Thomas Cromwell was King Henry VIII’s most faithful servant, the only man the king ever openly regretted executing. But Thomas Cromwell came to royal prominence late in life, and had 45 years of family, friends and experiences behind him before catching Henry’s eye. Born a common boy at a time of significant change in England in 1485, Cromwell grew up in a happy, close-knit family, before heading to Europe for dramatic adventures. Returning to England a decade later, Cromwell emerged with the skills of a lawyer and merchant, with the European language skills and connections to match. Marriage, children, friends, family and manor homes all furnished Cromwell’s life, a man happy and settled in London. But more beckoned for the Italian-Englishman, when a special friendship with Cardinal Thomas Wolsey grew, along with the attention of the king. Tragic personal loss affected Cromwell, hidden behind the more-recorded professional accolades. But friendships remained throughout time, changes in allegiance and even religion. Men who had met the young Cromwell stuck close to him through the years, and Cromwell never forgot a single loyal friend. Cromwell’s desire to support his son saw Gregory become brother-in-law to the king himself, only for more tragedy to harm the ever-growing Cromwell family. Far from the seemingly dour, black-clad, serious man, Cromwell lavished those around him with gifts, parties, extravagant games, entertainments, animals and outfits. But the glamour and beauty of Cromwell’s life would come to a sudden end, leaving a trail of devastated men and women, and an extraordinary manor home, Austin Friars, scattered to the wind. Using a wide variety of primary material, this exciting biography weaves a new narrative on the indefatigable Thomas Cromwell, illustrating him more vividly than we've known him before.
Study of three North American women novelists combining the standpoints of gender studies and narratology. By analyzing the works of Thomas, Marlatt, and Erdrich through the lenses of subjectivity, gender studies, and narratology, Caroline Rosenthal brings to light new perspectives on their writings. Although all three authors write metafictions that challenge literary realism and dominant views of gender, the forms of their counter-narratives vary. In her novel Intertidal Life, Thomas traces the disintegration of an identity through narrative devices that unearth ruptures and contradictions in stories of gender. In contrast, Marlatt, in Ana Historic, challenges the regulatory fiction of heterosexuality. She offers her protagonist a way out into a new order that breaks with the law of the father, creating a "monstrous" text that explores the possibilities of a lesbian identity. In her tetralogy of novels made up of Love Medicine, Tracks, The Beet Queen, and The Bingo Palace, Erdrichresists definite readings of femininity altogether. By drawing on trickster narratives, she creates an open system of gendered identities that is dynamic and unfinalizable, positing the most fragmented worldview as the most enduring. By applying gender and narrative theory to nuanced analysis of the texts, Rosenthal's study elucidates the correlation between gender identity formation and narrative. Caroline Rosenthal is Professor and Chair of American Literature at the Friedrich-Schiller University in Jena, Germany. Her book Narrative Deconstructions of Gender was published by Camden House in 2003.
Traditional interpretations of Thomas Mann's relation to Nietzsche's writings plot out a simple relation of earlier adulation and later rejection. The book argues that Mann's disavowal of Nietzsche's influence was, in the words of T.J. Reed, a necessary political act when the repudiation of Nietzsche's more hysterical doctrines required such a response. Using a genealogical method, the book traces how Mann labors ambivalently under the shadow of Nietzsche's writings on his own political artistry through a detailed analysis of Mann's Death in Venice, Dr. Faustus, the Joseph tetralogy, and Confessions of Felix Krull, Confidence Man. Using the recurring Nietzschean themes of eroticism, death, music, and laughter as a guide, it arrives at a rough picture of how Mann both takes up and discontinues Nietzsche's poetic heritage. The book derives the vision of the interrelationships binding these four leitmotiv elements from Dürer's magic square as depicted in Melancholia I. The link with Dürer is far from arbitrary because Mann directly aligned Nietzschean insight with Dürer's world of passion, sympathy with suffering, the macabre stench of rotting flesh, and Faustian melancholy.
Medieval London Widows, 1300-1500 shows that it is possible to expand the repertoire of examples of medieval women with personalities and individuality beyond the well-known triad of Margaret Paston, Margery Kempe and the Wife of Bath. The rich documentation of London records allows these women to speak for themselves. They do so largely through their wills, which themselves exemplify the ability of widows to make choices and to order their lives.
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