In her award-winning, critically acclaimed Women's Writing in Italy, 1400--1650, Virginia Cox chronicles the history of women writers in early modern Italy -- who they were, what they wrote, where they fit in society, and how their status changed during this period. In this book, Cox examines more closely one particular moment in this history, in many ways the most remarkable for the richness and range of women's literary output. A widespread critical notion sees Italian women's writing as a phenomenon specific to the peculiar literary environment of the mid-sixteenth century, and most scholars assume that a reactionary movement such as the Counter-Reformation was unlikely to spur its development. Cox argues otherwise, showing that women's writing flourished in the period following 1560, reaching beyond the customary "feminine" genres of lyric, poetry, and letters to experiment with pastoral drama, chivalric romance, tragedy, and epic. There were few widely practiced genres in this eclectic phase of Italian literature to which women did not turn their hand. Organized by genre, and including translations of all excerpts from primary texts, this comprehensive and engaging volume provides students and scholars with an invaluable resource as interest in these exceptional writers grows. In addition to familiar, secular works by authors such as Isabella Andreini, Moderata Fonte, and Lucrezia Marinella, Cox also discusses important writings that have largely escaped critical interest, including Fonte's and Marinella's vivid religious narratives, an unfinished Amazonian epic by Maddalena Salvetti, and the startlingly fresh autobiographical lyrics of Francesca Turina Bufalini. Juxtaposing religious and secular writings by women and tracing their relationship to the male-authored literature of the period, often surprisingly affirmative in its attitudes toward women, Cox reveals a new and provocative vision of the Italian Counter-Reformation as a period far less uniformly repressive of women than is commonly assumed. Praise for Women's Writing in Italy, 1400--1650 "Exhaustive and insightful... This is an amazing book, a major achievement in the field of women's studies." -- Renaissance Quarterly "This is a definitive study and will surely remain so for many years to come." -- Choice "Virginia Cox has written a magisterial study of the major trends in women's writing in Renaissance and Counter-Reformation Italy... This is indeed an impressive volume and one which deserves to be read and studied. It will change the way we think about women's writing in early modern Italy." -- Modern Language Review

Winner, 2012 Book Award, Society for the Study of Early Modern WomenHonorable Mention, Literature, 2012 PROSE Awards, Professional and Scholarly Publishing Division of the Association of American Publishers In her award-winning, critically acclaimed Women’s Writing in Italy, 1400–1650, Virginia Cox chronicles the history of women writers in early modern Italy—who they were, what they wrote, where they fit in society, and how their status changed during this period. In this book, Cox examines more closely one particular moment in this history, in many ways the most remarkable for the richness and range of women’s literary output. A widespread critical notion sees Italian women’s writing as a phenomenon specific to the peculiar literary environment of the mid-sixteenth century, and most scholars assume that a reactionary movement such as the Counter-Reformation was unlikely to spur its development. Cox argues otherwise, showing that women’s writing flourished in the period following 1560, reaching beyond the customary "feminine" genres of lyric, poetry, and letters to experiment with pastoral drama, chivalric romance, tragedy, and epic. There were few widely practiced genres in this eclectic phase of Italian literature to which women did not turn their hand. Organized by genre, and including translations of all excerpts from primary texts, this comprehensive and engaging volume provides students and scholars with an invaluable resource as interest in these exceptional writers grows. In addition to familiar, secular works by authors such as Isabella Andreini, Moderata Fonte, and Lucrezia Marinella, Cox also discusses important writings that have largely escaped critical interest, including Fonte’s and Marinella’s vivid religious narratives, an unfinished Amazonian epic by Maddalena Salvetti, and the startlingly fresh autobiographical lyrics of Francesca Turina Bufalini. Juxtaposing religious and secular writings by women and tracing their relationship to the male-authored literature of the period, often surprisingly affirmative in its attitudes toward women, Cox reveals a new and provocative vision of the Italian Counter-Reformation as a period far less uniformly repressive of women than is commonly assumed.

Winner, 2009 Best Book Award, Society for the Study of Early Modern WomenWinner, 2008 PROSE Award for Best Book in Language, Literature, and Linguistics. Professional and Scholarly Publishing Division of the Association of American Publishers This is the first comprehensive study of the remarkably rich tradition of women’s writing that flourished in Italy between the fifteenth and early seventeenth centuries. Virginia Cox documents this tradition and both explains its character and scope and offers a new hypothesis on the reasons for its emergence and decline. Cox combines fresh scholarship with a revisionist argument that overturns existing historical paradigms for the chronology of early modern Italian women’s writing and questions the historiographical commonplace that the tradition was brought to an end by the Counter Reformation. Using a comparative analysis of women's activities as artists, musicians, composers, and actresses, Cox locates women's writing in its broader contexts and considers how gender reflects and reinvents conventional narratives of literary change.

Originally published in 1967. Jane Addams was one of the most creative thinkers and activists in the history of American social reform. She pioneered the settlement house movement. She was a leader in the attempt to relate education to the new urban environment for millions of Americans in the early twentieth century. She was a vocal advocate of the Progressive movement and active in the drive for women's rights. She was also an outstanding spokesman for international understanding and world peace. Although Jane Addams is well known as one of the originators of social work in the United States, as an early advocate of a "War on Poverty," and as the proponent of ideas that led to the creation of the modern welfare state, the convictions that motivated her prodigious energy had not, prior to Dr. Farrell's investigation, been carefully examined. He traces the relation between her philanthropic principles and her Progressive politics, her feminism, and her efforts to achieve world peace. He shows how her association with John Dewey and her acceptance of pragmatism changed her thinking and also how her later pacifism alienated her from many progressives of various persuasions. Before his sudden and untimely death at the age of thirty-two, John C. Farrell had just completed this study, based on his examination of virtually every important writing by and about Jane Addams. It is not a full-fledged biography but rather an intellectual history that seeks to explain the origins and relevance of Jane Addams' ideas and activities to the first half of the twentieth century. The manuscript for this book, complete but unrevised, was edited for publication by two of Farrell's colleagues who prefer to remain unidentified. Charles C. Barker, professor of history at Johns Hopkins University, wrote an introduction that places Beloved Lady in the context of scholarly literature on Jane Addams.

The enduring "black legend" of the Italian Counter-Reformation, which has held sway in both scholarly and popular culture, maintains that the Council of Trent ushered in a cultural dark age in Italy, snuffing out the spectacular creative production of the Renaissance. As a result, the decades following Trent have been mostly overlooked in Italian literary studies, in particular. The thirteen essays of Innovation in the Italian Counter-Reformation present a radical reconsideration of literary production in post-Tridentine Italy. With particular attention to the much-maligned tradition of spiritual literature, the volume’s contributors weave literary analysis together with religion, theater, art, music, science, and gender to demonstrate that the literature of this period not only merits study but is positively innovative. Contributors include such renowned critics as Virginia Cox and Amadeo Quondam, two of the leading scholars on the Italian Counter-Reformation. Distributed for UNIVERSITY OF DELAWARE PRESS

This is an amazing book, a major achievement in the field of women's studies.--Renaissance Quarterly, reviewing Women's Writing in Italy, 1400-1650

Sixteenth-century Italy witnessed the rebirth of comedy, tragedy, and tragicomedy in the pastoral mode. Traditionally, we think of comedy and tragedy as remakes? of ancient models, and tragicomedy alone as the invention of the moderns. Women, Rhetoric, and Drama in Early Modern Italy suggests that all three genres were, in fact, remarkably new, if dramatists’ intriguingly sympathetic portrayals of and sustained investment in women as vibrant and dynamic characters of the early modern stage are taken into account. This study examines the role of rhetoric and gender in early modern Italian drama, in itself and in order to explore its complex interrelationship with the rise of women writers and the role women played in Italian culture and society, while at the same time demonstrating just how closely intertwined history, culture, and dramatic writing are. Author Alexandra Coller focuses on the scripted/erudite plays of the sixteenth and first half of the seventeenth centuries, which, she argues, are indispensable for a balanced view of the history of drama and its place within contemporary literary and women’s studies. As this book reveals, the ascendancy of comedy, tragedy, and tragicomedy in the vernacular seems to have been not only inextricably linked to but also dependent on the rise of women as prominent stage characters and, eventually, as authors in their own right.