‘The cure of the kingdome’: defending female authorship in elizabeth poole’s a vision (1648)

A Vision: Wherein is Manifested the Disease and Cure of the Kingdome (1648) is Elizabeth Poole’s account of the prophecies she delivered before Cromwell and the Puritan Army’s General Council as they debated the regicide of Charles I at the end of the first English Civil War in 1648-49. In her “message”, Poole invokes the analogy between king and husband to advise the Army officers not to execute the “head” of their “body”; however, she gives this analogy a radical twist when she adds that the Council should divorce the king instead, since he had violated the terms of his “marriage” by behaving abusively and tyrannically. While the circumstances surrounding Poole’s participation in the Whitehall deliberations are unclear, her appearance represents a rare case of a woman's direct involvement in the midseventeenth-century discussions of the scope and legitimacy of government. This article discusses the reception of Elizabeth Poole’s text by her contemporaries, as seen in her own defence of her right to relaying her divinely inspired opinion in print

'Che son la Pia' : Liminal Female Figures of Intercession in Blake's illustrations of the Commedia

While female icons are neither scant nor marginal in Dante's Divine Comedy, with Francesca and Beatrice at the centre of the story, other women in the Commedia justify their presence as figures that enact and enable transitions, but not necessarily change: Pia in Purgatorio, Canto V, and her plea to Dante to be remembered among the living; Lucia carrying Dante in his sleep up to the threshold of purgatory (Canto IX); or Matilda waiting for Dante on the banks of the river Lethe in Purgatorio (Canto XXIX). Liminality, conceived not only as a space-between, physically and emotionally, is also a state of intercession, of anagnorisis and of renouncing the lower for the higher: a space for religious intervention, salvation and resurrection. By looking at key women characters in the Commedia, particularly in Purgatorio, the following pages will survey the significance of intercession as a point of arrival in Dante's Commedia and Blake's depiction of it, in which female figures, endowed with roles that often imply transition and mediation, coalesce the joint vision of both artist and poet: the transmutation of Pagan into Christian values that can only happen in the realms of the self upon overcoming duality.Si bé les icones femenines no són escasses ni marginals en la Divina Comèdia de Dante, sent Francesca i Beatrice el centre de la història, altres dones de la Comèdia justifiquen la seva presència com a figures que promulguen i permeten transicions, però no necessàriament canvien: Pia en el Purgatori, Cant V, i la seva súplica a Dante perquè sigui recordada entre els vius; Lucia portant a Dante adormit fins al llindar del purgatori (Cant IX); o Matilda esperant a Dante a la vora del riu Leteu en el Purgatori (Cant XXIX). La liminalitat, concebuda no sols com un espai intermedi, físic i emocional, és també un estat d'intercessió, de anagnòrisi i de renúncia de l'inferior pel superior: un espai d'intervenció religiosa, de salvació i de resurrecció. Observant els personatges femenins clau de la Comèdia, en particular en el Purgatori, les pròximes pàgines examinaran el significat de la intercessió com a punt d'arribada en la Comèdia de Dante i la representació que fa Blake d'ella, en la qual les figures femenines, dotades de papers que sovint impliquen transició i mediació, uneixen la visió conjunta de l'artista i el poeta: la transmutació del pagà en valors cristians que només pot ocórrer en els regnes del jo en superar la dualitat.Si bien los iconos femeninos no son escasos ni marginales en la Divina Comedia de Dante, siendo Francesca y Beatrice el centro de la historia, otras mujeres de la Comedia justifican su presencia como figuras que promulgan y permiten transiciones, pero no necesariamente cambian: Pía en el Purgatorio, Canto V, y su súplica a Dante para que sea recordado entre los vivos; Lucía llevando a Dante adormecido hasta el umbral del purgatorio (Canto IX); o Matilde esperando a Dante a orillas del río Leteo en el Purgatorio (Canto XXIX). La liminalidad, concebida no sólo como un espacio intermedio, físico y emocional, es también un estado de intercesión, de anagnórisis y de renuncia de lo inferior por lo superior: un espacio de intervención religiosa, de salvación y de resurrección. Observando los personajes femeninos clave de la Comedia, en particular en el Purgatorio, las próximas páginas examinarán el significado de la intercesión como punto de llegada en la Comedia de Dante y la representación que hace Blake de ella, en la que las figuras femeninas, dotadas de papeles que a menudo implican transición y mediación, unen la visión conjunta del artista y el poeta: la transmutación de lo pagano en valores cristianos que sólo puede ocurrir en los reinos del yo al superar la dualidad

Writing for Patronage or Patronage for Writing? Two Case Studies in Seventeenth- Century and Post- Restoration Women's Poetry in Britain

The seventeenth century provided a fertile ground in Britain for anyone who wished to express themselves in writing. London became the locus of an unprecedented printing revolution that carried on until the eighteenth century, when revolutionary writing subsided, but the printing infrastructure in place allowed for greater specialization and diffusion. Separated by almost one hundred years, the two women featured in this chapter seem to have approached patronage as a last- resort solution to attain financial and artistic independence. While Lanyer tried her hand at the court with an air of nostalgia when her businesses failed, Yerbury refused publication since her 'day- job' provided her with an independent source of income that made writing for money and the general public uncalled for. This chapter delves into the rhetorical strategies of both Lanyer's and Yerbury's literary output that were either geared to convince patrons through a religious trope of Christ's love or avoided the spotlight when financial backup was already secured. Both poets separated their means of living from their writing practice, thus revealing that patronage and the market were unstable instruments for the exposure and practice of quality writing

Economic Imperatives for Women's Writing in Early Modern Europe

Economic Imperatives for Women's Writing in Early Modern Europe delves into the early modern history of women's authorship and literary production in Europe taking a material turn. The case studies included in the volume represent women writers from various European countries and comparatively reflect the nuances of their participation in a burgeoning commercial market for authors while profiting as much from patronage. From self-representation as professional writers to literary reception, the challenges of reputation, financial hardships, and relationships with editors and colleagues, the essays in this collection show from different theoretical standpoints and linguistic areas that gender biases played a far less limiting role in women's literary writing than is commonly assumed, while they determined the relationship between moneymaking, self-representation, and publishing strategies

Silvia De Santis, Blake & Dante: A Study of William Blake's Illustrations of the Divine Comedy Including his Critical Notes

Obra ressenyada: Silvia DE SANTIS, Blake and Dante: A Study of William Blake's Illustrations of the Divine Comedy Including his Critical Notes. Roma: Gangemi Editore International, 2017

‘THE CURE OF THE KINGDOME’: DEFENDING FEMALE AUTHORSHIP IN ELIZABETH POOLE’S A VISION (1648)

A Vision: Wherein is Manifested the Disease and Cure of the Kingdome (1648) is Elizabeth Poole’s account of the prophecies she delivered before Cromwell and the Puritan Army’s General Council as they debated the regicide of Charles I at the end of the first English Civil War in 1648-49. In her “message”, Poole invokes the analogy between king and husband to advise the Army officers not to execute the “head” of their “body”; however, she gives this analogy a radical twist when she adds that the Council should divorce the king instead, since he had violated the terms of his “marriage” by behaving abusively and tyrannically. While the circumstances surrounding Poole’s participation in the Whitehall deliberations are unclear, her appearance represents a rare case of a woman's direct involvement in the midseventeenth-century discussions of the scope and legitimacy of government. This article discusses the reception of Elizabeth Poole’s text by her contemporaries, as seen in her own defence of her right to relaying her divinely inspired opinion in print.A Vision: Wherein is Manifested the Disease and Cure of the Kingdome (1648) es el relato de Elizabeth Poole de las profecías que comunicó ante Cromwell y el Consejo General del Ejército puritano mientras se debatía el regicidio de Carlos I de Inglaterra al término de la primera Guerra Civil en 1648-49. En su “mensaje”, Poole invoca la analogía entre rey y esposo para aconsejar a los miembros del ejército que no ejecuten la “cabeza” de su “cuerpo”; no obstante, Poole da un giro radical a esta analogía cuando añade que Cromwell debería divorciarse del rey ya que éste ha violado los términos de su “matrimonio” al comportarse de forma tiránica y abusiva.Aunque las circunstancias que rodearon la participación de Poole en las deliberaciones de Whitehall son poco claras, su comparecencia supone un caso único de implicación directa de una mujer en los debates sobre el alcance y la legitimidad del gobierno a mediados del siglo XVII. Este artículo aborda la recepción del texto de Elizabeth Poole por parte de sus contemporáneos, tal como se aprecia en la defensa que la autora hace de su derecho a comunicar y publicar una opinión de inspiración divina

Ressenyes

Obra ressenyada: Charles DEMPSEY, The Early Renaissance and Vernacular Culture. Cambridge, MA: Harvard University Press, 201

Ressenyes

Obra ressenyada: Salustiano MORETA VELAYOS (ed.), El Libro de Margery Kempe. València : Publicacions de València, 2012

L'elaboració del Pla de Gestió de dades : l'experiència de tres projectes de la UAB

Presentació dins la Setmana Internacional de l'Accés Obert 2022, on Pilar Rico, de FECYT, fa una introducció sobre la política de dades obertes en el programa Horizon Europe de la Comissió Europea. A continuació tres investigadors de la UAB, d'àmbits de coneixement diferents, amb projectes de l'European Research Council (ERC) expliquen la seva experiència redactant el Pla de Gestió de Dades: quins aspectes van haver de resoldre i com ho van fer