By Lorna Hutson
The Usurer's Daughter examines masculinity within the sixteenth century, the fictitious illustration of girls and the makes use of of rhetoric. conventional and poststructural techniques to literature from this era have did not take pleasure in the cultural influence of humanism, which primarily served to textualize masculine friendship. Drawing upon either new historicism and feminist conception, Lorna Hutson argues that this can account for the pervasive articulation and re-presentation of girls in Shakespeare and sixteenth century fiction.
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Additional info for The Usurer's Daughter: Male Friendship and Fictions of Women in Sixteenth-Century England
Example text
But his being out of doors signifies not physical labour but readiness for negotiation in the public sphere—Socrates finds him at the temple of Zeus in the agora or marketplace (Hervet’s substitution of a ‘chuche porche’ would convey to a sixteenthcentury reader this sense of a public place for the transacting of business). Xenophon is careful to define Ischomachus’ marketplace activity as patrician obligation rather than commerce or trading— ‘taxes, preastes or subsidies’ translates Hervet—but the point is, nevertheless, that the discovery of Ischomachus in the text as ‘being outdoors’ signifies a state of apparent leisure which is actually preparedness-for-business, a state of being furnished, or possessed, of the means to speak and act to advantage in the public domain.
Decorum is both a textual and a life skill; a facility in the persuasive structuring of discourse, and a practical capacity for the discovery of resources for action within the contingencies of a particular occasion. 41 Texts that enable the reader’s sense of decorum, by offering a model of the invention and disposition of examples to greatest persuasive effect within the discourse, might be said to embody an ‘economic’ or generative principle within an aesthetics which thus values form as potentially transformative, and identifies knowledge with the future uses of imitation.
B2r) The idea of learning by looking at a household is transposed through the analogy with looking at a play into a concept of understanding which resembles the humanists’ practice of exemplary reading; to consider a play from the point of view of the poet-dramatist is to gain a practical knowledge of its persuasive economy of representation. But Critobolus is ‘not minded to be poet’, so he never considers the practical architecture of a play. Nor, in fact, is he minded to keep horses. ’, he asks.
