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This opening chapter explores the trajectory of the study of early modern women’s writing. It traces the origins of the field from the nineteenth century to Virginia Woolf and up to the present, and interrogates the very idea of a ‘field’, the importance of attaining this status, and also the possible pitfalls of such territorial metaphors. It explores the category of ‘women’s writing’ itself and the challenges posed by new work on race, gender, and sexuality to that category. Finally, the chapter lays out the six parts which make up this Handbook, setting out the rationale behind its thematic and approach-based structure and briefly introducing the key arguments and authors of each chapter.

Rather than viewing ‘mid-Tudor’ as a transitional phase, this chapter argues that the poetry of the 1560s and 1570s provides significant innovation in form, presentation, style, and social reach. The chapter suggests that to impose aesthetic and formal distinctions retrospectively is to mistake the uniquely vernacular and hybrid nature of much of the verse of this period, and the ways in which it is presented to the reader in increasingly sophisticated forms: anthologies, miscellanies, and single-author collections of variegated material. The chapter looks in detail at work by Thomas Howell, George Turberville, George Gascoigne, and Isabella Whitney in the larger context of poetic output in the 1560s and 1570s.

Ceramic Yb:YAG is a suitable gain medium candidate for high-energy lasers. The use of a combination of TEOS and MgO sintering aids led to uniform microstructure independently on the increase of thickness. Samples were thoroughly characterised.

Characterising phase delay introduced by high-reflectance, optical coatings is important for reducing losses in high average-power lasers. In collaboration with Manx Precision Optics, phase delay was reduced. This should improve optical-to-optical efficiency and extend system capabilities.

We present an overview and the results of thermal stress-induced depolarisation modelling of Yb:YAG gain media slabs in a multipass, cryogenically-cooled, nanosecond, diode-pumped solid state laser operating at 10 J, 100 Hz.

This essay examines the English translations of the autobiographical writings of Teresa de Ávila — The Lyf of the Mother Teresa of Iesus (Antwerp, 1611) and The Flaming Hart (Antwerp, 1642) — to demonstrate the impact of her exemplary spiritual life on the development of early modern life writing, particularly in domestic contexts. Teresa’s autobiographical texts were mediated for new audiences: religious orders and lay readers, both Catholic and Protestant. Teresa quickly established cult status in large part through readers’ engagement with the record of her life. Analysis of her writings shows how they partook in a carefully orchestrated campaign of Counter-Reformation proselytization that established a network of religious houses but also a network of thought and contemplation across Europe. The key players involved with circulating her works were by and large lay people operating in close collaboration with houses on the Continent, but outside of the religious orders per se. While Teresa’s writings were a source of inspiration and emulation across the confessional divide and across the gender divide, she had a particular appeal for women, who often acted as crucial agents of conversion and reconversion, particularly in England. The article also shows how Teresa’s own protracted and intensive effort to validate her spiritual visions had the effect of both publicizing and authorizing herself as an authentic witness to the divine in the face of an oppositional, tradition-defending church. This must have had strong appeal in a century that was profoundly concerned with rearticulating the relationships between individual and collective state or religious authority.

We report on the experimental characterisation of 45° high reflectance (HR) mirrors including scatter and transmittance measurements for use in a 1kW average power pulsed laser system.

Without conscious thought, listeners link events in the world to sounds they hear. We study one surprising example: Adults can judge the temperature of water simply from hearing it being poured. How do these nuanced perceptual skills develop? Is extensive auditory experience required, or are these skills present in early childhood? In Exp.1, adults were exceptionally good at judging whether water was hot vs. cold from pouring sounds (M=93% accuracy; N=104). In Exp.2, we tested this ability in N=113 children aged 3-12 years, and found evidence of developmental change: Age significantly predicted accuracy (p

We report on the successful demonstration of a 150 J nanosecond pulsed cryogenic gas cooled, diode-pumped multi-slab Yb:YAG laser operating at 1 Hz. To the best of our knowledge, this is the highest energy ever recorded for a diode-pumped laser system.

This chapter argues that women poets of the Renaissance (Lanyer, Southwell, Hutchinson) deliberately avoid engaging the Ovidian model of female-voiced complaint with its focus on sexuality and body, preferring instead to deploy other traditions―lament, petition, elegy. Women poets turn to forms of complaint that are embedded within other forms and genres, which enables them to control the reception of women’s words. In particular, this chapter focusses on the ways in which women poets utilise the voice and example of Eve as a way of reimagining the relationship between voice, fallen sexuality and virtue.

We report on the successful demonstration of second and third harmonic conversion of a high pulse energy, high average power 1030 nm diode pumped Yb-doped yttrium aluminum garnet (Yb:YAG) nanosecond pulsed laser in a large aperture lithium triborate (LBO) crystal. We demonstrated generation of 59.7 J at 10 Hz (597 W) at 515 nm (second harmonic) and of 65.0 J at 1 Hz (65 W) at 343 nm (third harmonic), with efficiencies of 66% and 68%, respectively. These results, to the best of our knowledge, represent the highest energy and power reported for frequency conversion to green and UV-A wavelengths.

In this paper, we present a model to predict thermal stress-induced birefringence in high energy, high repetition rate diode-pumped Yb:YAG lasers. The model calculates thermal depolarisation as a function of gain medium geometry, pump power, cooling parameters, and input polarisation state. We show that model predictions are in good agreement with experimental observations carried out on a DiPOLE 100 J, 10 Hz laser amplifier. We show that single-pass depolarisation strongly depends on input polarisation state and pumping parameters. In the absence of any depolarisation compensation scheme, depolarisation varies over a range between 5% and 40%. The strong dependence of thermal stress-induced depolarisation on input polarisation indicates that, in the case of multipass amplifiers, the use of waveplates after every pass can reduce depolarisation losses significantly. We expect that this study will assist in the design and optimisation of Yb:YAG lasers.

This article argues that Shakespeare's Coriolanus draws on the powerful exemplary figure of Cornelia, mother of the Gracchi, in its ambiguous depiction of the relationship between eloquence and femininity. By looking at ideas relating to the example, and at a range of depictions of Cornelia, the essay suggests that the manipulation of these images represents a response to emergent discourses relating to femininity, as well as an engagement with the reception of classical rhetoric. As the figures of Cornelia and her counterpart Volumnia demonstrate, female exemplars are integrally involved in the formulation of ideas about style, rhetoric and ethics, and can be seen to figure centrally in the Renaissance's understanding of relationships between private and public, as figured in the polis, the household and in historical narrative. Shakespeare both addresses and complicates the standard equation between maternal virtue and eloquence by critiquing the incursion of feminine rhetoric into the public realm of politics and governance.

The modes of authorship adopted by early modern women writers present multiple challenges to editors. Editing is inevitably a series of choices, set into a hierarchy of value. Often the kinds of materials being edited fall outside the scope and tradition of scholarly editing as it has been understood within the discipline of literature. Texts produced by women writers may be heavily mediated; they may represent an emergent rather than an established genre or form (not necessarily ‘literary’ in the strict sense); they may be decontextualized; they often lack a history of reception. These conditions raise a series of questions about value, canonicity, context, aesthetics, and intertextuality that cannot simply be resolved by reference to the self-evident justification of the gender of the author(s). At the same time, editorial decisions about these questions serve to produce versions of female authorship. Such materials challenge some of the key assumptions of scholarly editing as traditionally understood, despite increasing critical acknowledgement of the difficulties produced by a narrowly defined idea of texts and editing practices: ‘elucidation is...a denial of the essential reality of obscurity’.

Review of: Pritchard, A., 2005. 'English Biography in the Seventeenth Century: A Critical Survey'. Toronto: University of Toronto Press.

Interleukin (IL)-12 is a cytokine originally identified from medium conditioned by an Epstein-Barr virus transformed cell line. IL-12 has been shown to increase IFN-gamma secretion from NK and T cells, significantly enhance cytolytic activity in both of these cell types, and promote the development of Th1/Tc1 immune responses. These properties make IL-12 an attractive candidate for the development of various clinical protocols ranging from the treatment of viral diseases to tumor immunotherapy. The initial attempts to use IL-12 in the treatment of tumors demonstrated toxicity at potentially therapeutic doses. To circumvent the toxicity associated with IL-12 administration, the authors have developed an adoptive immunotherapy protocol that uses IL-12 for a brief period during ex vivo T cell activation. They show that IL-12 conditioning may be achieved without altering the growth characteristics of the in vitro expanding T cells. T cells generated in the presence of IL-12 show a shift to a Th1/Tc1 dominant phenotype. The resultant cells are more potent killers in vitro and in vivo as assessed by CTL assays and tumor regression. The ability to harness the potent Th1/Tc1 generating potential of IL-12 while avoiding its associated in vivo toxicity has the potential to benefit a large number of clinical trial protocols using adoptive transfer of T cells specific for tumors, viruses, or intracellular pathogens.

The relationship of women writers to the art of translation is often acknowledged to be paradoxical, and this is nowhere more apparent than in the differing values attributed to women's and men's translation activities during the so-called 'golden age' of translation, the English Renaissance.1 In this period, translation was seen as a suitable activity for women on the basis of the assumed submission of the practitioner to the superior authority of the master-text. But, given the complex understanding of the cultural, political, and linguistic significance of translation current in the period's theory and practice of rhetoric and pedagogy, this is by no means the full picture. Formulations such as Nicholas Breton's in An Olde Mans Lesson (1605), where Chremes advises his young friend Pamphilius to set his restless wife to translation because 'it will keepe her from Idlenes, & it is a cunning kinde task',2 need to be placed in the context of Renaissance theories of translation, rather than taken as unproblematic evidence of how translations by women were read and understood. Such representations of the act of translation do not necessarily tell us very much about the meanings of translated texts undertaken by women; rather, they indicate that the assessment of translations, like that of other texts, is predicated on specific assumptions of value attached to the writer's gender. In the scene set up by Breton, translation is an agent of control, allied to the occupation of hands and minds by technical accomplishments such as needlework, spinning, and embroidery. The linkage of translation to repetitive craft, rather than to the rhetorically and politically motivated encounter between translator and text, is clearly indebted to an a priori assumption about the inability of women to take on the mantle of authorship: copious speech and public action were reckoned beyond them. In this scenario, women's translation activity is private and domestic, connected with the maintenance of household piety and virtue, in stark contrast to its status as the cornerstone of an entire pedagogic system of humanistic and linguistic training for men. Modern critics of Early Modern women's writing have been curiously reluctant to challenge the representations of women as translators found

This essay attempts to consider the question of transgression by examining one category of speech where there is a potential conflict between what is said, and the ethos of the speaker. I am going to argue that sexually suggestive speech (or bawdy) is a crucial part of the negotiation of relationships between the sexes, and that it also maps (onto) social and power hierarchies. Crucially, bawdy is a category of speech that places female speakers as transgressive at the same time as it makes them objects of humour, desire or ridicule. Yet in the context of the early modern stage, female speech is also se If-evidently performative, able to encode certain anxieties and fantasies about the power of female speech, and to rehearse the restrictions to which it is normally subject. Thus the figure of the woman who speaks bawdy represents a series of crises about questions of linguistic — and therefore social — regulation, figured through the spectacle of a woman uttering words that encode meanings that are normally off limits to her.

Acknowledgements Introduction D.Clarke & D.Conroy The Scholarship of Teaching the Early Modern: An Overview D.Conroy PART I: THE EARLY MODERN IN THE DIGITAL AGE Renaissance Teaching and Learning: Humanist Pedagogy in the Digital Age and What it Might Teach Us D.Clarke Information Revolutions Past and Present, and Teaching the Early Modern Period P.Dover PART II: THE EARLY MODERN AND ITS OTHERS 'Other voices': The Early Modern Past in Provincial America J.Dewald Exploring the Limits of the Thinkable S.Stuurman Lobola, the Intombi, and the Soft-Porn Centaur: Teaching King Lear in the Post-Apartheid South African Classroom D.Seddon Windows of Gold R.Whelan A Renaissance Woman Adrift in the World M.E.Wiesner-Hanks Worlds Apart, Worlds Away: Integrating the Early Modern in the Antipodes S.Broomhall Paradise Regained? Teaching the Multicultural Renaissance J.Grogan Shakespeare and the Problem of the Early Modern Curriculum A.Hadfield PART III: THE EARLY MODERN IN THE CONTEMPORARY CLASSROOM: COURSE DESIGN AND CLASSROOM PRACTICE An Early Modern Challenge: Finding the Student In-Road P.Cheney Teaching Shakespeare Historically M.Burnett The Importance of Being Endogenous A.Viala Literature, Philosophy and Medicine: Strategies for an Interdisciplinary Approach to the Seventeenth Century B.Hofer Versailles H.Goldwyn Paradoxical Creativity: Using Censorship to Develop Critical Reading and Thinking K.Waterson T-shirt Day, Utopia and Henry VIII's Dating Service: Using Creative Assignments to Teach Early Modern History C.Levin The Importance of Boredom in Learning About the Early Modern C.Sullivan PART IV: PERFORMING THE EARLY MODERN French Seventeenth-Century Theatre: Saying is Believing H.Phillips Teaching Early-Modern Spectacle through Film: Exploring Possibilities, Challenges and Pitfalls through a French Corpus G.Spielmann Relevance and its Discontents: Teaching Sofia Coppola's Marie Antoinette A.Wygant Presence, Performance and Critical Pleasure: Play and Prerequisites in Research and Teaching C.Biet Index

On the surface, there would appear to be a yawning gulf between the modern seminar room and the Renaissance classroom. Materially, at least, they are poles apart. A modestly endowed university in the first world will have at least some teaching rooms with movable furniture, whiteboards, wireless Internet connectivity, a data projector, as well as more basic audio-visual equipment and a blackboard – or, failing this, aspirations to acquire these pedagogical prosthetics. The typical Renaissance schoolroom, on the other hand, would most likely have fixed (or no) seating, with a teacher’s desk or lectern at the front of the class, and may have been located in a space dedicated to other uses. While the modern classroom typically houses a group of students at roughly the same stage of academic development (although potentially diverse in other respects – age, background, ethnicity), that of the Renaissance combined students from different stages of development (from the mastery of basic English and arithmetic through to proficiency in more complex exercises in imitation and composition) but with a relatively high degree of social cohesion. The Renaissance classroom was also an all-male space, although schoolrooms in the home were often mixed-sex at least until the boys moved onto more formal schooling.2

One of the Countess of Pembroke’s most notable textual habits was that of revision; to the regret of many editors, she was also an assiduous reviser of others’ writings, notably those of her brother, Philip. The extension of her literary practices beyond the parameters of her ‘own’ work has resulted in such activities sometimes being viewed negatively, as a distraction from the task of unearthing what Sir Philip Sidney actually wrote, cleansed of the accretive layers that led Ringler to brand her — not affectionately — as an ‘inveterate tinkerer’, and who, in Freer’s words, was ‘congenitally incapable of leaving a poem long enough to produce a definitive copy’.1 The dismissive tone of these comments reflects a prevalent attitude to female authorship prior to the extensive rehabilitation of Renaissance women writers that marked much of the scholarship of the 1980s and 1990s, one that more recent work, particularly on manuscript materials, is finally beginning to displace. A series of developments in the theorization of textuality and authorship have started to unsettle notions of singular authorship, in ways that make it possible to situate the Countess’ work within the broader context of Renaissance habits of composition and production. The Psalter, by the Countess’ own admission, is a composite work, a form of aesthetic compilation, where the input of the individual is ultimately subordinated to the work, and finally, to God.