The Currency of Eros: Women's Love Lyric in Europe, by Ann Rosalind Jones

By Ann Rosalind Jones

"Professor Jones’ ebook uniquely fills a major gap in gender experiences within the Renaissance. Its effortless readability of argument, its scrupulous take care of element, its simply undeniable sturdy tale telling, and its theoretical sophistication make it an visible candidate for the prestige of normal work." ―Maureen Quilligan

".. jam-packed with positive insights... a great addition to a transforming into physique of labor on Renaissance girls writers." ―Renaissance Quarterly

"In this forceful and perceptive study... Jones has fused gyno- and gender feedback fantastically and produced probably the most vital works at the eu renaissance lyric during this decade." ―L'Esprit Créateur

"... this soaking up examine encourages (re)reading, mirrored image, and debate at the texts in query, and revitalizes and reorients the reader’s figuring out of the functionality and strength of early sleek love lyric."―French Studies

"... an clever, persuasive work... " ―Italica

"... is richly suggestive of the variety and diversity of women's writing within the early glossy period... " ―Review of English Studies

The foreign money of Eros examines women's love lyrics in Renaissance Europe as strategic responses to 2 cultural structures: early sleek gender ideologies and male-authored literary conventions.

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Extra info for The Currency of Eros: Women's Love Lyric in Europe, 1540–1620 (Women of Letters)

Sample text

She pleaseth not me that giveth herself to poetry, and observing the art and manner of the old eloquence, doth desire to speak facundiously" (207).  Margaret More's "privacy," as it is invoked in this group text, could never have been a model for the independent entry into the public sphere required of a woman who published her own poems. " He blames upwardly aspiring parents for educating their daughters in coquetry instead: "it is to be lamented (as a case too grievous) such parents as do bring up their daugh­ Page 25 ters in learning, do it to none other ende, but to make them companions of carpet knightes, & giglots, for amorous lovers" (C5r).

56 Nonetheless, writing was recognized as crucial to local and national patriotism: it was by writing—or not writing—that women were exhorted to raise the reputation of their cities and countries. "58 In a rousing final poem, Corinna, like Labé, calls on her fellow women to aim for fame beyond the private household, in spite of hostile responses: Page 33 E rivolgendo il vostro alto desire A' miglior opre, e a' più bei studi intorno, Ornatevi d'un nome eterno, e chiaro A' onta d'ogni cuor superbo, e avaro.

Artifice of any kind, like preoccupation with the public world, is dismissed as unprofitable.  Neither the applause of a declamatory play nor the glory and adoration of an assembly is required of them, but all that is desired of them is eloquent, well­considered and dignified silence" (206).  26 Vives certainly matches Barbaro.  She pleaseth not me that giveth herself to poetry, and observing the art and manner of the old eloquence, doth desire to speak facundiously" (207).  Margaret More's "privacy," as it is invoked in this group text, could never have been a model for the independent entry into the public sphere required of a woman who published her own poems.

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