Books in the Haney Foundation series

Rebecca Lemon illuminates a previously-buried conception of addiction, as a form of devotion at once laudable, difficult, and extraordinary, that has been concealed by the persistent modern link of addiction to pathology. Surveying sixteenth-century invocations, she reveals how early moderns might consider themselves addicted to study, friendship, love, or God. However, she also uncovers their understanding of addiction as a form of compulsion that resonates with modern scientific definitions. Specifically, early modern medical tracts, legal rulings, and religious polemic stressed the dangers of addiction to alcohol in terms of disease, compulsion, and enslavement. Yet the relationship between these two understandings of addiction was not simply oppositional, for what unites these discourses is a shared emphasis on addiction as the overthrow of the will.Etymologically, "addiction" is a verbal contract or a pledge, and even as sixteenth-century audiences actively embraced addiction to God and love, writers warned against commitment to improper forms of addiction, and the term became increasingly associated with disease and tyranny. Examining canonical texts including Doctor Faustus, Twelfth Night, Henry IV, and Othello alongside theological, medical, imaginative, and legal writings, Lemon traces the variety of early modern addictive attachments. Although contemporary notions of addiction seem to bear little resemblance to its initial meanings, Lemon argues that the early modern period's understanding of addiction is relevant to our modern conceptions of, and debates about, the phenomenon.

In 1573, the alchemist Anna Zieglerin gave her patron, the Duke of Braunschweig-Wolfenbüttel, the recipe for an extraordinary substance she called the lion's blood. She claimed that this golden oil could stimulate the growth of plants, create gemstones, transform lead into the coveted philosophers' stone—and would serve a critical role in preparing for the Last Days. Boldly envisioning herself as a Protestant Virgin Mary, Anna proposed that the lion's blood, paired with her own body, could even generate life, repopulating and redeeming the corrupt world in its final moments.In Anna Zieglerin and the Lion's Blood, Tara Nummedal reconstructs the extraordinary career and historical afterlife of alchemist, courtier, and prophet Anna Zieglerin. She situates Anna's story within the wider frameworks of Reformation Germany's religious, political, and military battles; the rising influence of alchemy; the role of apocalyptic eschatology; and the position of women within these contexts. Together with her husband, the jester Heinrich Schombach, and their companion and fellow alchemist Philipp Sommering, Anna promised her patrons at the court of Wolfenbüttel spiritual salvation and material profit. But her compelling vision brought with it another, darker possibility: rather than granting her patrons wealth or redemption, Anna's alchemical gifts might instead lead to war, disgrace, and destruction. By 1575, three years after Anna's arrival at court, her enemies had succeeded in turning her from holy alchemist into poisoner and sorceress, culminating in Anna's arrest, torture, and public execution.In her own life, Anna was a master of self-fashioning; in the centuries since her death, her story has been continually refashioned, making her a fitting emblem for each new age. Interweaving the history of science, gender, religion, and politics, Nummedal recounts how one resourceful woman's alchemical schemes touched some of the most consequential matters in Reformation Germany.

Over the course of the long eighteenth century, a network of some fifty women writers, working in French, English, Dutch, and German, staked out a lasting position in the European literary field. These writers were multilingual and lived for many years outside of their countries of origin, translated and borrowed from each others' works, attended literary circles and salons, and fashioned a transnational women's literature characterized by highly recognizable codes. Drawing on a literary geography of national types, women writers across Western Europe read, translated, wrote, and rewrote stories about exceptional young women, literary heroines who transcend the gendered destiny of their distinctive cultural and national contexts. These transcultural heroines struggle against the cultural constraints determining the sexualized fates of local girls.In Heroines and Local Girls, Pamela L. Cheek explores the rise of women's writing as a distinct, transnational category in Britain and Europe between 1650 and 1810. Starting with an account of a remarkable tea party that brought together Frances Burney, Sophie von La Roche, and Marie Elisabeth de La Fite in conversation about Stéphanie de Genlis, she excavates a complex community of European and British women authors. In chapters that incorporate history, network theory, and feminist literary history, she examines the century-and-a-half literary lineage connecting Madame de Maintenon to Mary Wollstonecraft, including Charlotte Lennox and Françoise de Graffigny and their radical responses to sexual violence. Neither simply a reaction to, nor collusion with, patriarchal and national literary forms but, rather, both, women's writing offered an invitation to group membership through a literary project of self-transformation. In so doing, argues Cheek, women's writing was the first modern literary category to capitalize transnationally on the virtue of identity, anticipating the global literary marketplace's segmentation of affinity-based reading publics, and continuing to define women's writing to this day.

From her position at Harvard University's Department of Government for over thirty-five years, Judith Shklar (1928-92) taught a long list of prominent political theorists and published prolifically in the domains of modern and American political thought. She was a highly original theorist of liberalism, possessing a broad and deep knowledge of intellectual history, which informed her writing in interesting and unusual ways. Her work emerged between the "end of ideology" discussions of the 1950s and the "end of history" debate of the early 1990s. Shklar contributed significantly to social and political thought by arguing for a new, more skeptical version of liberalism that brought political theory into close contact with real-life experience.The essays collected in Between Utopia and Realism reflect on and refract Shklar's major preoccupations throughout a lifetime of thinking and demonstrate the ways in which her work illuminates contemporary debates across political theory, international relations, and law. Contributors address Shklar's critique of Cold War liberalism, interpretation of Montaigne and its connection to her genealogy of liberal morals, lectures on political obligation, focus on cruelty, and her late reflections on exile. Others consider her role as a legal theorist, her interest in literary tropes and psychological experience, and her famed skepticism.Between Utopia and Realism showcases Shklar's approach to addressing the intractable problems of social life. Her finely honed political skepticism emphasized the importance of diagnosing problems over proffering excessively optimistic solutions. As this collection makes clear, her thought continues to be useful in addressing cruelty, limiting injustice, and combating the cynicism of the present moment.Contributors: Samantha Ashenden, Hannes Bajohr, James Brown, Katrina Forrester, Volker M. Heins, Andreas Hess, Samuel Moyn, Thomas Osborne, William E. Scheuerman, Quentin Skinner, Philip Spencer, Tracy B. Strong, Kamila Stullerova, Bernard Yack.

The United States is Israel's closest ally in the world. The fact is undeniable, and undeniably controversial, not least because it so often inspires conspiracy theorizing among those who refuse to believe that the special relationship serves America's strategic interests or places the United States on the side of Israel's enduring conflict with the Palestinians. Some point to the nefarious influence of a powerful "Israel lobby" within the halls of Congress. Others detect the hand of evangelical Protestants who fervently support Israel for their own theological reasons. The underlying assumption of all such accounts is that America's support for Israel must flow from a mixture of collusion, manipulation, and ideologically driven foolishness.Samuel Goldman proposes another explanation. The political culture of the United States, he argues, has been marked from the very beginning by a Christian theology that views the American nation as deeply implicated in the historical fate of biblical Israel. God's Country is the first book to tell the complete story of Christian Zionism in American political and religious thought from the Puritans to 9/11. It identifies three sources of American Christian support for a Jewish state: covenant, or the idea of an ongoing relationship between God and the Jewish people; prophecy, or biblical predictions of return to The Promised Land; and cultural affinity, based on shared values and similar institutions. Combining original research with insights from the work of historians of American religion, Goldman crafts a provocative narrative that chronicles Americans' attachment to the State of Israel.

What does the keyword "continence" in Love's Labor's Lost reveal about geopolitical boundaries and their breaching? What can we learn from the contemporary identification of the "quince" with weddings that is crucial for A Midsummer Night's Dream? How does the evocation of Spanish-occupied "Brabant" in Othello resonate with contemporary geopolitical contexts, wordplay on "Low Countries," and fears of sexual/territorial "occupation"? How does "supposes" connote not only sexual submission in The Taming of the Shrew but also the transvestite practice of boys playing women, and what does it mean for the dramatic recognition scene in Cymbeline?With dazzling wit and erudition, Patricia Parker explores these and other critical keywords to reveal how they provide a lens for interpreting the language, contexts, and preoccupations of Shakespeare's plays. In doing so, she probes classical and historical sources, theatrical performance practices, geopolitical interrelations, hierarchies of race, gender, and class, and the multiple significances of "preposterousness," including reversals of high and low, male and female, Latinate and vulgar, "sinister" or backward writing, and latter ends both bodily and dramatic.Providing innovative and interdisciplinary perspectives on Shakespeare, from early to late and across dramatic genres, Parker's deeply evocative readings demonstrate how easy-to-overlook textual or semantic details reverberate within and beyond the Shakespearean text, and suggest that the boundary between language and context is an incontinent divide.