This collection aims to give a chronological insight into the evolution of conduct literature, from its early roots in the Renaissance period through to the dramatically different role that women played at the emergence of the 20th century.

This collection aims to give a chronological insight into the evolution of conduct literature, from its early roots in the Renaissance period through to the dramatically different role that women played at the emergence of the 20th century.

This collection aims to give a chronological insight into the evolution of conduct literature, from its early roots in the Renaissance period through to the dramatically different role that women played at the emergence of the 20th century.

This collection aims to give a chronological insight into the evolution of conduct literature, from its early roots in the Renaissance period through to the dramatically different role that women played at the emergence of the 20th century.

This collection aims to give a chronological insight into the evolution of conduct literature, from its early roots in the Renaissance period through to the dramatically different role that women played at the emergence of the 20th century.

This collection aims to give a chronological insight into the evolution of conduct literature, from its early roots in the Renaissance period through to the dramatically different role that women played at the emergence of the 20th century.

This collection aims to give a chronological insight into the evolution of conduct literature, from its early roots in the Renaissance period through to the dramatically different role that women played at the emergence of the 20th century.

What did it mean to be old in seventeenth- and eighteenth-century England? This eight-volume edition brings together selections from medical treatises, sermons, legal documents, parish records, almshouse accounts, private letters, diaries and ballads, to investigate cultural and medical understanding of old age in pre-industrial England.

Im Mittelpunkt dieses Bandes stehen die Zusammenhänge zwischen dem Selbstverständnis schreibender Frauen und den religiösen und kulturellen Veränderungsprozessen vom 15. bis ins 17. Jahrhundert. Das Augenmerk liegt insbesondere auf den unterschiedlichen Wegen, die Frauen in dieser Zeit beschritten haben, um sich schriftlich zu äußern, ihre Texte zu verbreiten und am Austausch intellektueller Zirkel teilzunehmen. Einerseits geht es also um die Kommunikationsräume, in denen Verfasserinnen sich in Spätmittelalter und Früher Neuzeit bewegt haben, und andererseits um die Kommunikationsformen, die sie hierfür gewählt haben. Zusammen genommen sind die Kommunikationsräume und -formen der dokumentierbare Ausdruck für diese Wechselbeziehung zwischen den gesamtgesellschaftlichen Wandlungsprozessen und weiblicher Autorschaft. The present volume focuses on the rules and customs which determined the activity of female writers in the transition from the late Middle Ages to the early modern period. The topics include the connections between specific religious and cultural processes of change, the praxis of women writers, and women's understanding of their own role as authors. In this context, particular attention is given to the various routes taken by female authors of this period in order to express themselves in print, to disseminate their texts, and to engage in intellectual networking. On the one hand, therefore, the focus lies on the communicative space within which female authors in the late Middle Ages and early modern times operated, and, on the other, on the forms of communication which they chose for their literary creativity. Taken together, the areas and forms of communication constitute the basis of what can be documented concerning the interaction between the larger processes of change within society and the women's authorial activity.

Coyness and Crime examines the extraordinary focus on feminine coyness in forty English comedies by ten diverse playwrights of the late seventeenth-century. In contexts ranging from reaffirmations of church and king to emerging interests in liberty and novelty, these plays consistently reveal women caught in an ironic and nearly intractable convergence of objectification and culpability that allows them little innocent sexual agency; this is both the source and the legacy of coyness in Restoration comedy.