Authorizing Early Modern European Women : : From Biography to Biofiction.

Authorizing Early Modern European Women : : From Biography to Biofiction.

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Bibliographic Details
Superior document:Gendering the Late Medieval and Early Modern World Series
:
Fitzmaurice, James.
TeilnehmendeR:
Miller, Naomi.
Steen, Sara Jayne.
Place / Publishing House:Amsterdam : : Amsterdam University Press,, 2021.
©2022.
Year of Publication:2021
Edition:1st ed.
Language:English
Series:Gendering the Late Medieval and Early Modern World Series
Online Access:
Physical Description:1 online resource (290 pages)
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Table of Contents:
  • Cover
  • Table of Contents
  • Acknowledgments
  • 1. Introduction: Biography, Biofiction, and Gender in the Modern Age
  • James Fitzmaurice, Naomi J. Miller, and Sara Jayne Steen
  • Section I: Fictionalizing Biography
  • 2. Sister Teresa: Fictionalizing a Saint
  • Bárbara Mujica
  • 3. Portrait of an Unknown Woman: Fictional Representations of Levina Teerlinc, Tudor Paintrix
  • Catherine Padmore
  • 4. An Interview with Dominic Smith, Author of The Last Painting of Sara de Vos: Capturing the Seventeenth Century
  • Frima Fox Hofrichter
  • 5. Lanyer: The Dark Lady and the Shades of Fiction
  • Susanne Woods
  • 6. Archival Bodies, Novel Interpretations, and the Burden of Margaret Cavendish
  • Marina Leslie
  • Section II: Materializing Authorship
  • 7. Bess of Hardwick: Materializing Autobiography
  • Susan Frye
  • 8. The Queen as Artist: Elizabeth Tudor and Mary Stuart
  • Sarah Gristwood
  • 9. "Very Secret Kept": Facts and Re-Creation in Margaret Hannay's Biographies of Mary Sidney and Mary Wroth
  • Marion Wynne-Davies
  • 10. Imagining Shakespeare's Sisters: Fictionalizing Mary Sidney Herbert and Mary Sidney Wroth
  • Naomi J. Miller
  • 11. Anne Boleyn, Musician: A Romance Across Centuries and Media
  • Linda Phyllis Austern
  • Section III: Performing Gender
  • 12. Reclaiming Her Time: Artemisia Gentileschi Speaks to the Twenty-First Century
  • Sheila T. Cavanagh
  • 13. Beyond the Record: Emilia and Feminist Historical Recovery
  • Hailey Bachrach
  • 14. Writing, Acting, and the Notion of Truth in Biofiction About Early Modern Women Authors
  • James Fitzmaurice
  • 15. Jesusa Rodríguez's Sor Juana Inés de la Cruz: Reflections on an Opaque Body
  • Emilie L. Bergmann
  • Section IV: Authoring Identity
  • 16. From Hollywood Film to Musical Theater: Veronica Franco in American Popular Culture
  • Margaret F. Rosenthal.
  • 17. The Role of Art in Recent Biofiction on Sofonisba Anguissola
  • Julia Dabbs
  • 18. "I am Artemisia": Art and Trauma in Joy McCullough's Blood Water Paint
  • Stephanie Russo
  • 19. The Lady Arbella Stuart, a "Rare Phoenix": Her Re-Creation in Biography and Biofiction
  • Sara Jayne Steen
  • 20. The Gossips' Choice: Extending the Possibilities for Biofiction with Creative Uses of Sources
  • Sara Read
  • 21. Afterword
  • Michael Lackey
  • Index
  • List of Figures
  • Figure 3.1. Portrait Miniature of an Unknown Woman, c. 1560, watercolor on vellum, attributed to Levina Teerlinc (c. 1510/20-1576). © Victoria and Albert Museum, London.
  • Figure 4.1. Judith Leyster, Self-Portrait, c. 1633. National Gallery of Art, Washington, D.C., Gift of Mr. and Mrs. Robert Woods Bliss.
  • Figure 8.1. The image on the left is from the portrait attributed to William Scrots (Royal Collection)
  • the central one from the "Ermine" portrait variously attributed to William Segar and Nicholas Hilliard (Hatfield House)
  • the image on the right, by an
  • Figure 8.2. Flora Robson as Elizabeth I and Vivien Leigh as Cynthia in Fire Over England (1937), United Artists. Masheter Movie Archive / Alamy Stock Photo.
  • Figure 10.1. Cover image for Imperfect Alchemist. Photograph courtesy of Allison &amp
  • Busby.
  • Figure 11.1. Waxwork Minstrel with Anne Boleyn, Hever Castle &amp
  • Gardens, Kent, UK. Photograph courtesy of Hever Castle &amp
  • Gardens.
  • Figure 11.2. Emanuel Gottlieb Leutze, "Anne Boleyn Advising Henry VIII to Dismiss Cardinal Wolsey." Photograph courtesy of VAN HAM Fine Art Auctioneers / Saša Fuis.
  • Figure 14.1. Karen Eterovich as Aphra Behn in Love Arm'd (2002). Photo by Rob Ferguson. By kind permission of Karen Eterovich.
  • Figure 14.2. Emilie Philpott Jumping the Shark at the dress rehearsal of Cavendish, Woolf, and the Cypriot Goddess Natura. Nicosia, Cyprus, 7 April 2017. Photo Credit / Permission: James Fitzmaurice.
  • Figure 17.1. Attributed to Sofonisba Anguissola, Lady in A Fur Wrap (Glasgow, Pollok House). Photo credit: Album / Alamy Stock Photo.
  • Figure 17.2. Sofonisba Anguissola, The Chess Game (Poznan, National Museum). Photo credit: The Picture Art Collection / Alamy Stock Photo.
  • Figure 17.3. Sofonisba Anguissola, Family Portrait (Niva, Nivaagaards Art Gallery). Photo credit: Heritage Image Partnership Ltd / Alamy Stock Photo.]
  • Figure 18.1. Artemisia Gentileschi, Susanna and the Elders, signed and dated 1610, oil on canvas. Collection Graf von Schönborn, Pommersfelden, Germany.
  • Figure 18.2. Artemisia Gentileschi, Judith Slaying Holofernes, c. 1612-1613, oil on canvas. Museo Capidimonte, Naples, Italy.
  • Figure 20.1. The frontispiece of Jane Sharp's The Compleat Midwife's Companion, 1724. Credit: Wellcome Library, London.

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