The order of the book: materiality, narrative and authorial voice in John Dowland's First Booke of Songes or Ayres

The order of the book: materiality, narrative and authorial voice in John Dowland's First Booke of Songes or Ayres

Source :

• Renaissance Studies [ 0269-1213 ] ; 2012-02.

English descriptors

• Entity :
  • org : Blackwell Publishing Ltd, National Biography Online, Newcastle University.
  • pers : Anthony Rooley, Arnold Wilson, Arthur F. Marotti, Christian Kelnberger, Daniel Fischlin, Daniel Leech-Wilkinson, David C. Price, David Smith, Day Tilts, Diana Poulton, Dictionary, Dowland, Edmund Spenser, Edward Doughtie, Elaine V. Beilin, Elizabeth Carey, Elizabeth Eva, Eva Leach, Feldman, Fischlin, George Carey, George Peele, Gilbert Talbot, Gioia Filocamo, Henry Hawkins, Henry Lea, Henry Lee, Henry Noel, Henry Wotton, Holman, Ian Biddle, Iohn Brown, J. W. Saunders, James M. Osborn, James Scudamore, Jane Pickering, Jeremy Smith, John Bodenham, John Dowland, John M. Ward, John Ramsey, John Scudamore, John Souch, Jon, Kate Van Orden, Kirsten Gibson, Lady Hunsdon, Lady Strange, Leach, Leofranc, Lillian M. Ruff, Louis A. Montrose, Lydia G. Cochrane, M. Hales, M. Jennifer, Magnus Williamson, Margreta De Grazia, Martha Feldman, Martin Eastwell, Matthew Lownes, Matthew Spring, Maureen Quilligan, Michael Gale, Mourneresse, My Lady, My Lord, Paul Alpers, Peter Hauge, Peter Holman, Peter Stallybrass, Poulton, Rebecca Herissone, Richard Edwards, Richard Wistreich, Robert Cecil, Robert Dowland, Robert Hales, Roger Chartier, Stephen Greenblatt, Steven W. May, Susanne Rupp, Thomas Adams, Thomas Berkeley, Thomas Dudley, Thomas Snodham, Thomas Tallis, Thomas Tomkins, Thomas Whythorne, Tim Crawford, Tudor Aristocrats, Tudor Poetry, Wendy Wall, William Byrd, William Segar.
  • place : America, Belgium, Berkeley, Blackburn, Bristol, Britain, Copenhagen, England, Ferrara, France, Herefordshire, Italy, Kassel, Padua, Paris, Raleigh, Rome, Shrewsbury, Venice, Warwick.
• Teeft :
  • Artistic persona, Authorial, Authorial persona, Authorial voice, Ayres, Berkeley, Booke, Cambridge university press, Cantus part, Compositional voice, Cornell university press, Court post, Courtly, Courtly iudgement, Courtly readers, Cynthia shine, Daniel fischlin, Daynty deuises, Dedicatory epistle, Diana poulton, Dowland, Early music, Editorial control, Edmund spenser, Elizabethan composer, English priest john scudamore, English renaissance, Faerie queene, Favour, Favoured courtier, First booke, Fourth motive, Front matter, Gift offering, Greater part, Harold love, Heauy sleepe, Henry hawkins, Holman, Inclusion, Jeremy smith, John dowland, Kirsten, Kirsten gibson, Lachrimae, Loue, Loyal servants, Lute, Lute book, Lute society, Lute solo, Lyric, Lyric persona, Lyric personae, Lyric poetry, Lyric verse, Manuscript, Manuscript circulation, Manuscript sources, Marotti, Material form, Material object, Miscellany, Mistress, Music letters, Opening motive, Oxford university press, Pacient eyes, Parthenia sacra, Performance space, Persona, Poetic anthologies, Poetic miscellanies, Poulton, Prefatory, Prefatory pages, Print culture, Print debut, Priuate labours, Publike view, Renaissance studies, Ripe inough, Robert cecil, Roger chartier, Self louing lads, Small proportions, Social contexts, Social elite, Social origins, Songbook, Songes, Spotless hart, Such songs, Third stanza, Thomas adams, Thomas tomkins, Thomas whythorne, Title page, True louers, Unquiet thoughts, Unrequited love, Vnquiet thoughts, Warwick edwards, Wider audience, William segar, Windie sighes.

Abstract

• https://api.istex.fr/ark:/67375/WNG-L9J47MW9-L/fulltext.pdf

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