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"During the fifteenth century John Lydgate was the most famous poet in England, filling commissions for the court, the aristocracy, and the guilds. He wrote for an elite London readership that was historically very small, but that saw itself as dominating the cultural life of the nation. Thus the new literary forms and modes developed by Lydgate and his contemporaries helped shape the development of English public culture in the fifteenth century. Maura Nolan presents a major re-interpretation of Lydgate's work and of his central role in the developing literary culture of his time."

"Summary: "1611: Authority, Gender, and the Word in Early Modern England explores issues of authority, gender, and language within and across the variety of literary works produced in one of most landmark years in literary and cultural history. Represents an exploration of a year in the textual life of early modern England juxtaposes the variety and range of texts that were published, performed, read, or heard in the same year, 1611 offers an account of the textual culture of the year 1611, the environment of language, and the ideas from which the authorised version of the English Bible emerged"

""In late Elizabethan England, political appeals to the people were considered dangerously democratic, even seditious: the commons were supposed to have neither political voice nor will. Yet such appeals happened so often that the regime coined the word 'popularity' to condemn the pursuit of popular favour. Jeffrey S. Doty argues that in plays from Richard II to Coriolanus, Shakespeare made the tactics of popularity - and the wider public they addressed - vital aspects of politics. Shakespeare figured the public not as an extension of the royal court, but rather as a separate entity that, like the Globe's spectators who surrounded the fictional princes on its thrust stage, subjected their rulers to relentless scrutiny. For ordinary playgoers, Shakespeare's plays offered good practice for understanding the means and ends of popularity - and they continue to provide insight to the public relations strategies that have come to define modern political culture"--"

"This is the first comprehensive study of the system of literary patronage in early modern England ; and it demonstrates that far from declining by 1750, as many commentators have suggested, the system persisted, though in altered forms, throughout the eighteenth century. Combining the perspectives of literary, social, and political history, Dustin Griffin lays out the workings of the patronage system and shows how authors wrote within that system, manipulating it to their advantage or resisting the claims of patrons by advancing counter-claims of their own. Professor Griffin describes the cultural economics of patronage and argues that literary patronage was in effect always "political." Chapters on individual authors, including Dryden, Swift, Pope, and Johnson, as well as Edward Young, Richard Savage, Mary Leapor, and Charlotte Lennox, focus attention on the author's role in the system, the rhetoric of dedications, and the larger poetics of patronage."

"Shakespeare and Social Dialogue opens up a new approach to Shakespeare's language and the rhetoric of Elizabethan letters. Moving beyond claims about the language of individual Shakespearean characters, Magnusson develops a rhetoric of social exchange to analyze dialogue, conversation, sonnets, and particularly letters of the period, which are normally read as historical documents. The verbal negotiation of social and power relations such as service or friendship is explored in texts as diverse as Sidney family letters and Shakespeare's sonnets, merchant correspondence and Timon of Athens, Burghley's state letters and Henry IV Part . The book draws on ideas from discourse analysis and linguistic pragmatics, especially "politeness theory", relating these to key ideas in epistolary handbooks of the period, includingthose by Erasmus and Angel Day. Chapters on Henry VIII, King Lear, Much Ado About Nothing, and Othello demonstrate that Shakespeare's dialogic art is deeply rooted in the everyday language of Elizabethan culture. Magnusson creates a way of reading both literary texts and historical documents which bridges the gap between the methods of new historicism and linguistic criticism."