Titlebook: Gender, Authorship, and Early Modern Women’s Collaboration; Patricia Pender Book 2017 The Editor(s) (if applicable) and The Author(s) 2017

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Projection

–LOUS

Collaboration in the Parliamentary Speeches of Queen Elizabeth Ilaborative” in the form they have come down to us because our best records of them, in the absence of recording devices, are usually contemporary transcriptions by auditors. These are often lively and quite similar from one transcriber to another, which suggests that the transcriptions are fairly fa

N防腐剂

Conflicted Collaboration in ,ins with a consideration of factors that led Goad to conclude that Joscelin’s manuscript was incomplete. This paves the way for an analysis of the relationship between Joscelin and her editor. I argue that Goad’s emendations aimed to “repair” the text by making it conform to conventional early moder

fulcrum

Collaboration, Authorship, and Gender in the Paratexts Accompanying Translations by Susan Du Verger icantly to making a translated work appropriate to its new socio-cultural context, while providing a space for all the agents involved in the translation and publication process to address a variety of questions. Among these, in the case of many female-authored translated works, are the intertwined

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来就得意

驾驶

“All Fell Not in , Field”: Lucy Harington Russell and the Historical Epicd 1614: Michael Drayton’s accounts of the barons’ wars of the thirteenth and fourteenth centuries, and Arthur Gorges’s 1614 translation of Lucan’s ., an account of the civil war between Caesar and the forces of the Roman Senate. These “admonitory epics” were not only dedicated to Bedford, but interp

全能

“A Veray Patronesse”: Margaret Beaufort and the Early English Printersse relationships collaborative. In their prologues, epilogues, printer’s marks, and colophons, William Caxton, Wynkyn de Worde, and Richard Pynson provide a record of their working arrangements with Beaufort that bear witness to the multiple roles she played in English book history—as writer, transl

Contracture

Afterword: “Her Book” and Early Modern Modes of Collaborationns and descriptions of the practices. It looks at the ways in which authors, owners, readers, and collaborators described their relationship to the text, using as examples Esther Inglis, manuscript recipe volumes with multiple owners, and Elizabeth Cellier’s legal defense of her writings.