The ten essays in this collection explore the discrete yet overlapping female spaces of privacy and domesticity in early modern England. While other literary critics have focused their studies of female privacy on widows, witches, female recusants and criminals, the contributors to this collection propose that the early modern subculture of femaleness is more expansive and formative than is typically understood. They maintain that the subculture includes segregated, sometimes secluded, domestic places for primarily female activities like nursing, sewing, cooking, and caring for children and the sick. It also includes hidden psychological realms of privacy, organized by women's personal habits, around intimate friendships or kinship, and behind institutional powerlessness. The texts discussed in the volume include plays not only by Shakespeare but also Ford, Wroth, Marvell, Spenser and Cavendish, among others. Through the lens of literature, contributors consider the unstructured, fluid quality of much everyday female experience as well as the dimensions, symbols, and the ever-changing politics and culture of the household. They analyze the complex habits of female settings-the verbal, spatial, and affective strategies of early-modern women's culture, including private rituals, domestic practices, and erotic attachments-in order to provide a broader picture of female culture and of female authority. The authors argue-through a range of critical approaches that include feminist, historical, and psychoanalytic-that early modern women often transformed their confinement into something useful and necessary, creating protected and even sacred spaces with their own symbols and aesthetic.

This book is the first comparative study of early modern English and Dutch women writers. It explores women’s rich and complex responses to the birth of the public sphere, new concepts of privacy, and the ideology of domesticity in the seventeenth century. Women in both countries were briefly allowed a public voice during times of political upheaval, but were increasingly imagined as properly confined to the household by the end of the century. This book compares how English and Dutch women responded to these changes. It discusses praise of women, marriage manuals, and attitudes to female literacy, along with female artistic and literary expressions in the form of painting, engraving, embroidery, print, drama, poetry, and prose, to offer a rich account of women’s contributions to debates on issues that mattered most to them.

This concise introduction provides an overview of the state of research on women's history in the early modern period. It emcompasses a guide to the historiography, an assessment of the major debates, and information about the varied sources available for women's history in this period. Arranged around familiar themes - the family, work, religion, education - the book presents a comprehensive survey of the social, economic and political position of women in England in the 16th and 17th centuries.

This book argues that the early modern public/private boundary was surprisingly dynamic and flexible in early modern literature, drawing upon authors including Shakespeare, Anne Lock, Mary Wroth, and Aphra Behn, and genres including lyric poetry, drama, prose fiction, and household orders. An epilogue discusses postmodern privacy in digital media.

A nuanced re-evaluation of the ways in which gender affected the use of physical space in early modern England. Space was not simply a passive backdrop to a social system that had structural origins elsewhere; it was vitally important for marking out and maintaining the hierarchy that sustained social and gender order in sixteenth- and seventeenth-century England. Gender had a considerable influence on its use and organization; status and gender were displayed physically and spatially every moment of the day, from a person's place at table to the bed on which he orshe slept, in places of work and recreation, in dress, gesture and modes of address. Space was also the basis for the formation of gender identities which were constantly contested and restructured, as this book shows.Examining in turn domestic, social and sacred spaces and the spatial division of labour in gender construction, the author demonstrates how these could shift, and with them the position and power of women. She shows that the ideological assumption that all women are subject to all men is flawed, and exposes the limitations of interpretations which rely on the model and binary opposition of public/private, male/female, to describe gender relations and theirchanges across the period, thus offering a much more complex and picture than has hitherto been perceived. The book will be essential reading not just for historians of the family and of women, but for all those studying early modern social history. AMANDA FLATHER is a lecturer in the Department of History at the University of Essex.

This book explores how women of the poorer and middling sorts in early modern England negotiated a patriarchal culture in which they were generally excluded, marginalized, or subordinated. It focuses on the networks of close friends ('gossips') which gave them a social identity beyond the narrowly domestic, providing both companionship and practical support in disputes with husbands and with neighbours of either sex. The book also examines the micropolitics of the household, with its internal alliances and feuds, and women's agency in neighbourhood politics, exercised by shaping local public opinion, exerting pressure on parish officials, and through the role of informal female juries. If women did not openly challenge male supremacy, they could often play a significant role in shaping their own lives and the life of the local community.

In a theatre which self-consciously cultivated its audiences' imagination, how and what did playgoers 'see' on the stage? This book reconstructs one aspect of that imaginative process. It considers a range of printed and documentary evidence - the majority previously unpublished - for the way ordinary individuals thought about their houses and households. It then explores how writers of domestic tragedies engaged those attitudes to shape their representations of domesticity. It therefore offers a new method for understanding theatrical representations, based around a truly interdisciplinary study of the interaction between literary and historical methods. The plays she cites include Arden of Faversham, Two Lamentable Tragedies, A Woman Killed With Kindness, and A Yorkshire Tragedy.