The Literary Culture of the Reformation examines the place of literature in the Reformation, considering both how arguments about biblical meaning and literary interpretation influenced the new theology, and how developments in theology in turn influenced literary practices. Part One focuses on Northern Europe, reconsidering the relationship between Renaissance humanism (especially Erasmus) and religious ideas (especially Luther). Parts Two and Three examine Tudor and early Stuart England. Part Two describes the rise of vernacular theology and protestant culture in relation to fundamental changes in the understanding of the English language. Part Three studies English religious poetry (including Donne, Herbert, and in an Epilogue, Milton) in the wake of these changes. Bringing together genres and styles of writing which are normally kept apart (poems, sermons, treatises, commentaries) Brian Cummings offers a major re-evaluation of the literary production of this intensely verbal and controversial period.

Bibliophobia is a book about material books, how they are cared for, and how they are damaged, throughout the 5000-year history of writing from Sumeria to the smartphone. Its starting point is the contemporary idea of 'the death of the book' implied by the replacement of physical books by digital media, with accompanying twenty-first-century experiences of paranoia and literary apocalypse. It traces a twin fear of omniscience and oblivion back to the origins of writing in ancient Babylon and Egypt, then forwards to the age of Google. It uncovers bibliophobia from the first Chinese emperor to Nazi Germany, alongside parallel stories of bibliomania and bibliolatry in world religions and literatures. Books imply cognitive content embodied in physical form, in which the body cooperates with the brain. At its heart this relationship of body and mind, or letter and spirit, always retains a mystery. Religions are founded on holy books, which are also sites of transgression, so that writing is simultaneously sacred and profane. In secular societies these complex feelings are transferred to concepts of ideology and toleration. In the ambiguous future of the internet, digital immateriality threatens human equilibrium once again. Bibliophobia is a global history, covering six continents and seven religions, describing written examples from each of the last thirty centuries (and several earlier). It discusses topics such as the origins of different kinds of human script; the development of textual media such as scrolls, codices, printed books, and artificial intelligence; the collection and destruction of libraries; the use of books as holy relics, talismans, or shrines; and the place of literacy in the history of slavery, heresy, blasphemy, censorship, and persecution. It proposes a theory of writing, how it relates to speech, images, and information, or to concepts of mimesis, personhood, and politics. Originating as the Clarendon Lectures in the Faculty of English at the University of Oxford, the methods of Bibliophobia range across book history; comparative religion; philosophy from Plato to Hegel and Freud; and a range of global literature from ancient to contemporary. Richly illustrated with textual forms, material objects, and art works, its inspiration is the power that books always (and continue to) have in the emotional, spiritual, bodily, and imaginative lives of readers.

The Book of Common Prayer is one of the most influential books in history. First published in the reign of Edward VI, in 1549, it was a product of the English Reformation following the break with Rome. For nearly five centuries, it has formed the order of worship for established Christianity in England. More listeners have heard these prayers, it is said, than the soliloquies of Shakespeare. As British imperial ambitions spread, the Book of Common Prayer became the primary instrument (at least as much as the King James Bible) of English culture, firstly in Ireland in 1551. When the Puritans fled to America in 1620 it was to escape the discipline imposed by of the Book of Common Prayer, yet the book came to embody official religion in America before and after Independence, and is still in use. Today it is a global book: it was the first book printed in many languages, from north America to southern Africa, to the Indian sub-continent. In this Very Short Introduction Brian Cummings tells the fascinating history of the Book of Common Prayer, and explains why it is easily misunderstood. Designed in the 1540s as a radical Protestant answer to Catholic "superstition", within a century (during the English Civil Wars) radical Christians regarded the Book of Common Prayer as itself "superstitious" and even (paradoxically) "Papist". Changing in meaning and context over time, the Book of Common Prayer has acted as a cultural symbol, affecting the everyday conduct of life as much as the spiritual, and dividing conformity from non-conformity, in social terms as well as religious, from birth to marriage to death. ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.

A book about great recipes and the stories they evoke in the tradition of Alice B. Toklas, "You Said A Mouthful" is a collection of more than 50 recipes and personal stories developed over 30 years of weekend experimentation. The step-by-step instructions are easy to follow and offer tips and insights that lift the finished dish out of the ordinary, making it not just good but exceptional.

Mortal Thoughts is a study of the question of human identity in the early modern period. It examines literature alongside emerging forms of life writing and life drawing and self-portraits and considers portrayals of mortality and the moment of death.

Bringing together scholars from literature and the history of ideas, Passions and Subjectivity in Early Modern Culture explores new ways of negotiating the boundaries between cognitive and bodily models of emotion, and between different versions of the will as active or passive. In the process, it juxtaposes the historical formation of such ideas with contemporary philosophical debates. It frames a dialogue between rhetoric and medicine, politics and religion, in order to examine the relationship between mind and body and between experience and the senses. Some chapters discuss literature, in studies of Shakespeare, Donne, and Milton; other essays concentrate on philosophical arguments, both Aristotelian and Galenic models from antiquity, and new mechanistic formations in Descartes, Hobbes and Spinoza. A powerful sense of paradox emerges in treatments of the passions in the early modern period, also reflected in new literary and philosophical forms in which inwardness was displayed, analysed and studied—the autobiography, the essay, the soliloquy—genres which rewrite the formation of subjectivity. At the same time, the frame of reference moves outwards, from the world of interior states to encounter the passions on a public stage, thus reconnecting literary study with the history of political thought. In between the abstract theory of political ideas and the inward selves of literary history, lies a field of intersections waiting to be explored. The passions, like human nature itself, are infinitely variable, and provoke both literary experimentation and philosophical imagination. Passions and Subjectivity in Early Modern Culture thus makes new connections between embodiment, selfhood and the emotions in order to suggest both new models of the self and new models for interdisciplinary history.

Ça a été moi is a short history of my early years in verse. Gustave Flaubert once remarked, "Madame Bovary, c'est moi," which translates to "Madame Bovary is me." They say he made this statement to express his deep connection with the emotional suffering and experiences of his character, Emma Bovary. I borrowed that thought for the title of this chapbook, but since it recounts the my story as I was growing up, I decided to call it "Ça a été moi." or "It was me." Needless to say, I do have a deep connection with the character.

60 university spinouts in 3 years. 94% still alive. Lowest cost per spinout in the US. The 'book' on successful technology transfer is to find multiple ways to substitute bottom-up entrepreneurial approaches for top-down bureaucratic mechanisms. However, few programs successfully manage the transition to entrepreneurial mode. How did they succeed where so many do not? We present an overview of the new University of Utah program where spinouts have skyrocketed (the stats above). We share the key facets of their multiple entrepreneurial approaches that converged on their current success, supported by theory and evidence from other successful programs that will give the audience critical 'lessons learned' and a deeper understanding of how other institutions can deploy this constellation of entrepreneurial mechanisms. How does Utah (and other top programs) put entrepreneurs first? How can we replicate their success? Etzkowitz (2008) shows that despite the press and PR, the median TTO loses money - probably more than is usually known. Only a handful regularly generate significant positive cash flow. How do they differ? We offer here a set of key principles for successful technology commercialization, illustrated by a very recent exemplar, that of the University of Utah. As opposed to a case study where the story unfolds and key best practices identified en route, this essay builds a model for successful technology commercialization organized into five key elements. For each element, we then describe the Utah model in those terms, followed by lessons for application elsewhere.