ABSTRACT This article reconsiders English domestic writing in the wake of the global turn in early modern studies, taking Mary Wroth’s The Countess of Montgomery’s Urania ([1621] 1995), the first romance written by an English woman, as a model for this project. I read Urania’s labyrinthine style, not as a figure for privacy and interiority, but as a new form of writing primed for global publication. Endlessly telescoping stories-within-stories moderate the circulation of domestic writing by enclosing them in a formal enclosure that resembles the early modern writing cabinet. This cabinet is built to travel; it is endlessly receptive to new stories and to new contexts for storytelling. Stories told in the style of the cabinet accumulate ever more narrative frames as they are changed and exchanged in Urania’s vast Mediterranean and Levantine world. This setting, studded with writing spaces, allows “cabinet work” to circulate beyond the home. The style of this work also keeps it in context, retaining the original attribution of each story and the conditions of its production and reception. Wroth’s Urania ultimately envisions a model of global publication based on the cabinet: an itinerant domesticity.

中文翻译：

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内阁工作：玛丽·沃思与世界

摘要本文回顾了早期现代研究的全球趋势之后的英语国内写作，并以玛丽·沃思的《蒙哥马利伯爵夫人》（《 1621年》，1995年）作为该项目的典范。我读过Urania的迷宫式风格，不是为了保护隐私和室内装饰，而是为了面向全球出版物而设计的一种新写作形式。故事内部的无休止的伸缩，通过将它们封闭在类似于早期现代书写柜的正式外壳中，从而缓和了家庭写作的传播。这个内阁专为旅行而设计；它无休止地接受新故事和讲故事的新环境。内阁风格的故事在Urania广阔的地中海和黎凡特世界变化和交流时，积累了越来越多的叙事框架。这种设置点缀着书写空间，可以使“橱柜工作”在家庭之外传播。作品的风格也使其与周围环境保持关联，保留了每个故事的原始属性以及其制作和接受的条件。沃思（Wroth）的《乌拉尼亚》（Urania）最终构想出一种基于内阁的全球出版模式：流动性的国内化。