https://folgerpedia.folger.edu/_mw/index.php?title=Carmen_Nocentelli&feed=atom&action=historyCarmen Nocentelli - Revision history2024-03-29T07:47:34ZRevision history for this page on the wikiMediaWiki 1.39.6https://folgerpedia.folger.edu/_mw/index.php?title=Carmen_Nocentelli&diff=27136&oldid=prevElyseMartin at 15:37, 29 November 20172017-11-29T15:37:39Z<p></p>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Black Legends and the Invention of Europe argues that xenophobic invective and jingoistic propaganda played a crucial role in the construction of “Europe.” Taking as its point of departure the Black Legend of Spain’s ethnic dubiousness and ethical iniquity—i.e., the legend of Spain’s un-Europeaness—the books shows how the Black Legend’s claims formed an integral part of a larger transnational discourse that developed steadily from the late fifteenth century through the early eighteenth. Fifteenth-century works indicting the Turks for their ethnic dubiousness and ethical depravity already anticipate the central topoi of the Spanish Black Legend. Seventeenth- and eighteenth-century invectives against Portuguese, Dutch, and French in turn recycle figures and motifs of the legend. This conscious, pointed, and continued recycling suggests that throughout the early modern period Black Legend discourse was a key tool to bound and ascribe Europeanness. For this reason, Black Legend discourse constitutes an excellent vantage point to explore the conditions, forms, and limits within which “Europe” became (and still remains) an active idea.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Black Legends and the Invention of Europe argues that xenophobic invective and jingoistic propaganda played a crucial role in the construction of “Europe.” Taking as its point of departure the Black Legend of Spain’s ethnic dubiousness and ethical iniquity—i.e., the legend of Spain’s un-Europeaness—the books shows how the Black Legend’s claims formed an integral part of a larger transnational discourse that developed steadily from the late fifteenth century through the early eighteenth. Fifteenth-century works indicting the Turks for their ethnic dubiousness and ethical depravity already anticipate the central topoi of the Spanish Black Legend. Seventeenth- and eighteenth-century invectives against Portuguese, Dutch, and French in turn recycle figures and motifs of the legend. This conscious, pointed, and continued recycling suggests that throughout the early modern period Black Legend discourse was a key tool to bound and ascribe Europeanness. For this reason, Black Legend discourse constitutes an excellent vantage point to explore the conditions, forms, and limits within which “Europe” became (and still remains) an active idea.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">===Scholarly Programs===</ins></div></td></tr>
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</table>ElyseMartinhttps://folgerpedia.folger.edu/_mw/index.php?title=Carmen_Nocentelli&diff=21395&oldid=prevMadelineCrispell at 15:28, 29 April 20162016-04-29T15:28:30Z<p></p>
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<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 10:28, 29 April 2016</td>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del style="font-weight: bold; text-decoration: none;">This project re-assesses </del>the <del style="font-weight: bold; text-decoration: none;">impact </del>that <del style="font-weight: bold; text-decoration: none;">licencing has had on </del>the <del style="font-weight: bold; text-decoration: none;">composition </del>of <del style="font-weight: bold; text-decoration: none;">early modern literature</del>. <del style="font-weight: bold; text-decoration: none;">Without a licence from a noble patron, players were subject to the Act for </del>the <del style="font-weight: bold; text-decoration: none;">Punishment </del>of <del style="font-weight: bold; text-decoration: none;">Rogues, Vagabonds </del>and <del style="font-weight: bold; text-decoration: none;">Sturdy Beggars</del>. <del style="font-weight: bold; text-decoration: none;">Yet this document is also open to forgery and counterfeiting</del>, <del style="font-weight: bold; text-decoration: none;">as detailed in </del>the <del style="font-weight: bold; text-decoration: none;">so</del>-<del style="font-weight: bold; text-decoration: none;">called cony-catching pamphlets; for example </del>the <del style="font-weight: bold; text-decoration: none;">‘freshwater mariner’ is famed for ‘run[ning] about </del>the <del style="font-weight: bold; text-decoration: none;">country with a counterfeit licence, feigning either shipwreck or spoil by pirates’ (Greene, The Groundwork of Cony</del>-<del style="font-weight: bold; text-decoration: none;">Catching). Therefore </del>the <del style="font-weight: bold; text-decoration: none;">document designed to control an itinerant population actually becomes </del>the <del style="font-weight: bold; text-decoration: none;">means </del>of <del style="font-weight: bold; text-decoration: none;">criminality, due to </del>the <del style="font-weight: bold; text-decoration: none;">potential duplicity of hand</del>-<del style="font-weight: bold; text-decoration: none;">written documents. Despite the </del>turn <del style="font-weight: bold; text-decoration: none;">towards cultural materialism in early modern studies, </del>the <del style="font-weight: bold; text-decoration: none;">material traces of licencing have yet to be studied in depth</del>. This <del style="font-weight: bold; text-decoration: none;">becomes even more surprising due to the metaphorical richness of ‘licence’ which early modern authors frequently made use of</del>, <del style="font-weight: bold; text-decoration: none;">as when Sir Toby Belch calls on Sir Andrew Aguecheek to ‘taunt him with the licence of ink’ (Twelfth Night</del>, <del style="font-weight: bold; text-decoration: none;">3.2.42). Therefore this study examines how authors worked through the layers of anxiety </del>and <del style="font-weight: bold; text-decoration: none;">ambivalence created by a document with which they would have been intimately familiar. Forged documents of authority are a staple in </del>the <del style="font-weight: bold; text-decoration: none;">plots of </del>early modern <del style="font-weight: bold; text-decoration: none;">drama, from Hamlet </del>to <del style="font-weight: bold; text-decoration: none;">Bartholomew Fair</del>, <del style="font-weight: bold; text-decoration: none;">drawing attention </del>to the <del style="font-weight: bold; text-decoration: none;">period’s dual understanding of the ‘counterfeit’. In excavating the realities of counterfeit licences alongside their literary manifestations</del>, <del style="font-weight: bold; text-decoration: none;">I reveal the power of the licence for counterfeiters of all stripes</del>, <del style="font-weight: bold; text-decoration: none;">Shakespeare included</del>.</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">Black Legends and </ins>the <ins style="font-weight: bold; text-decoration: none;">Invention of Europe argues </ins>that <ins style="font-weight: bold; text-decoration: none;">xenophobic invective and jingoistic propaganda played a crucial role in </ins>the <ins style="font-weight: bold; text-decoration: none;">construction </ins>of <ins style="font-weight: bold; text-decoration: none;">“Europe</ins>.<ins style="font-weight: bold; text-decoration: none;">” Taking as its point of departure </ins>the <ins style="font-weight: bold; text-decoration: none;">Black Legend </ins>of <ins style="font-weight: bold; text-decoration: none;">Spain’s ethnic dubiousness </ins>and <ins style="font-weight: bold; text-decoration: none;">ethical iniquity—i.e</ins>., the <ins style="font-weight: bold; text-decoration: none;">legend of Spain’s un</ins>-<ins style="font-weight: bold; text-decoration: none;">Europeaness—the books shows how the Black Legend’s claims formed an integral part of a larger transnational discourse that developed steadily from </ins>the <ins style="font-weight: bold; text-decoration: none;">late fifteenth century through </ins>the <ins style="font-weight: bold; text-decoration: none;">early eighteenth. Fifteenth</ins>-<ins style="font-weight: bold; text-decoration: none;">century works indicting </ins>the <ins style="font-weight: bold; text-decoration: none;">Turks for their ethnic dubiousness and ethical depravity already anticipate </ins>the <ins style="font-weight: bold; text-decoration: none;">central topoi </ins>of the <ins style="font-weight: bold; text-decoration: none;">Spanish Black Legend. Seventeenth- and eighteenth</ins>-<ins style="font-weight: bold; text-decoration: none;">century invectives against Portuguese, Dutch, and French in </ins>turn <ins style="font-weight: bold; text-decoration: none;">recycle figures and motifs of </ins>the <ins style="font-weight: bold; text-decoration: none;">legend</ins>. This <ins style="font-weight: bold; text-decoration: none;">conscious</ins>, <ins style="font-weight: bold; text-decoration: none;">pointed</ins>, and <ins style="font-weight: bold; text-decoration: none;">continued recycling suggests that throughout </ins>the early modern <ins style="font-weight: bold; text-decoration: none;">period Black Legend discourse was a key tool </ins>to <ins style="font-weight: bold; text-decoration: none;">bound and ascribe Europeanness. For this reason</ins>, <ins style="font-weight: bold; text-decoration: none;">Black Legend discourse constitutes an excellent vantage point </ins>to <ins style="font-weight: bold; text-decoration: none;">explore </ins>the <ins style="font-weight: bold; text-decoration: none;">conditions</ins>, <ins style="font-weight: bold; text-decoration: none;">forms</ins>, <ins style="font-weight: bold; text-decoration: none;">and limits within which “Europe” became (and still remains) an active idea</ins>.</div></td></tr>
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</table>MadelineCrispellhttps://folgerpedia.folger.edu/_mw/index.php?title=Carmen_Nocentelli&diff=21393&oldid=prevMadelineCrispell: Created page with "This page reflects a scholar's association with the Folger Institute. ===Long-term fellowship=== "Black Legends and the Invention of Europe" (NEH Fellowship, Folger I..."2016-04-29T15:26:21Z<p>Created page with "This page reflects a scholar's association with the <a href="/Folger_Institute" title="Folger Institute">Folger Institute</a>. ===Long-term fellowship=== "Black Legends and the Invention of Europe" (NEH Fellowship, Folger I..."</p>
<p><b>New page</b></p><div>This page reflects a scholar's association with the [[Folger Institute]]. <br />
<br />
===Long-term fellowship===<br />
"Black Legends and the Invention of Europe" (NEH Fellowship, [[Folger Institute 2016-2017 long-term fellows|2016-2017]])<br />
<br />
This project re-assesses the impact that licencing has had on the composition of early modern literature. Without a licence from a noble patron, players were subject to the Act for the Punishment of Rogues, Vagabonds and Sturdy Beggars. Yet this document is also open to forgery and counterfeiting, as detailed in the so-called cony-catching pamphlets; for example the ‘freshwater mariner’ is famed for ‘run[ning] about the country with a counterfeit licence, feigning either shipwreck or spoil by pirates’ (Greene, The Groundwork of Cony-Catching). Therefore the document designed to control an itinerant population actually becomes the means of criminality, due to the potential duplicity of hand-written documents. Despite the turn towards cultural materialism in early modern studies, the material traces of licencing have yet to be studied in depth. This becomes even more surprising due to the metaphorical richness of ‘licence’ which early modern authors frequently made use of, as when Sir Toby Belch calls on Sir Andrew Aguecheek to ‘taunt him with the licence of ink’ (Twelfth Night, 3.2.42). Therefore this study examines how authors worked through the layers of anxiety and ambivalence created by a document with which they would have been intimately familiar. Forged documents of authority are a staple in the plots of early modern drama, from Hamlet to Bartholomew Fair, drawing attention to the period’s dual understanding of the ‘counterfeit’. In excavating the realities of counterfeit licences alongside their literary manifestations, I reveal the power of the licence for counterfeiters of all stripes, Shakespeare included.<br />
<br />
<br />
[[Category:Folger Institute]]<br />
[[Category:Scholar]]<br />
[[Category:Fellowships]]<br />
[[Category:Long-term]] <br />
[[Category:2016-2017]]</div>MadelineCrispell