A study of European utopias in context from the early years of Henry VIII’s reign to the Restoration, this book is the first comprehensive attempt since J. C. Davis’ Utopia and the Ideal Society (1981) to understand the societies projected by utopian literature from Thomas More’s Utopia (1516) to the political idealism and millenarianism of the mid-seventeenth century. Where Davis concentrated on understanding utopias historically, Renaissance Utopia also seeks to make sense of utopia as a literary form, offering both a new typology of utopia and a new history of European humanist utopianism. This book examines how the utopia was transformed from an intellectual exercise in philosophical interrogation to a serious means of imagining practical social reform. In doing so it argues that the relationship between Renaissance utopia and Renaissance dialogue is crucial; the utopian mode of discourse continued to make use of aspects of dialogue even when the dialogue form itself was in decline. Exploring the ways in which utopian texts assimilated dialogue, Renaissance Utopia complements recent work by historians and literary scholars on early modern communities by providing a thorough investigation of the issues informing a way of modelling a very particular community and literary mode - the utopia.

Since the publication of Thomas More's genre-defining work Utopia in 1516, the field of utopian literature has evolved into an ever-expanding domain. This Companion presents an extensive historical survey of the development of utopianism, from the publication of Utopia to today's dark and despairing tendency towards dystopian pessimism, epitomised by works such as George Orwell's Nineteen Eighty-Four and Margaret Atwood's The Handmaid's Tale. Chapters address the difficult definition of the concept of utopia, and consider its relation to science fiction and other literary genres. The volume takes an innovative approach to the major themes predominating within the utopian and dystopian literary tradition, including feminism, romance and ecology, and explores in detail the vexed question of the purportedly 'western' nature of the concept of utopia. The reader is provided with a balanced overview of the evolution and current state of a long-standing, rich tradition of historical, political and literary scholarship.

A study of European utopias in context from the early years of Henry VIII’s reign to the Restoration, this book is the first comprehensive attempt since J. C. Davis’ Utopia and the Ideal Society (1981) to understand the societies projected by utopian literature from Thomas More’s Utopia (1516) to the political idealism and millenarianism of the mid-seventeenth century. Where Davis concentrated on understanding utopias historically, Renaissance Utopia also seeks to make sense of utopia as a literary form, offering both a new typology of utopia and a new history of European humanist utopianism. This book examines how the utopia was transformed from an intellectual exercise in philosophical interrogation to a serious means of imagining practical social reform. In doing so it argues that the relationship between Renaissance utopia and Renaissance dialogue is crucial; the utopian mode of discourse continued to make use of aspects of dialogue even when the dialogue form itself was in decline. Exploring the ways in which utopian texts assimilated dialogue, Renaissance Utopia complements recent work by historians and literary scholars on early modern communities by providing a thorough investigation of the issues informing a way of modelling a very particular community and literary mode - the utopia.

Marina Leslie draws on three important early modern utopian texts—Thomas More's Utopia, Francis Bacon's New Atlantis, and Margaret Cavendish's Description of a New World Called the Blazing World—as a means of exploring models for historical transformation and of addressing the relationship of literature and history in contemporary critical practice. While the genre of utopian texts is a fertile terrain for historicist readings, Leslie demonstrates that utopia provides unstable ground for charting out the relation of literary text to historical context. In particular, she examines the ways that both Marxist and new historicist critics have taken the literary utopia not simply as one form among many available for reading historically but as a privileged form or methodological paradigm. Rather than approach utopia by mapping out a fixed set of formal features, or by tracing the development of the genre, Leslie elaborates a history of utopia as critical practice. Moreover, by taking every reading of utopia to be as historically symptomatic as the literary production it assesses, her book integrates readings of these three English Renaissance utopias with an analysis of the history and politics of reading utopia. Throughout, Leslie considers utopia as a fictional enactment of historical process and method. In her view, these early modern utopian constructions of history relate very closely to and impinge upon the narrative structures of history assumed by critical theory today.

This book provides the first English study (comprehensive of introductory essays, translations, and notes) of five prominent Italian Renaissance utopias: Doni’s Wise and Crazy World, Patrizi’s The Happy City, and Zuccolo’s The Republic of Utopia, The Republic of Evandria, and The Happy City. The scholarship on Italian Renaissance utopias is still relatively underdeveloped; there is no English translation of these texts (apart from Campanella’s City of Sun), and our understanding of the distinctive features of this utopian tradition is rather limited. This book therefore fills an important gap in the existing critical literature, providing easier access to these utopian texts, and showing how the study of the utopias of Doni, Patrizi, and Zuccolo can shed crucial light on the scholarly debate about the essential traits of Renaissance utopias.

Utopia is a work of fiction and socio-political satire by Thomas More published in 1516 in Latin. The book is a frame narrative primarily depicting a fictional island society and its religious, social and political customs. Many aspects of More's description of Utopia are reminiscent of life in monasteries.

Continuing the epic of Christendom told in earlier volumes, The Age of Paradise and The Age of Division, the author explains how, between the Italian Renaissance of the fourteenth century and the Russian Revolution of the twentieth, secular humanism displaced Christianity to become the source of modern culture. The result was some of the most illustrious music, science, philosophy, and literature ever produced. But the cultural reorientation from paradise to utopia-from an experience of the kingdom of heaven to one bound exclusively by this world-all but eradicated the traditional culture of the West, leaving it at the beginning of the twentieth century without roots in anything transcendent.