Judith H Anderson

Biographic Data

ID3869316
NAMEJudith H Anderson
GIVEN NAMESJudith H
FAMILY NAMEAnderson
SIGNATUREANDERSON J H
AFFILIATIONSIndiana University
VERIFIEDNo
TOTAL WORKS8
TOTAL CITATIONS2
WORKS AS AUTHOR7
WORKS AS EDITOR1
FIRST PUBLICATION YEAR1969
LATEST PUBLICATION YEAR2022
H-INDEX1

  • Go Figure

    Judith H Anderson, Joan Pong LintonEDITORBOOKGo Figure2022

    Go Figure addresses theories of the figure and practices of figuration ranging from classical rhetoric and biblical exegesis to semiotics, psychoanalysis, and socio-politics. Situating theory in history, the essays in this volume focus on verbal and visual texts from the sixteenth to the eighteenth centuries, and they explore science, sacramental poetics, romance and lyric narrative, and the natural world in still lifes, prayer, parasites, and po…

  • Etymology and the Invention of English in Early Modern Literature

    Open AccessJudith H AndersonARTICLERenaissance Quarterly2015

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  • Locating Privacy in Tudor London

    Open AccessJudith H AndersonARTICLERenaissance Quarterly2008

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  • Language and History in the Reformation

    Open AccessJudith H AndersonARTICLERenaissance Quarterly2001Cited by: 2References: 3

    Over centuries, the fortunes of the verb to be illustrate the involvement of language in history and history in language, and the particular role of figurative language in the early reforms of the established church in Tudor England significantly reflects this involvement. Explanations and controversies regarding eucharistic belief during the archbishopric of Thomas Cranmer, which of ten draw on Continental sources, show that language and rhetori…

  • Chances of Mischief

    Open AccessJudith H AndersonARTICLERenaissance Quarterly1993

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  • Personification in Piers Plowman . Lavinia Griffiths

    Judith H AndersonARTICLESpeculum1987

  • Biographical Truth

    Judith H AndersonBOOKBiographical Truth1984

  • Redcrosse and the Descent into Hell

    Judith H AndersonARTICLEELH1969

    The first Book of The Faerie Queene alludes from its outset to classical and medieval contexts; the procession of sins and the descent into hell in cantos iv and v draw our attention to such allusions with an increasing emphasis and, by canto v, insistence. As the critical tradition testifies, these passages call attention to themselves, partly because of their length, partly because of their styles and subjects, partly because of their relativel…