistic ⁓ democratic aspect to this that you got in the mid-20th century in the post-war expansion of higher education and also the expansion of public education. This idea that you would have a citizenship thatbe participating in intellectual, philosophical, and political culture at a very high level. I don't see how you get that without having some kind of shared institutional basis for it.Jeffrey Lawrence (59:50)Yeah, mean, would just, yeah, I think everything and then maybe the only like word that I would use that you didn't use there is just kind of like literacy. mean, cultural literacy, but actual literacy, because I do think that beyond the culture wars, like the one thing that I think I'd like across the political spectrum is that there is this sense that a certain ability to read and to engage in civic life is declining.⁓ And so, yeah, I mean, I think that reading all sorts of texts is important and having cultural literacy is important to having an informed citizenry. So that to me seems like the reason for doing it. But as Julianne says, and maybe this doesn't totally answer the question, because I do think some of these are perhaps like for us at the college level, it's a little bit downstream of these sort of.broader issues, which is one more reason I think that making the case about why we should care about literature is also on us. It shouldn't just be assumed, as you're saying, Henry, that because we want jobs that this is good for everyone. I think we need to make that case.Henry Oliver (1:01:05)Will you be making that case on Substack?Jeffrey Lawrence (1:01:09)Yeah, mean, don't know, I mean, I think, you know, sort of more and more, I do think that, you know, that we need to be doing this. I mean, for me, everything that's happened over the past couple of years, I think the way my sense of kind of like the failure of a certain liberal project after the Trump election, you know, last year was really important to me in saying there is a way that we're going about the assumptions that we have aboutHenry Oliver (1:01:10)HahahaJulianne (1:01:11)ThankJeffrey Lawrence (1:01:38)literacy and what we should be doing and the role of academic scholarship. I mean, that I feel like was a turning point, at least personally for me. And I think engaging in places like Substack, but just generally in like public culture, to me, seems like it's just like it is the one avenue that we have. So yes, I guess.Henry Oliver (1:02:00)If your colleagues are listening and you both want to say something to them to encourage them onto Substack, what would you say?Julianne (1:02:10)Jeff, your colleagues, ⁓ do they subscribe to your Substack? Because one of the things that has happened is at first nobody, you know, I told a couple friends, but nobody else knew about this. But now more and more members of my department have subscribed to my Substack, which feels like, which does make it feel sort of high stakes in a different way. Has that happened to you?Henry Oliver (1:02:28)YouJeffrey Lawrence (1:02:32)I'm still pretty under the radar. ⁓ I have some colleagues, I know that there's some graduate students who also read it, ⁓ I mean, and colleague is a small thing. I'm more like, you my colleagues, have a great relationship with my department. I talk to them and sort of, but I think it's more like colleagues in general in terms of the academy that is important.Right? mean, and it again, I don't think it necessarily has to be sub-stacked, but it just shouldn't be Twitter. mean, I think that the long form writing that one finds in the debates for me, at least this is where it's happening right now. And so that would be my pitch is that I just think that the debates that are happening are better than they are anywhere else on the internet.Henry Oliver (1:03:18)Thank you both. I thought this was very interesting and I hope it encourages more of your peers to come and join us on Substack This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.commonreader.co.uk

In the sixteenth and seventeenth centuries, a medical revolution was afoot. Alanna Skuse ventures into the bustling medical marketplace of Renaissance England – a world of travelling surgeons, prosthetics craftsmen, faith healers and snake oil merchants. Can Alanna convince you to join her in just 15 minutes?Patreon members get extra time: 15 more minutes in which you get to see behind the scenes and find out how the book was written. You can subscribe here: https://www.patreon.com/cw/15MinuteBookClubBuy the book (UK) https://uk.bookshop.org/shop/15MinuteBookClubBuy the book (US) https://bookshop.org/shop/15MinuteBookClubPatreon members get extra time: 15 more minutes in which you get to see behind the scenes and find out how the book was written. You can subscribe here: https://www.patreon.com/cw/15MinuteBookClubWatch the video version: https://www.youtube.com/@15MinuteBook_ClubBuy the book (UK) https://uk.bookshop.org/shop/15MinuteBookClubBuy the book (US) https://bookshop.org/shop/15MinuteBookClub Hosted on Acast. See acast.com/privacy for more information.

Host Natalie Grueninger welcomes Dr Alanna Skuse to Talking Tudors to explore medicine in Renaissance England. They discuss humoral theory, the medical hierarchy of physicians, surgeons, apothecaries and midwives, and the lively marketplace of practitioners including itinerant bone-setters and domestic healers. The episode highlights women's roles in care, real patient cases, early regulation of medical practice, and Alanna's book 'The Surgeon, The Midwife, The Quack' — practical insights into how people sought treatment and survived in the Renaissance. NOT SHAKESPEARE LECTURES https://podcasts.ox.ac.uk/series/not-shakespeare-elizabethan-and-jacobean-popular-theatre VISIT DR SKUSE'S WEBSITE https://www.dralannaskuse.co.uk/ Find out more about your host at https://www.nataliegrueninger.com Support Talking Tudors on Patreon!

Quacks, wise women, barber surgeons and private madhouses - just some of the options available if you were to find yourself in ill health in the 16th and 17th centuries. Dan is joined by historian Dr Alanna Skuse to look at healthcare in Renaissance England, from healing the humours and blood letting to cross animal blood transfusions, skin grafts that involved attaching the face to the upper arm and the notorious treatments of patients at Bedlam, Britain's most famous psychiatric hospital. But not all treatments were bizarre or gruesome; in fact, early practitioners had some pretty progressive ideas around holistic health, the benefits of nature, sleep and friendship.Alanna shares astonishing stories of treatments, patients and practitioners from her new book 'The Surgeon, the Midwife and the Quack: How to Stay Alive in Renaissance England'Produced by Mariana Des Forges and edited by Dougal PatmoreWe'd love to hear your feedback - you can take part in our podcast survey here: https://insights.historyhit.com/history-hit-podcast-always-on.You can also email the podcast directly at ds.hh@historyhit.com. Hosted on Acast. See acast.com/privacy for more information.

In 16th and 17th century England, the plague and pox, disease and injury were a daily presence. At at time when medicine was a complex interplay of tradition, faith and observation, survival depended not only on doctors and their remedies but also on resilience and community support. Professor Suzannah Lipscomb is joined by Dr. Alanna Skuse to explore how ordinary people navigated the perils of sickness and the diverse healers who sought to preserve life in an age where outcomes were always uncertain.More: Surgery in the Early Modern Age3 Ways to Die in Early Modern EuropePresented by Professor Suzannah Lipscomb. The researcher is Max Windle, audio editor is Amy Haddow and the producer is Rob Weinberg. The senior producer is Anne-Marie Luff.All music courtesy of Epidemic Sounds.Not Just the Tudors is a History Hit podcast.Sign up to History Hit for hundreds of hours of original documentaries, with a new release every week and ad-free podcasts. Sign up at https://www.historyhit.com/subscribe. You can take part in our listener survey here: https://insights.historyhit.com/history-hit-podcast-always-on Hosted on Acast. See acast.com/privacy for more information.

On the Shelf for October 2025 The Lesbian Historic Motif Podcast - Episode 325 with Heather Rose Jones Your monthly roundup of history, news, and the field of sapphic historical fiction. In this episode we talk about: Recent and upcoming publications covered on the blog Bray, Alan. 1996. Homosexuality in Renaissance England. Columbia University Press, New York. ISBN 9780231102896 Downing, Christine. 1989. Myths and Mysteries of Same-Sex Love. The Continuum Publishing Company, New York. ISBN 0-8264-0445-6 Reineke, Martha & Christine Downing. 1993. “Within the Shadow of the Herms: A Critique of "Myths and Mysteries of Same-Sex Love" [with Reply] in Historical Reflections / Réflexions Historiques, Vol. 19, No. 1: 81-101, 103-106 Downing, Christine. 1994. “Lesbian Mythology” in Historical Reflections / Réflexions Historiques, Vol. 20, No. 2, Lesbian Histories: 169-199. Nelson, Max. 2000. “A Note on the Olisbos” in Glotta, 76. Bd., 1./2. H.:75-82 Bremmer, Jan. 1980. “An Enigmatic Indo-European Rite: Paederasty” in Arethusa, Vol. 13, No. 2, Indo-European Roots of Classical Culture: 279-298. Arkins, Brian. 1994. “Sexuality in Fifth Century Athens” in Classics Ireland, Vol. 1: 18-34. Recent Lesbian/Sapphic Historical Fiction Florence Syndrome by Catherine Martini Red Wake, Black Flag by Dahlia Quinn Boardwalk Desire by Melody Ashford Thrall of Deception (Tales from Norvegr) by Edale Lane Angel Maker (Karen Memory #3) by Elizabeth Bear Secrets of the Night by Shelby Banks Gold for the Dead (Cantor Gold #7) by Ann Aptaker A Lady Most Wayward (The Queen's Deadly Damsels #5) by Darcy McGuire The Impossible Act of Georgia Cline by Eline Evans Iceberg by Gun Brooke A Legacy of Blood and Bone by Millie Abecassis Gladiator, Goddess by Morgan H. Owen Her Wicked Roots by Tanya Pell The Isle in the Silver Sea by Tasha Suri When They Burned the Butterfly by Wen-yi Lee Other Titles of Interest Toni and Addie Go Viral by Melissa Marr What I've been reading Hemlock and Silver by T. Kingfisher Illuminations by T. Kingfisher A Charmed Life by Diana Wynne Jones The Lives of Christopher Chant by Diana Wynne Jones The Magicians of Caprona by Diana Wynne Jones Artificial Condition by Martha Wells The Rosetti Diaries by author The Illhenny Murders by Winnie Frolik Copper Script by K.J. Charles That Self-Same Metal by Brittany H. Williams The Tropoholic's Guide to Internal Romance Tropes by Cindy Dees Ladies in Hating by Alexandra Vasti Call for submissions for the 2026 LHMP audio short story series. See here for details. This month we interview Raven Belasco and talk about: The real historic background of Sadie the Goat and Gallus Mag Vampire stories and time-travel stories as mirror images Expanding formats World-building and inventing languages Lesbian sex in the 19th century That Lesbian Vampire Pirate Story by Raven Belasco Sadie the Goat (Wikipedia) Gallus Mag (Wikipedia) A transcript of this podcast is available here. (Interview transcripts added when available.) Links to the Lesbian Historic Motif Project Online Website: http://alpennia.com/lhmp Blog: http://alpennia.com/blog RSS: http://alpennia.com/blog/feed/ Twitter: @LesbianMotif Discord: Contact Heather for an invitation to the Alpennia/LHMP Discord server The Lesbian Historic Motif Project Patreon Links to Heather Online Website: http://alpennia.com Email: Heather Rose Jones Mastodon: @heatherrosejones@Wandering.Shop Bluesky: @heatherrosejones Facebook: Heather Rose Jones (author page) Links to Raven Belasco Online Website: ravenbelas.co/ Twitter (X): @RavenBelasco Instagram: @raven.belasco YouTube: @ravenbelasco Facebook: author.ravenbelasco

Bookwaves/Artwaves is produced and hosted by Richard Wolinsky. Links to assorted local theater & book venues   Prof. Stephen Greenblatt:  Christopher Marlowe, Shakespeare's Greatest Rival Stephen Greenblatt, in conversation with Richard Wolinsky about his book Dark Renaissance: The Dangerous Times and Fatal Genius o Shakespeare's Greatest Rival, recorded September 11, 2025. Stephen Greenblatt is a literary historian and an expert on Shakespeare and the Elizabethan era. Among his other books are  Shakespearean Negotiations: The Circulation of Social Energy in Renaissance England, Hamlet in Purgatory, Shakespeare's Freedom, and most recently Tyrant: Shakespeare in Politics. He is Cogan University Professor of the Humanities at Harvard University. In this interview, recorded the day after Charlie Kirk's assassination and the day before the capture of his murderer, when the American right wing had declared war on Democrats and “the left,” Stephen Greenblatt discusses political violence in Elizabethan times and today, along with his op-ed in the New York Times, “We Are Watching a Scientific Superpower Destroy Itself.” Guest Link The focus of the interview, though, is on the life and work of Christopher Marlowe (1564-1593), the playwright (Doctor Faustus, The Jew of Malta, Edward II), intellectual and spy, whose work influenced William Shakespeare and who could be called the Bard's “rival.”   Review of the national touring production of  “Shucked”  at the Curran Theatre through October 5, 2025. . The post September 18, 2025: Stephen Greenblatt: “Dark Renaissance,” the life and times of Christopher Marlowe appeared first on KPFA.

Stephen Greenblatt, in conversation with Richard Wolinsky about his book Dark Renaissance: The Dangerous Times and Fatal Genius o Shakespeare's Greatest Rival, recorded September 11, 2025. Stephen Greenblatt is a literary historian and an expert on Shakespeare and the Elizabethan era. Among his other books are  Shakespearean Negotiations: The Circulation of Social Energy in Renaissance England, Hamlet in Purgatory, Shakespeare's Freedom, and most recently Tyrant: Shakespeare in Politics. He is Cogan University Professor of the Humanities at Harvard University. In this interview, recorded the day after Charlie Kirk's assassination and the day before the capture of his murderer, when the American right wing had declared war on Democrats and “the left,” Stephen Greenblatt discusses political violence in Elizabethan times and today, along with his op-ed in the New York Times, “We Are Watching a Scientific Superpower Destroy Itself.” Guest Link The focus of the interview, though, is on the life and work of Christopher Marlowe (1564-1593), the playwright (Doctor Faustus, The Jew of Malta, Edward II), intellectual and spy, whose work influenced William Shakespeare and who could be called the Bard's “rival.” The post Stephen Greenblatt: “Dark Renaissance,” the life and times of Christopher Marlowe appeared first on KPFA.

“He that eats my capon, shall know me better.” — All's Well That Ends Well (Act II, Scene 2) Roasted to perfection and served at noble feasts, the capon—a castrated rooster prized for its tenderness and rich flavor—was one of the most luxurious poultry options available in Shakespeare's England. While today the word may be unfamiliar to many, in the 16th and 17th centuries, the capon was a delicacy, frequently mentioned in early modern literature, including a dozen times across Shakespeare's plays. But what did it mean culturally and culinarily to serve a capon in the Elizabethan era? How were they raised, what status did they hold in society, and what does their appearance in Shakespeare's works reveal about daily life and dining customs of the time? To help us explore the fascinating world of capons, roosters, and poultry practices in Renaissance England, our guest this week is food historian and prolific author Ken Albala. Hosted on Acast. See acast.com/privacy for more information.

While Shakespeare's plays are filled with references to ale and sack, wine played a central role in both the economy and social customs of Renaissance England. In this episode, we uncork the history of winemaking in Shakespeare's lifetime—what kinds of grapes were grown, how wine was stored and served, and why a cold snap in the 1500s forever changed England's vineyards. Our guest, winemaker and historian Stephen Franzoi, joins us to explore the world of Elizabethan viticulture and what Shakespeare himself might have been sipping. Hosted on Acast. See acast.com/privacy for more information.

“Romeo and Juliet” may be Shakespeare's most famous love story—but it wasn't entirely his own. Long before the Bard set quill to page, a tale of star-crossed lovers was already circulating in Europe. In this episode, we're joined by filmmaker Timothy Scott Bogart, director of the new musical film Juliet & Romeo, which reimagines the lovers' story in its earlier, 13th-century context. Together, we explore the poems, legends, and historical figures that shaped the world Shakespeare would later dramatize, and discuss how the shifting timeline—from medieval Italy to Renaissance England—changes the story we think we know. Hosted on Acast. See acast.com/privacy for more information.

Melvyn Bragg and guests explore typology, a method of biblical interpretation that aims to meaningfully link people, places, and events in the Hebrew Bible, what Christians call the Old Testament, with the coming of Christ in the New Testament. Old Testament figures like Moses, Jonah, and King David were regarded by Christians as being ‘types' or symbols of Jesus. This way of thinking became hugely popular in medieval Europe, Renaissance England and Victorian Britain, as Christians sought to make sense of their Jewish inheritance - sometimes rejecting that inheritance with antisemitic fervour. It was a way of seeing human history as part of a divine plan, with ancient events prefiguring more modern ones, and it influenced debates about the relationship between metaphor and reality in the bible, in literature, and in art. It also influenced attitudes towards reality, time and history. WithMiri Rubin, Professor of Medieval and Early Modern History at Queen Mary, University of LondonHarry Spillane, Munby Fellow in Bibliography at Cambridge and Research Fellow at Darwin CollegeAnd Sophie Lunn-Rockliffe, Associate Professor in Patristics at Cambridge. Producer: Eliane GlaserReading list:A. C. Charity, Events and their Afterlife: The Dialectics of Christian Typology in the Bible and Dante (first published 1966; Cambridge University Press, 2010)Margaret Christian, Spenserian Allegory and Elizabethan Biblical Exegesis: The Context for 'The Faerie Queene' (Manchester University Press, 2016)Dagmar Eichberger and Shelley Perlove (eds.), Visual Typology in Early Modern Europe: Continuity and Expansion (Brepols, 2018)Tibor Fabiny, The Lion and the Lamb: Figuralism and Fulfilment in the Bible, Art and Literature (Palgrave Macmillan, 1992)Tibor Fabiny, ‘Typology: Pros and Cons in Biblical Hermeneutics and Literary Criticism' (Academia, 2018)Northrop Frye, The Great Code: The Bible and Literature (first published 1982; Mariner Books, 2002)Leonhard Goppelt (trans. Donald H. Madvig), Typos: The Typological Interpretation of the Old Testament in the New (William B Eerdmans Publishing Co, 1982)Paul J. Korshin, Typologies in England, 1650-1820 (first published in 1983; Princeton University Press, 2014)Judith Lieu, Image and Reality: The Jews in the World of the Christians in the Second Century (T & T Clark International, 1999)Sara Lipton, Images of Intolerance: The Representation of Jews and Judaism in the Bible Moralisee (University of California Press, 1999)Montague Rhodes James and Kenneth Harrison, A Guide to the Windows of King's College Chapel (first published in 1899; Cambridge University Press, 2010)J. W. Rogerson and Judith M. Lieu (eds.), The Oxford Handbook of Biblical Studies (Oxford University Press, 2008)In Our Time is a BBC Studios Audio production

In Shakespeare's Two Gentlemen of Verona, Proteus says “Here's too small a pasture for such store of muttons.” Proteus is speaking metaphorically here, but the phrase refers to the relationship between animals raised in a field, and then processed for food to be stored away in a cache that can be drawed upon for consuming later. Stephano, in the Tempest, shares the location of his store of wine, saying “The whole butt, man: my cellar is in a rock by the sea-side where my wine is hid.” Indicating that a cellar was one place to store bottles of wine long term. Both of these references demonstrate for us that 16th-17th century society was familiar with the idea of storing fresh food for the winter, but it leaves us with the question of what exactly was a “store of muttons,” for example? I mean, Shakespeare and his contemporaries didn't have refrigeration, so what methods were used to keep fresh meat from going rancid? Back with us again this week, to help us understand Tudor and Renaissance England food preservation methods, as well as storage options, like cellars, is our guest and food historian, Neil Buttery.  Get bonus episodes on Patreon Hosted on Acast. See acast.com/privacy for more information.

When Shakespeare was writing plays in the 16th to early 17th century, he was participating in an industry that was both established, as well as rapidly evolving. Shakespeare himself ushered in innovation for the theater industry, while the bard, along with his contemporaries, equally embraced long held traditions that included shamelessly copying one another's work. Acknowledging that copying someone's work was industry standard for Renaissance England raises some questions about plagiarism, as well as who should get the credit for writing a particular story. Our guest this week, Darren Freebury Jones, has visited with us before to look at the influences of Thomas Kyd and even Robert Greene on the works of William Shakespeare, and Darren is back again this week to share with us the theater industry he has uncovered for his latest book, Borrowed Feathers, where he uses you'll remember we called “textual sleuthing” in an earlier episode, to examine production, influence, authorship, and collaboration amongst playwrights such as Lyly, Kyd, Fletcher, and of course, Shakespeare. We are delighted to welcome Darren back to That Shakespeare Life again this week to talk with us about what it looked like to be a colleague in the theater industry for the 16th century, what constituted industry standard when you were writing plays, and how much influence a modern lens looking backwards at history has had on what we think we know about how Shakespeare produced his works.   Get bonus episodes on Patreon Hosted on Acast. See acast.com/privacy for more information.

Support the show:https://www.paypal.me/Truelifepodcast?locale.x=en_USBuy Grow kit: https://modernmushroomcultivation.com/

Come with us back to Renaissance England, when writers were playing with ideas of sexuality in interesting ways.How much of a filth bag was Shakespeare? How did he play with the ideas of power dynamics for pleasure in his plays? And what were other writers doing to explore non-traditional ideas of sex, fantasy and desire?Joining Kate today are Joseph Gamble and Gillian Knoll, co-editors of the forthcoming book The Kinky Renaissance, which explore questions of sexual history through modern-day kink cultures. This episode was edited by Tom Delargy. The producer was Stuart Beckwith. The senior producer was Charlotte Long.Enjoy unlimited access to award-winning original documentaries that are released weekly and AD-FREE podcasts. Get a subscription for £1 per month for 3 months with code BETWIXT sign up at https://historyhit/subscription/ You can take part in our listener survey here.

How scientists of the Elizabethan age anticipated the discoveries and methods of the Enlightenment (without necessarily publishing them).

https://www.paypal.me/Truelifepodcast?locale.x=en_USWelcome to The Codex Chronicles… A professor's Tale of Manuscripts.https://davidsalomonblog.wordpress.comhttps://cnu.edu/people/davidsalomon/Dr. David A. Salomon holds a PhD in English literature from the University of Connecticut and an MA from the City University of New York. A specialist in the literature, religion and culture of the Middle Ages and Renaissance England, he most recently spent thirteen years as a professor of English at the Sage Colleges in Troy and Albany, NY. During his time there, he also served as chair of the Department of English and Modern Languages, director of general education, director of study abroad, chair of the Faculty Development Committee, faculty advisor for the student newspaper, and was the founding director of the Kathleen Donnelly Center for Undergraduate Research. He joined CNU as the inaugural Director of Undergraduate Research and Creative Activity in September 2017.His book on the medieval glossed Bible was published by the University of Wales Press in 2013. In 2015, he co-edited and co-authored a monograph, Redefining the Paradigm, which discussed new models for faculty evaluation to improve student learning. His new book, The Seven Deadly Sins: How Sin Influenced the West from the Middle Ages to the Modern Era, was published by Praeger in April 2019. He has published essays on everything from medieval mysticism to anger in the Bible, and has given presentations on teaching and faculty evaluation models at conferences, such as the Teaching Professor and the annual AACU Conference. Medieval manuscripts are perceived differently by the human senses compared to common text today, offering a unique and multisensory experience: 1. Visual Aesthetics: Medieval manuscripts, often handwritten and lavishly decorated, showcase intricate calligraphy, elaborate illustrations, and vibrant colors. The visual aesthetics of these manuscripts evoke a sense of artistry and craftsmanship that is distinct from modern printed text. 2. Tactile Sensation: The parchment or vellum used for medieval manuscripts provides a tactile experience as one feels the texture of the material beneath their fingers. This physical interaction with the medium adds a sensory dimension to reading and handling these historical texts. 3. Aged Scent: Over time, medieval manuscripts develop a distinct aroma, carrying the scent of antiquity. This aged smell can evoke a feeling of connection to the past and contribute to the overall sensory experience. 4. Historical Connection: Reading medieval manuscripts allows individuals to connect with the past in a way that digital or modern printed texts cannot replicate. The physicality of holding an ancient document establishes a direct link to the historical era in which it was created. 5. Auditory Silence: Unlike the electronic devices that accompany much of modern reading, medieval manuscripts invite a quieter environment for exploration. The absence of electronic buzz allows readers to immerse themselves in the silence of the written word. 6. Cultural Imagination: The experience of reading medieval manuscripts transports readers into a different cultural mindset, understanding the context in which these texts were written, interpreted, and appreciated. 7. Spiritual and Mystical Essence: For manuscripts related to religion and mysticism, the act of reading becomes a spiritual journey, as the physicality of the text and the esoteric content converge to create a unique spiritual experience.In summary, medieval manuscripts offer a multisensory encounter that goes beyond the mere act of reading. The visual aesthetics, tactile sensation, historical connection, and spiritual essence create a captivating journey that connects readers to both the words on the page and the distant world from which they emerged. https://www.paypal.me/Truelifepodcast?locale.x=en_US

https://paypal.me/Truelifepodcast?country.x=US&locale.x=en_USWelcome to The Codex Chronicles… A professor's Tale of Manuscripts.https://davidsalomonblog.wordpress.comhttps://cnu.edu/people/davidsalomon/Dr. David A. Salomon holds a PhD in English literature from the University of Connecticut and an MA from the City University of New York. A specialist in the literature, religion and culture of the Middle Ages and Renaissance England, he most recently spent thirteen years as a professor of English at the Sage Colleges in Troy and Albany, NY. During his time there, he also served as chair of the Department of English and Modern Languages, director of general education, director of study abroad, chair of the Faculty Development Committee, faculty advisor for the student newspaper, and was the founding director of the Kathleen Donnelly Center for Undergraduate Research. He joined CNU as the inaugural Director of Undergraduate Research and Creative Activity in September 2017.His book on the medieval glossed Bible was published by the University of Wales Press in 2013. In 2015, he co-edited and co-authored a monograph, Redefining the Paradigm, which discussed new models for faculty evaluation to improve student learning. His new book, The Seven Deadly Sins: How Sin Influenced the West from the Middle Ages to the Modern Era, was published by Praeger in April 2019. He has published essays on everything from medieval mysticism to anger in the Bible, and has given presentations on teaching and faculty evaluation models at conferences, such as the Teaching Professor and the annual AACU Conference. Medieval manuscripts are perceived differently by the human senses compared to common text today, offering a unique and multisensory experience: 1. Visual Aesthetics: Medieval manuscripts, often handwritten and lavishly decorated, showcase intricate calligraphy, elaborate illustrations, and vibrant colors. The visual aesthetics of these manuscripts evoke a sense of artistry and craftsmanship that is distinct from modern printed text. 2. Tactile Sensation: The parchment or vellum used for medieval manuscripts provides a tactile experience as one feels the texture of the material beneath their fingers. This physical interaction with the medium adds a sensory dimension to reading and handling these historical texts. 3. Aged Scent: Over time, medieval manuscripts develop a distinct aroma, carrying the scent of antiquity. This aged smell can evoke a feeling of connection to the past and contribute to the overall sensory experience. 4. Historical Connection: Reading medieval manuscripts allows individuals to connect with the past in a way that digital or modern printed texts cannot replicate. The physicality of holding an ancient document establishes a direct link to the historical era in which it was created. 5. Auditory Silence: Unlike the electronic devices that accompany much of modern reading, medieval manuscripts invite a quieter environment for exploration. The absence of electronic buzz allows readers to immerse themselves in the silence of the written word. 6. Cultural Imagination: The experience of reading medieval manuscripts transports readers into a different cultural mindset, understanding the context in which these texts were written, interpreted, and appreciated. 7. Spiritual and Mystical Essence: For manuscripts related to religion and mysticism, the act of reading becomes a spiritual journey, as the physicality of the text and the esoteric content converge to create a unique spiritual experience.In summary, medieval manuscripts offer a multisensory encounter that goes beyond the mere act of reading. The visual aesthetics, tactile sensation, historical connection, and spiritual essence create a captivating journey that connects readers to both the words on the page and the distant world from which they emerged. https://paypal.me/Truelifepodcast?country.x=US&locale.x=en_US

On the Shelf for September 2023 The Lesbian Historic Motif Podcast - Episode 267 with Heather Rose Jones Your monthly roundup of history, news, and the field of sapphic historical fiction. In this episode we talk about: Book ShoppingGoodman, Ruth. 2016. How to be a Tudor: A Dawn to Dusk Guide to Tudor Life. W.W. Norton & Company, New York. ISBN 978-1-63149-253-2 Cleland, Elizabeth & Adam Eaker. 2022. The Tudors: Art and Majesty in Renaissance England. The Metropolitan Museum of Art, New York. ISBN 978-1-58839-692-1 Ball, Krista D. 2012. What Kings Ate and Wizards Drank. Tyche Books, Ltd, Alberta. ISBN 978-0-9878248-9-9 Ndiaye, Noémie & Lia Markey. 2023. Seeing Race Before Race: Visual Culture and the Racial Matrix in the Premodern World. Arizona Center for Medieval and Renaissance Studies Press, Tempe. ISBN 978-0-86698-842-1 Leonardi, Camillo (trans. Liliana Leopardi). 2023. Speculum Lapidum: A Renaissance Treatise on the Healing Properties of Gemstones. The Pennsylvania State University Press, University Park. ISBN 978-0-271-09539-4 Hindley, Katherine Storm. 2023. Textual Magic: Charms and Written Amulets in Medieval England. The University of Chicago Press, Chicago. ISBN 978-0-226-82533-5 Warr, Cordelia. 2023. Medieval Clothing and Textiles 17. The Boydell Press, Woodbridge. ISBN 978-1-78327-598-4 Not Just the Tudors (podcast) Girl Culture in the Middle Ages and Renaissance by Deanne Williams Recent Lesbian/Sapphic Historical FictionEmber of a New World by Ishtar Watson Sanditon: The Lesbian Solution by Garnet Marriott and Jane Austen Where Pleasant Fountains Lie (The New Countess #3) by Lady Vanessa S.-G Haven's End (Daughters Under the Black Flag #2) by Eden Hopewell The Birdwatchers by Louise Vetroff The Haunted Diamond by Becky Black He Who Drowned the World (The Radiant Emperor #2) by Shelley Parker-Chan Carving a New Shape by Rhiannon Grant For Love and Liberty by Eden Hopewell Her Duchess by Brooke Winters Into the Bright Open: A Secret Garden Remix (Remixed Classics # 8) by Cherie Dimaline Other Titles of InterestThe Girl Who Fled the Picture by Jane Anderson The Valkyrie by Kate Heartfield What I've been consumingThe Great Roxhythe by Georgette Heyer Space Opera by Catherynne M. Valente Call for submissions for the 2024 LHMP audio short story series. See here for details. This month we interview Rhiannon Grant and talk about:The appeal of a Neolithic setting Worldbuilding in archaeological settings Exploring spirituality Publications mentioned:Carving a New Shape by Rhiannon Grant Between Boat and Shore by Rhiannon Grant The Dazzle of Day by Molly Gloss Ember of a New World by Ishtar Watson Clan of the Cave Bear by Jean Auel This month we interview Katharine Quarmby and talk about:The historic inspiration for the story The work of turning archives into fiction Finding queer relationships in the historic record Fiction and non-fiction as reflections of each other Reclaiming marginalized histories Publications mentioned:The Low Road by Katharine Quarmby The Secret Diaries of Charles Ignatius Sancho by Paterson Joseph Gentleman Jack (tv series) The Fascination by Essie Fox A transcript of this podcast is available here. (Interview transcripts added when available.) Links to the Lesbian Historic Motif Project Online Website: http://alpennia.com/lhmp Blog: http://alpennia.com/blog RSS: http://alpennia.com/blog/feed/ Twitter: @LesbianMotif Discord: Contact Heather for an invitation to the Alpennia/LHMP Discord server The Lesbian Historic Motif Project Patreon Links to Heather Online Website: http://alpennia.com Email: Heather Rose Jones Mastodon: @heatherrosejones@Wandering.Shop Twitter: @heatherosejones Facebook: Heather Rose Jones (author page) Links to Rhiannon Grant Online Facebook: Rhiannon Grant TikTok (main): @ rhiannonbookgeek TikTok (books): @ sapphicprehistory Twitter: @bookgeekrelng Bluesky: @rhiannonbookgeek.bsky.social Mastodon: >@rhiannongrant@mastodon.org.uk Links to Katharine QuarmbyOnline Website: katharinequarmby.com Twitter: @KatharineQ Facebook: Katharine Quarmby (writer)

Welcome to The Codex Chronicles… A professor's Tale of Manuscripts.https://davidsalomonblog.wordpress.comhttps://cnu.edu/people/davidsalomon/Dr. David A. Salomon holds a PhD in English literature from the University of Connecticut and an MA from the City University of New York. A specialist in the literature, religion and culture of the Middle Ages and Renaissance England, he most recently spent thirteen years as a professor of English at the Sage Colleges in Troy and Albany, NY. During his time there, he also served as chair of the Department of English and Modern Languages, director of general education, director of study abroad, chair of the Faculty Development Committee, faculty advisor for the student newspaper, and was the founding director of the Kathleen Donnelly Center for Undergraduate Research. He joined CNU as the inaugural Director of Undergraduate Research and Creative Activity in September 2017.His book on the medieval glossed Bible was published by the University of Wales Press in 2013. In 2015, he co-edited and co-authored a monograph, Redefining the Paradigm, which discussed new models for faculty evaluation to improve student learning. His new book, The Seven Deadly Sins: How Sin Influenced the West from the Middle Ages to the Modern Era, was published by Praeger in April 2019. He has published essays on everything from medieval mysticism to anger in the Bible, and has given presentations on teaching and faculty evaluation models at conferences, such as the Teaching Professor and the annual AACU Conference. Medieval manuscripts are perceived differently by the human senses compared to common text today, offering a unique and multisensory experience: 1. Visual Aesthetics: Medieval manuscripts, often handwritten and lavishly decorated, showcase intricate calligraphy, elaborate illustrations, and vibrant colors. The visual aesthetics of these manuscripts evoke a sense of artistry and craftsmanship that is distinct from modern printed text. 2. Tactile Sensation: The parchment or vellum used for medieval manuscripts provides a tactile experience as one feels the texture of the material beneath their fingers. This physical interaction with the medium adds a sensory dimension to reading and handling these historical texts. 3. Aged Scent: Over time, medieval manuscripts develop a distinct aroma, carrying the scent of antiquity. This aged smell can evoke a feeling of connection to the past and contribute to the overall sensory experience. 4. Historical Connection: Reading medieval manuscripts allows individuals to connect with the past in a way that digital or modern printed texts cannot replicate. The physicality of holding an ancient document establishes a direct link to the historical era in which it was created. 5. Auditory Silence: Unlike the electronic devices that accompany much of modern reading, medieval manuscripts invite a quieter environment for exploration. The absence of electronic buzz allows readers to immerse themselves in the silence of the written word. 6. Cultural Imagination: The experience of reading medieval manuscripts transports readers into a different cultural mindset, understanding the context in which these texts were written, interpreted, and appreciated. 7. Spiritual and Mystical Essence: For manuscripts related to religion and mysticism, the act of reading becomes a spiritual journey, as the physicality of the text and the esoteric content converge to create a unique spiritual experience.In summary, medieval manuscripts offer a multisensory encounter that goes beyond the mere act of reading. The visual aesthetics, tactile sensation, historical connection, and spiritual essence create a captivating journey that connects readers to both the words on the page and the distant world from which they emerged.

Welcome to The Codex Chronicles… A professor's Tale of Manuscripts.https://davidsalomonblog.wordpress.comhttps://cnu.edu/people/davidsalomon/Dr. David A. Salomon holds a PhD in English literature from the University of Connecticut and an MA from the City University of New York. A specialist in the literature, religion and culture of the Middle Ages and Renaissance England, he most recently spent thirteen years as a professor of English at the Sage Colleges in Troy and Albany, NY. During his time there, he also served as chair of the Department of English and Modern Languages, director of general education, director of study abroad, chair of the Faculty Development Committee, faculty advisor for the student newspaper, and was the founding director of the Kathleen Donnelly Center for Undergraduate Research. He joined CNU as the inaugural Director of Undergraduate Research and Creative Activity in September 2017.His book on the medieval glossed Bible was published by the University of Wales Press in 2013. In 2015, he co-edited and co-authored a monograph, Redefining the Paradigm, which discussed new models for faculty evaluation to improve student learning. His new book, The Seven Deadly Sins: How Sin Influenced the West from the Middle Ages to the Modern Era, was published by Praeger in April 2019. He has published essays on everything from medieval mysticism to anger in the Bible, and has given presentations on teaching and faculty evaluation models at conferences, such as the Teaching Professor and the annual AACU Conference. Medieval manuscripts are perceived differently by the human senses compared to common text today, offering a unique and multisensory experience: 1. Visual Aesthetics: Medieval manuscripts, often handwritten and lavishly decorated, showcase intricate calligraphy, elaborate illustrations, and vibrant colors. The visual aesthetics of these manuscripts evoke a sense of artistry and craftsmanship that is distinct from modern printed text. 2. Tactile Sensation: The parchment or vellum used for medieval manuscripts provides a tactile experience as one feels the texture of the material beneath their fingers. This physical interaction with the medium adds a sensory dimension to reading and handling these historical texts. 3. Aged Scent: Over time, medieval manuscripts develop a distinct aroma, carrying the scent of antiquity. This aged smell can evoke a feeling of connection to the past and contribute to the overall sensory experience. 4. Historical Connection: Reading medieval manuscripts allows individuals to connect with the past in a way that digital or modern printed texts cannot replicate. The physicality of holding an ancient document establishes a direct link to the historical era in which it was created. 5. Auditory Silence: Unlike the electronic devices that accompany much of modern reading, medieval manuscripts invite a quieter environment for exploration. The absence of electronic buzz allows readers to immerse themselves in the silence of the written word. 6. Cultural Imagination: The experience of reading medieval manuscripts transports readers into a different cultural mindset, understanding the context in which these texts were written, interpreted, and appreciated. 7. Spiritual and Mystical Essence: For manuscripts related to religion and mysticism, the act of reading becomes a spiritual journey, as the physicality of the text and the esoteric content converge to create a unique spiritual experience.In summary, medieval manuscripts offer a multisensory encounter that goes beyond the mere act of reading. The visual aesthetics, tactile sensation, historical connection, and spiritual essence create a captivating journey that connects readers to both the words on the page and the distant world from which they emerged.

Welcome to The Codex Chronicles… A professor's Tale of Manuscripts.https://davidsalomonblog.wordpress.comhttps://cnu.edu/people/davidsalomon/Dr. David A. Salomon holds a PhD in English literature from the University of Connecticut and an MA from the City University of New York. A specialist in the literature, religion and culture of the Middle Ages and Renaissance England, he most recently spent thirteen years as a professor of English at the Sage Colleges in Troy and Albany, NY. During his time there, he also served as chair of the Department of English and Modern Languages, director of general education, director of study abroad, chair of the Faculty Development Committee, faculty advisor for the student newspaper, and was the founding director of the Kathleen Donnelly Center for Undergraduate Research. He joined CNU as the inaugural Director of Undergraduate Research and Creative Activity in September 2017.His book on the medieval glossed Bible was published by the University of Wales Press in 2013. In 2015, he co-edited and co-authored a monograph, Redefining the Paradigm, which discussed new models for faculty evaluation to improve student learning. His new book, The Seven Deadly Sins: How Sin Influenced the West from the Middle Ages to the Modern Era, was published by Praeger in April 2019. He has published essays on everything from medieval mysticism to anger in the Bible, and has given presentations on teaching and faculty evaluation models at conferences, such as the Teaching Professor and the annual AACU Conference. Medieval manuscripts are perceived differently by the human senses compared to common text today, offering a unique and multisensory experience: 1. Visual Aesthetics: Medieval manuscripts, often handwritten and lavishly decorated, showcase intricate calligraphy, elaborate illustrations, and vibrant colors. The visual aesthetics of these manuscripts evoke a sense of artistry and craftsmanship that is distinct from modern printed text. 2. Tactile Sensation: The parchment or vellum used for medieval manuscripts provides a tactile experience as one feels the texture of the material beneath their fingers. This physical interaction with the medium adds a sensory dimension to reading and handling these historical texts. 3. Aged Scent: Over time, medieval manuscripts develop a distinct aroma, carrying the scent of antiquity. This aged smell can evoke a feeling of connection to the past and contribute to the overall sensory experience. 4. Historical Connection: Reading medieval manuscripts allows individuals to connect with the past in a way that digital or modern printed texts cannot replicate. The physicality of holding an ancient document establishes a direct link to the historical era in which it was created. 5. Auditory Silence: Unlike the electronic devices that accompany much of modern reading, medieval manuscripts invite a quieter environment for exploration. The absence of electronic buzz allows readers to immerse themselves in the silence of the written word. 6. Cultural Imagination: The experience of reading medieval manuscripts transports readers into a different cultural mindset, understanding the context in which these texts were written, interpreted, and appreciated. 7. Spiritual and Mystical Essence: For manuscripts related to religion and mysticism, the act of reading becomes a spiritual journey, as the physicality of the text and the esoteric content converge to create a unique spiritual experience.In summary, medieval manuscripts offer a multisensory encounter that goes beyond the mere act of reading. The visual aesthetics, tactile sensation, historical connection, and spiritual essence create a captivating journey that connects readers to both the words on the page and the distant world from which they emerged.

Welcome to The Codex Chronicles… A professor's Tale of Manuscripts.https://davidsalomonblog.wordpress.comhttps://cnu.edu/people/davidsalomon/Dr. David A. Salomon holds a PhD in English literature from the University of Connecticut and an MA from the City University of New York. A specialist in the literature, religion and culture of the Middle Ages and Renaissance England, he most recently spent thirteen years as a professor of English at the Sage Colleges in Troy and Albany, NY. During his time there, he also served as chair of the Department of English and Modern Languages, director of general education, director of study abroad, chair of the Faculty Development Committee, faculty advisor for the student newspaper, and was the founding director of the Kathleen Donnelly Center for Undergraduate Research. He joined CNU as the inaugural Director of Undergraduate Research and Creative Activity in September 2017.His book on the medieval glossed Bible was published by the University of Wales Press in 2013. In 2015, he co-edited and co-authored a monograph, Redefining the Paradigm, which discussed new models for faculty evaluation to improve student learning. His new book, The Seven Deadly Sins: How Sin Influenced the West from the Middle Ages to the Modern Era, was published by Praeger in April 2019. He has published essays on everything from medieval mysticism to anger in the Bible, and has given presentations on teaching and faculty evaluation models at conferences, such as the Teaching Professor and the annual AACU Conference. Medieval manuscripts are perceived differently by the human senses compared to common text today, offering a unique and multisensory experience: 1. Visual Aesthetics: Medieval manuscripts, often handwritten and lavishly decorated, showcase intricate calligraphy, elaborate illustrations, and vibrant colors. The visual aesthetics of these manuscripts evoke a sense of artistry and craftsmanship that is distinct from modern printed text. 2. Tactile Sensation: The parchment or vellum used for medieval manuscripts provides a tactile experience as one feels the texture of the material beneath their fingers. This physical interaction with the medium adds a sensory dimension to reading and handling these historical texts. 3. Aged Scent: Over time, medieval manuscripts develop a distinct aroma, carrying the scent of antiquity. This aged smell can evoke a feeling of connection to the past and contribute to the overall sensory experience. 4. Historical Connection: Reading medieval manuscripts allows individuals to connect with the past in a way that digital or modern printed texts cannot replicate. The physicality of holding an ancient document establishes a direct link to the historical era in which it was created. 5. Auditory Silence: Unlike the electronic devices that accompany much of modern reading, medieval manuscripts invite a quieter environment for exploration. The absence of electronic buzz allows readers to immerse themselves in the silence of the written word. 6. Cultural Imagination: The experience of reading medieval manuscripts transports readers into a different cultural mindset, understanding the context in which these texts were written, interpreted, and appreciated. 7. Spiritual and Mystical Essence: For manuscripts related to religion and mysticism, the act of reading becomes a spiritual journey, as the physicality of the text and the esoteric content converge to create a unique spiritual experience.In summary, medieval manuscripts offer a multisensory encounter that goes beyond the mere act of reading. The visual aesthetics, tactile sensation, historical connection, and spiritual essence create a captivating journey that connects readers to both the words on the page and the distant world from which they emerged.

In Early Modern England, there was a rash of abductions of boys, who were being forced to work as actors. Then a child was taken whose father was in a position to actually do something about it.  Research: Soth, Amelia. “Her Majesty's Kidnappers.” JSTOR Daily. 12/17/2020. https://daily.jstor.org/kidnapping-for-the-queens-choir/ Early Modern London Theaters. “Viewing Event Record: Star Chamber, Clifton v Robinson et al: Clifton States His Case.” https://emlot.library.utoronto.ca/db/record/event/93/ Reynolds, Patricia. “Kidnapped to order: child actors in Shakespeare's day.” The National Archives. 5/12/2016. https://blog.nationalarchives.gov.uk/kidnapped-order-child-actors-shakespeares-day/ Map of Early London. “Blackfriars Theatre.” https://mapoflondon.uvic.ca/BLAC6.htm Shapiro, Michael. “Children of the Revels: The Boy Companies of Shakespeare's Time and Their Plays.” New York: Columbia University Press. 1977. Fleay, Frederick Gard. “A Chronicle History of the London Stage 1559-1642.” New York. G.E. Stechert & Co. 1909. Benet, William Rose. "Blackfriars." Benet's Reader's Encyclopedia, 3rd ed., Harper & Row, 1987, p. 103. Gale General OneFile, link.gale.com/apps/doc/A18034327/GPS?u=mlin_n_melpub&sid=bookmark-GPS&xid=fefb4932. Accessed 21 June 2023. Munro, Lucy. "Living by Others' Pleasure: Marston, The Dutch Courtesan, and Theatrical Profit." Early Theatre, vol. 23, no. 1, June 2020, pp. 109+. Gale Academic OneFile, link.gale.com/apps/doc/A638900245/GPS?u=mlin_n_melpub&sid=bookmark-GPS&xid=ce5c9645. Accessed 21 June 2023. Dutton, Richard. “The Revels Office and the Boy Companies, 1600-1613: New Perspectives.” English Literary Renaissance , SPRING 2002, Vol. 32, No. 2. Via JSTOR. https://www.jstor.org/stable/43447637 Wridgway, Neville. "Giles, Nathaniel (c. 1558–1634), choirmaster and composer." Oxford Dictionary of National Biography. Oxford University Press. Date of access 22 Jun. 2023, https://www.oxforddnb.com/view/10.1093/ref:odnb/9780198614128.001.0001/odnb-9780198614128-e-10724   Barrie, Robert. “Elizabethan Play-Boys in the Adult London Companies.” Studies in English Literature, 1500-1900 , Spring, 2008, Vol. 48, No. 2. Via JSTOR. https://www.jstor.org/stable/40071333 Mamujee, Shehzana. “'To serve us in that behalf when our pleasure is to call for them': performing boys in Renaissance England.” Renaissance Studies , NOVEMBER 2014, Vol. 28, No. 5. Via JSTOR. https://www.jstor.org/stable/24423452 Jones, Roger T. “The Role of the Junior English Schools in the Development of the Drama.” A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts in Loyola University September, 1944. Bradbrook, M.C. “'Silk? Satin? Kersey? Rags?' The Choristers' Theater under Elizabeth and James.” Studies in English Literature, 1500-1900 , Spring, 1961. Via JSTOR. https://www.jstor.org/stable/449339 See omnystudio.com/listener for privacy information.

https://davidsalomonblog.wordpress.comhttps://cnu.edu/people/davidsalomon/Dr. David A. Salomon holds a PhD in English literature from the University of Connecticut and an MA from the City University of New York. A specialist in the literature, religion and culture of the Middle Ages and Renaissance England, he most recently spent thirteen years as a professor of English at the Sage Colleges in Troy and Albany, NY. During his time there, he also served as chair of the Department of English and Modern Languages, director of general education, director of study abroad, chair of the Faculty Development Committee, faculty advisor for the student newspaper, and was the founding director of the Kathleen Donnelly Center for Undergraduate Research. He joined CNU as the inaugural Director of Undergraduate Research and Creative Activity in September 2017.His book on the medieval glossed Bible was published by the University of Wales Press in 2013. In 2015, he co-edited and co-authored a monograph, Redefining the Paradigm, which discussed new models for faculty evaluation to improve student learning. His new book, The Seven Deadly Sins: How Sin Influenced the West from the Middle Ages to the Modern Era, was published by Praeger in April 2019. He has published essays on everything from medieval mysticism to anger in the Bible, and has given presentations on teaching and faculty evaluation models at conferences, such as the Teaching Professor and the annual AACU Conference. A native of Bronx, NY, he and his wife Kelly and daughter Phoebe now reside in Newport News, VA.

There are many examples of letter writing from Shakespeare's plays, including letters getting lost in transit and even examples of letter forgery! While many of the examples from Shakespeare's plays about letters are amplified to be more entertaining on stage, they represent real history about how letters were written and delivered for the life of William Shakespeare. Here today to help us explore the tools used to write a letter, and special tricks like letter locking and sealing a letter, is our guest and co-curator of the Letterwriting in Renaissance England exhibit at the Folger Shakespeare Library, Alan Stewart.   Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

How did the Tudors, with a shaky claim to the throne and a series of monarchs that didn't fit the mold, evolve into one of the most memorable dynasties in history? They relied on art and majesty to tell their story. Find out how as we visit the Met Museum.Show Notes:Carol Ann Lloydwww.carolannlloyd.com@shakeuphistorypatreon.com/carolannlloydwww.metmuseum.orghttps://www.metmuseum.org/exhibitions/listings/2022/tudors Exhibition Catalogue: The Tudors: Art and Majesty in Renaissance England, by Elizabeth Cleland and Adam Eakerwith contributions by Marjorie E. Wieseman and Sarah Bochicchio.Creative Director: Lindsey LindstromMusic: History by Andy_Grey via Audio Jungle, Music Broadcast License

A king. A cope. And a faith under siege. Intrigued? Today's episode covers all this and more. Our guest, Dr. Jan Graffius, the curator of collections at Stonyhurst College in the UK – the oldest surviving Jesuit school in the world – is our guide through a riveting history that traces the rise and fall of the Catholic Church in England through the lens of a single piece of art: a cope commissioned by Henry VII. Copes are common liturgical vestments. But this one – one of the most expensive items commissioned by a king – was meant to unite the power of Church and State to strengthen a dubious claim to the throne but ultimately became a symbol of Catholic resistance and was smuggled out of the country. This cope and the stories that surround it remind us of the power of art to point to both spiritual and temporal power – and the dangers therein. You can see this cope and more as it travels across the United States in the exhibition, “The Tudors: Art and Majesty in Renaissance England.” The dates below let you know when the exhibition is in your area: • New York: 3 October 2022 – 8 January 2023 • Cleveland: 21 February 2023 – 14 May 2023 • San Francisco: 26 June 2023 – 24 September 2023 Learn more: • The Met: https://www.metmuseum.org/exhibitions/listings/2022/tudors • The Cleveland Museum of Art: https://www.clevelandart.org/exhibitions/tudors-art-and-majesty-renaissance-england • About Stonhurst: https://www.stonyhurst.ac.uk/about-us/stonyhurst-college-historic-collections/contact-us

This week: Georgina Adam joins Ben Luke to discuss the intriguing story of the bankrupt entrepreneur and art collector, the museum scholar and a host of Old Master paintings given new attributions. We talk to Suzanne Pagé, the curator of Monet-Mitchell, an exhibition bringing together the Impressionist Claude Monet and the post-war American abstract painter Joan Mitchell, at the Fondation Louis Vuitton in Paris. And this episode's Work of the Week is a 1583 painting of Elizabeth I of England, known as the Sieve Portrait, which is one of the highlights of the Metropolitan Museum of Art in New York's exhibition The Tudors: Art and Majesty in Renaissance England. The show's curators, Elizabeth Cleland and Adam Eaker, tell us about this richly layered picture.Monet-Mitchell, Joan Mitchell retrospective, Fondation Louis Vuitton, Paris, until 27 February 2023. Joan Mitchell: Paintings, 1979-85, David Zwirner, New York, 3 November-17 December.The Tudors: Art and Majesty in Renaissance England, Metropolitan Museum of Art, New York, 10 October-8 January 2023 Hosted on Acast. See acast.com/privacy for more information.

In this episode of All Things Tudor, the curators of The Met Museum, discuss the exhibit The Tudors: Art and Majesty in Renaissance England. Exhibition co-curator Elizabeth Cleland and co-curator Adam Eaker join Deb to review this experience. On view at The Met from October 10, 2022, to January 8, 2023, The Tudors: Art and Majesty in Renaissance England will trace the transformation of the arts under the Tudor dynastic rule through more than 100 objects—including iconic portraits, spectacular tapestries, manuscripts, sculpture, and armor—from both the Museum collection and international lenders.  Special thanks to Jennifer Isakowitz. Twitter: @metmuseum This episode was produced by Ben Williams, Rokkwood Audio, U.K. Music developed by Rokkwood. Cover art by The Happy Colour Studio, U.K. Voiceovers by Paul Hunter. Written by Deb Hunter and The Metropolitan Museum of Art, NYC. Please follow me at @thingsTudor on Twitter and @officialAllThingsTudor on Instagram. For more about Tudor history, join my Facebook group and follow my website.

Dr. David A. Salomon holds a Ph.D. in English literature from the University of Connecticut and an MA from the City University of New York. A specialist in the literature, religion, and culture of the Middle Ages and Renaissance England, he most recently spent thirteen years as a professor of English at the Sage Colleges in Troy and Albany, NY. During his time there, he also served as chair of the Department of English and Modern Languages, director of general education, director of the study abroad, chair of the Faculty Development Committee, faculty advisor for the student newspaper, and was the founding director of the Kathleen Donnelly Center for Undergraduate Research. He joined CNU as the inaugural Director of Undergraduate Research and Creative Activity in September 2017. His book on the medieval glossed Bible was published by the University of Wales Press in 2013. In 2015, he co-edited and co-authored a monograph, Redefining the Paradigm, which discussed new models for faculty evaluation to improve student learning. His new book, The Seven Deadly Sins: How Sin Influenced the West from the Middle Ages to the Modern Era, was published by Praeger in April 2019. He has published essays on everything from medieval mysticism to anger in the Bible and has given presentations on teaching and faculty evaluation models at conferences, such as the Teaching Professor and the annual AACU Conference. A native of Bronx, NY, he and his wife Kelly and daughter Phoebe now reside in Newport News, VA.

In a mere four years, England's monastic tradition—one of the richest in all of Europe—came to an end. The Dissolution of the Monasteries, as it's come to be known, stands in popular consciousness as a token of religious reformation and muscular government. But the Dissolution is wrapped up in partisan narratives that have obscured the role of the religious in their own day, their perception of events, others' perceptions of them, and the meaning and impact of their demise. In a searching, compendious yet eminently readable study, James Clark rewrites the history of this most pivotal moment in England's past. The Dissolution of the Monasteries: A New History (Yale University Press, 2021) traces in magnificent granularity the world of monastic England, the critical events of 1536-40, and the landscape left behind when the last monastic bells rang across country granges and city throughways. Jonathan Megerian was a doctoral candidate in history at Johns Hopkins University. He worked on late medieval and Renaissance England. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In a mere four years, England's monastic tradition—one of the richest in all of Europe—came to an end. The Dissolution of the Monasteries, as it's come to be known, stands in popular consciousness as a token of religious reformation and muscular government. But the Dissolution is wrapped up in partisan narratives that have obscured the role of the religious in their own day, their perception of events, others' perceptions of them, and the meaning and impact of their demise. In a searching, compendious yet eminently readable study, James Clark rewrites the history of this most pivotal moment in England's past. The Dissolution of the Monasteries: A New History (Yale University Press, 2021) traces in magnificent granularity the world of monastic England, the critical events of 1536-40, and the landscape left behind when the last monastic bells rang across country granges and city throughways. Jonathan Megerian was a doctoral candidate in history at Johns Hopkins University. He worked on late medieval and Renaissance England. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

In a mere four years, England's monastic tradition—one of the richest in all of Europe—came to an end. The Dissolution of the Monasteries, as it's come to be known, stands in popular consciousness as a token of religious reformation and muscular government. But the Dissolution is wrapped up in partisan narratives that have obscured the role of the religious in their own day, their perception of events, others' perceptions of them, and the meaning and impact of their demise. In a searching, compendious yet eminently readable study, James Clark rewrites the history of this most pivotal moment in England's past. The Dissolution of the Monasteries: A New History (Yale University Press, 2021) traces in magnificent granularity the world of monastic England, the critical events of 1536-40, and the landscape left behind when the last monastic bells rang across country granges and city throughways. Jonathan Megerian was a doctoral candidate in history at Johns Hopkins University. He worked on late medieval and Renaissance England. Learn more about your ad choices. Visit megaphone.fm/adchoices

In a mere four years, England's monastic tradition—one of the richest in all of Europe—came to an end. The Dissolution of the Monasteries, as it's come to be known, stands in popular consciousness as a token of religious reformation and muscular government. But the Dissolution is wrapped up in partisan narratives that have obscured the role of the religious in their own day, their perception of events, others' perceptions of them, and the meaning and impact of their demise. In a searching, compendious yet eminently readable study, James Clark rewrites the history of this most pivotal moment in England's past. The Dissolution of the Monasteries: A New History (Yale University Press, 2021) traces in magnificent granularity the world of monastic England, the critical events of 1536-40, and the landscape left behind when the last monastic bells rang across country granges and city throughways. Jonathan Megerian was a doctoral candidate in history at Johns Hopkins University. He worked on late medieval and Renaissance England. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

In a mere four years, England's monastic tradition—one of the richest in all of Europe—came to an end. The Dissolution of the Monasteries, as it's come to be known, stands in popular consciousness as a token of religious reformation and muscular government. But the Dissolution is wrapped up in partisan narratives that have obscured the role of the religious in their own day, their perception of events, others' perceptions of them, and the meaning and impact of their demise. In a searching, compendious yet eminently readable study, James Clark rewrites the history of this most pivotal moment in England's past. The Dissolution of the Monasteries: A New History (Yale University Press, 2021) traces in magnificent granularity the world of monastic England, the critical events of 1536-40, and the landscape left behind when the last monastic bells rang across country granges and city throughways. Jonathan Megerian was a doctoral candidate in history at Johns Hopkins University. He worked on late medieval and Renaissance England. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/christian-studies

Today we will be talking about Anne Boleyn, the second wife of Henry VIII, and some of the misconceptions that are associated with her.Contact infoeffeduphistory@gmail.com@effeduphistory on all socialsBook a Tour of Salem, MAhttps://www.viator.com/tours/Salem/Curses-and-Crimes-Candlelight-Tour/d22414-325232P2Buy Me A Coffee:buymeacoffee.com/effeduphistoryMusicMedieval Loop One, Secret Garden, and Celebration by Alexander Nakarada | https://www.serpentsoundstudios.comMusic promoted by https://www.free-stock-music.comAttribution 4.0 International (CC BY 4.0)https://creativecommons.org/licenses/by/4.0/Henry VIII Horrible History Sketch: https://www.youtube.com/watch?v=PS0u2qUl6p8Henry VIII Wives Song: https://www.youtube.com/watch?v=rTdTDCRKvvMSources:https://bit.ly/3vSBBTkhttps://www.theanneboleynfiles.com/bios/anne-boleyn-chronology/https://bit.ly/3LYka9uhttps://bit.ly/398mMmMhttps://bit.ly/3smDxRFhttps://bit.ly/3KWOYpyhttps://www.theanneboleynfiles.com/bios/anne-boleyn-chronology/https://www.theanneboleynfiles.com/19th-may-1536-i-have-a-little-neck-the-execution-of-anne-boleyn/https://youtu.be/bNb473eMt8Uhttps://youtu.be/RQT9Y8vWPuAhttps://youtu.be/y0egLNh6B94https://www.theanneboleynfiles.com/1st-june-1533-the-noble-triumphant-coronation-of-queen-anne-boleyn/https://tudorfaces.blogspot.com/2017/04/anne-boleyn-as-lady-of-garter.htmlhttps://bit.ly/3w49hgZhttps://www.british-history.ac.uk/letters-papers-hen8/vol10/pp64-81https://bit.ly/3Fw1D1YFurther resourceshttps://bit.ly/3wdtL5zhttps://bit.ly/3w6e67Whttps://bit.ly/3w49hgZSupport the show

This week we head back to Renaissance England to immerse ourselves in the world of John Donne, one of Britain's most ingenious poets. We visit playhouses, bear-fighting pits and the poet's marital bed to better understand Donne's life and work.  John Donne led many lives, from a young rake in his early years to archdeacon of St Paul's in his old age. Born into a grand Catholic family who had suffered persecution under Protestant monarchs, he was intimately acquainted with the cruelty of sixteenth-century England. In particular, the tragic death of his younger brother who, aged just nineteen, was thrown into prison for hiding a Jesuit priest and subsequently caught the plague.  However Donne's poetry isn't defeatist – he was famous in his time for his unusual, intelligent and imaginative work, which used fleas to talk about sex and violence to talk about God. And in the view of my guest today, Katherine Rundell, Donne should be considered alongside William Shakespeare as one of the finest wordsmiths this country has ever produced. That's why she has written a sparkling new biography of the poet: Super-Infinite: The Transformations of John Donne.  Katherine Rundell is a Fellow of All Souls College, Oxford. Her bestselling books for children have been translated into more than thirty languages and have won multiple awards. She has written for, amongst others, the London Review of Books, The Times Literary Supplement and The New York Times: mostly about books, though sometimes about night climbing, tightrope walking, and animals. Show Notes Scene One: 1601. John Donne composing rakish poetry as a man about town - including almost certainly Love's Growth - attending bear baiting  Scene Two: 1601. The first performance of Hamlet - which Donne would, perhaps, as a great attender of plays, have gone to see Scene Three: 1601. John Donne marries the 17 year old Anne and is thrown in the Fleet prison by her father, amid ice-cold winds and lice Momento: John Donne's Commonplace book.  People/Social Presenter: Artemis Irvine Guest: Katherine Rundell Production: Maria Nolan Podcast partner: Ace Cultural Tours Follow us on Twitter: @tttpodcast_ Or on Facebook See where 1601 fits on our Timeline

Today we will be discussing the story of Agnes Waterhouse, the first witch of England and the fantastical story surrounding her and her life. Contact infoeffeduphistory@gmail.com@effeduphistory on all socialsBook a Tour of Salem, MAhttps://www.viator.com/tours/Salem/Curses-and-Crimes-Candlelight-Tour/d22414-325232P2Buy Me A Coffee:buymeacoffee.com/effeduphistoryInterested in starting a podcast of your own? I highly suggest using buzzsprout to list and post! If you use my affiliate link, you get a $20 amazon gift card after 2 paid months.https://www.buzzsprout.com/?referrer_id=1630084Music:Medieval Loop One, Headless Horseman, and Celebration by Alexander Nakarada | https://www.serpentsoundstudios.comMusic promoted by https://www.free-stock-music.comAttribution 4.0 International (CC BY 4.0)https://creativecommons.org/licenses/by/4.0/Support the show (https://www.patreon.com/effeduphistory)

Long before Herodotus told the story of the Greeks, the ancient Mediterranean teemed with what the Greeks themselves would recognize as hallmarks of civilization: trade and commerce, cities and colonies, luxury goods and craftsmanship, cults and votives, inscriptions and their prerequisite, written language. Behind this vast network, stretching as it did across hundreds of miles and years, were a group of canny Levantine urbanites, the Phoenicians. But, due to a dearth of surviving literature and, more directly, western investment in the charmed “miracle” of Greek civilization, this is a story few of us know. In an incisive study that ranges over as many miles and centuries as the Phoenicians themselves, Carolina López-Ruiz corrects the record. The Phoenicians and the Making of the Mediterranean (Harvard University Press, 2021) puts the Phoenicians back into the spotlight where they belong. We see them as merchants and artisans who shaped—and were shaped by—the interconnected world of the Iron Age Mediterranean. It is an index of this study's strength that López-Ruiz manages both to assert their agency in stitching together this Levantine “koine” and capture the unique contours of this hybridity everywhere it appeared—from Iberia to Sicily, Etruria to Assyria. The Phoenicians is thus not merely the history of a particularly industrious group of seafarers. It is also a glimpse into colonization and coexistence, indigenous response and adaptation, cultural innovation, and the foundations of a shared past. Jonathan Megerian is a doctoral candidate in history at Johns Hopkins University. He works on late medieval and Renaissance England. His dissertation explores the role of historiography in the formation of imperial ideologies in Renaissance England. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Long before Herodotus told the story of the Greeks, the ancient Mediterranean teemed with what the Greeks themselves would recognize as hallmarks of civilization: trade and commerce, cities and colonies, luxury goods and craftsmanship, cults and votives, inscriptions and their prerequisite, written language. Behind this vast network, stretching as it did across hundreds of miles and years, were a group of canny Levantine urbanites, the Phoenicians. But, due to a dearth of surviving literature and, more directly, western investment in the charmed “miracle” of Greek civilization, this is a story few of us know. In an incisive study that ranges over as many miles and centuries as the Phoenicians themselves, Carolina López-Ruiz corrects the record. The Phoenicians and the Making of the Mediterranean (Harvard University Press, 2021) puts the Phoenicians back into the spotlight where they belong. We see them as merchants and artisans who shaped—and were shaped by—the interconnected world of the Iron Age Mediterranean. It is an index of this study's strength that López-Ruiz manages both to assert their agency in stitching together this Levantine “koine” and capture the unique contours of this hybridity everywhere it appeared—from Iberia to Sicily, Etruria to Assyria. The Phoenicians is thus not merely the history of a particularly industrious group of seafarers. It is also a glimpse into colonization and coexistence, indigenous response and adaptation, cultural innovation, and the foundations of a shared past. Jonathan Megerian is a doctoral candidate in history at Johns Hopkins University. He works on late medieval and Renaissance England. His dissertation explores the role of historiography in the formation of imperial ideologies in Renaissance England. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Long before Herodotus told the story of the Greeks, the ancient Mediterranean teemed with what the Greeks themselves would recognize as hallmarks of civilization: trade and commerce, cities and colonies, luxury goods and craftsmanship, cults and votives, inscriptions and their prerequisite, written language. Behind this vast network, stretching as it did across hundreds of miles and years, were a group of canny Levantine urbanites, the Phoenicians. But, due to a dearth of surviving literature and, more directly, western investment in the charmed “miracle” of Greek civilization, this is a story few of us know. In an incisive study that ranges over as many miles and centuries as the Phoenicians themselves, Carolina López-Ruiz corrects the record. The Phoenicians and the Making of the Mediterranean (Harvard University Press, 2021) puts the Phoenicians back into the spotlight where they belong. We see them as merchants and artisans who shaped—and were shaped by—the interconnected world of the Iron Age Mediterranean. It is an index of this study's strength that López-Ruiz manages both to assert their agency in stitching together this Levantine “koine” and capture the unique contours of this hybridity everywhere it appeared—from Iberia to Sicily, Etruria to Assyria. The Phoenicians is thus not merely the history of a particularly industrious group of seafarers. It is also a glimpse into colonization and coexistence, indigenous response and adaptation, cultural innovation, and the foundations of a shared past. Jonathan Megerian is a doctoral candidate in history at Johns Hopkins University. He works on late medieval and Renaissance England. His dissertation explores the role of historiography in the formation of imperial ideologies in Renaissance England. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/archaeology

Long before Herodotus told the story of the Greeks, the ancient Mediterranean teemed with what the Greeks themselves would recognize as hallmarks of civilization: trade and commerce, cities and colonies, luxury goods and craftsmanship, cults and votives, inscriptions and their prerequisite, written language. Behind this vast network, stretching as it did across hundreds of miles and years, were a group of canny Levantine urbanites, the Phoenicians. But, due to a dearth of surviving literature and, more directly, western investment in the charmed “miracle” of Greek civilization, this is a story few of us know. In an incisive study that ranges over as many miles and centuries as the Phoenicians themselves, Carolina López-Ruiz corrects the record. The Phoenicians and the Making of the Mediterranean (Harvard University Press, 2021) puts the Phoenicians back into the spotlight where they belong. We see them as merchants and artisans who shaped—and were shaped by—the interconnected world of the Iron Age Mediterranean. It is an index of this study's strength that López-Ruiz manages both to assert their agency in stitching together this Levantine “koine” and capture the unique contours of this hybridity everywhere it appeared—from Iberia to Sicily, Etruria to Assyria. The Phoenicians is thus not merely the history of a particularly industrious group of seafarers. It is also a glimpse into colonization and coexistence, indigenous response and adaptation, cultural innovation, and the foundations of a shared past. Jonathan Megerian is a doctoral candidate in history at Johns Hopkins University. He works on late medieval and Renaissance England. His dissertation explores the role of historiography in the formation of imperial ideologies in Renaissance England. Learn more about your ad choices. Visit megaphone.fm/adchoices

Long before Herodotus told the story of the Greeks, the ancient Mediterranean teemed with what the Greeks themselves would recognize as hallmarks of civilization: trade and commerce, cities and colonies, luxury goods and craftsmanship, cults and votives, inscriptions and their prerequisite, written language. Behind this vast network, stretching as it did across hundreds of miles and years, were a group of canny Levantine urbanites, the Phoenicians. But, due to a dearth of surviving literature and, more directly, western investment in the charmed “miracle” of Greek civilization, this is a story few of us know. In an incisive study that ranges over as many miles and centuries as the Phoenicians themselves, Carolina López-Ruiz corrects the record. The Phoenicians and the Making of the Mediterranean (Harvard University Press, 2021) puts the Phoenicians back into the spotlight where they belong. We see them as merchants and artisans who shaped—and were shaped by—the interconnected world of the Iron Age Mediterranean. It is an index of this study's strength that López-Ruiz manages both to assert their agency in stitching together this Levantine “koine” and capture the unique contours of this hybridity everywhere it appeared—from Iberia to Sicily, Etruria to Assyria. The Phoenicians is thus not merely the history of a particularly industrious group of seafarers. It is also a glimpse into colonization and coexistence, indigenous response and adaptation, cultural innovation, and the foundations of a shared past. Jonathan Megerian is a doctoral candidate in history at Johns Hopkins University. He works on late medieval and Renaissance England. His dissertation explores the role of historiography in the formation of imperial ideologies in Renaissance England. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

This episode isn't really about Salem but it is related to Salem. Salem's foreign cousins if you will.  Today we will be talking about a brief history of Witchcraft in the 150 years or so leading up to Salem in England and Scotland. This is in no way a complete history nor is it inclusive of all major events.So sit back, relax, and practice your oh good god what the fuck faces.Also, note, when I am speaking about the Pendle Witches, I misspeak and say that Alyson is Demdike's daughter when I meant to say her granddaughter.  Whoops. Subject me to the water test, I suppose.Contact infoeffeduphistory@gmail.com@effeduphistory on all socialsBook a Tour of Salem, MAhttps://www.viator.com/tours/Salem/Curses-and-Crimes-Candlelight-Tour/d22414-325232P2Buy Me A Coffee:buymeacoffee.com/effeduphistoryInterested in starting a podcast of your own? I highly suggest using buzzsprout to list and post! If you use my affiliate link, you get a $20 amazon gift card after 2 paid months.https://www.buzzsprout.com/?referrer_id=1630084Sources:https://www.haaretz.com/archaeology/thou-shalt-not-suffer-a-witch-to-live-a-murderous-mistranslation-1.5443682?v=1629987984939https://www.history.com/this-day-in-history/mary-queen-of-scots-beheadedhttps://www.history.com/news/king-james-bible-most-popularhttps://www.mtholyoke.edu/courses/rschwart/hist257/stephwhit/final/malleus.htmlhttps://hermeneutics.stackexchange.com/questions/29049/what-does-thou-shalt-not-suffer-a-witch-to-live-meanhttps://www.bbc.com/news/magazine-14490790https://www.britannica.com/biography/Matthew-Hopkinshttps://www.historic-uk.com/HistoryUK/HistoryofEngland/Matthew-Hopkins-WitchFinder-General/https://historyofmassachusetts.org/margaret-jones-first-person-executed-for-witchcraft-in-massachusetts/https://www.historic-uk.com/CultureUK/The-Pendle-Witches/https://historyofmassachusetts.org/the-curse-of-giles-corey/Music:Medieval Loop One, Headless Horseman, and Celebration by Alexander Nakarada | https://www.serpentsoundstudios.comMusic promoted by https://www.free-stock-music.comAttribution 4.0 International (CC BY 4.0)https://creativecommons.org/licenses/by/4.0/Support the show (https://www.patreon.com/effeduphistory)

In Festive Enterprise: The Business of Drama in Medieval and Renaissance England (University of Notre Dame Press, 2021), Dr. Jill Ingram merges the history of economic thought with studies of theatricality and spectatorship to examine how English Renaissance plays employed forms and practices from medieval and traditional entertainments to signal the expectation of giving from their audiences. By analyzing a wide range of genres and a diverse range of venues, Ingram demonstrates how early moderns borrowed medieval money-gatherers' techniques to signal communal obligations and rewards for charitable support of theatrical endeavors. Ingram shows that economics and drama cannot be considered as separate enterprises in the medieval and Renaissance periods. Rather, marketplace pressures were at the heart of dramatic form in medieval and Renaissance drama alike. Dr. Jill Ingram is associate professor of English at Ohio University. Emily Ruth Allen (@emmyru91) is a PhD candidate in Musicology at Florida State University. She is currently working on a dissertation about parade musics in Mobile, Alabama's Carnival celebrations. Learn more about your ad choices. Visit megaphone.fm/adchoices

Take a look at a globe. Europe is there in big letters, and, to us, this hardly merits a passing thought. But Europe is a concept, a construct, an idea. So too is modernity. These categories have rich and contested histories.  It is to their lineage that Robert Launay looks in Savages, Romans, and Despots: Thinking about Others from Montaigne to Herder (University of Chicago Press, 2018). In this lucid and discerning volume, Professor Launay explores how a host of European luminaries used others to think about themselves and their worlds.  Prior to the nineteenth century, discourses about the New World and China were much less about domination than about understanding their authors' own social and political milieus. The figure of the Native America, the political life of China, the character of classical antiquity—all these “others” assumed different significances to different thinkers depending on the critique they sought to make about contemporary society.  Ranging as it does from Mandeville to Montaigne, Montesquieu, Kant, and many others, this book synthesizes an immense—and immensely complex—body of political thought into an accessible narrative that is doubtless of interest to specialists and non-specialists alike. Jonathan Megerian is a doctoral candidate in history at Johns Hopkins University. He works on late medieval and Renaissance England. His dissertation explores the role of historiography in the formation of imperial ideologies in Renaissance England. Learn more about your ad choices. Visit megaphone.fm/adchoices

How we see the past helps shape our understanding of the present. In the realm of statecraft and empire, understandings of the meaning of history, the progression of time, and the end to which it moves justified and produced the British imperial project. This story is the subject of Priya Satia's groundbreaking new study, Time's Monster: How History Makes History (Harvard University Press, 2020). Satia tracks the ways in which new Enlightenment ideas of history, time, and civilizational progress helped men who thought of themselves as good confront the moral challenge that imperial violence posed. The book demonstrates how a wide variety of thinkers, stretching from the eighteenth century to the present, thought about and through history to uphold, contest, and remake British imperialism. Its nuance, its breadth of material, its insight, and its relevance to the present all make this book unmissable. Jonathan Megerian is a doctoral candidate in history at Johns Hopkins University. He works on late medieval and Renaissance England. His dissertation explores the role of historiography in the formation of imperial ideologies in Renaissance England. Learn more about your ad choices. Visit megaphone.fm/adchoices