Search results for ""Author Elizabeth"

Is there a moment in history when a work receives its ideal interpretation? Or is negotiation always required to preserve the past and accommodate the present? The freedom of interpretation, Charles Rosen suggests in these sparkling explorations of music and literature, exists in a delicate balance with fidelity to the identity of the original work.Rosen cautions us to avoid doctrinaire extremes when approaching art of the past. To understand Shakespeare only as an Elizabethan or Jacobean theatergoer would understand him, or to modernize his plays with no sense of what they bring from his age, deforms the work, making it less ambiguous and inherently less interesting. For a work to remain alive, it must change character over time while preserving a valid witness to its earliest state. When twentieth-century scholars transformed Mozart’s bland, idealized nineteenth-century image into that of a modern revolutionary expressionist, they paradoxically restored the reputation he had among his eighteenth-century contemporaries. Mozart became once again a complex innovator, challenging to perform and to understand.Drawing on a variety of critical methods, Rosen maintains that listening or reading with intensity—for pleasure—is the one activity indispensable for full appreciation. It allows us to experience multiple possibilities in literature and music, and to avoid recognizing only the revolutionary elements of artistic production. By reviving the sense that works of art have intrinsic merits that bring pleasure, we justify their continuing existence.

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By examining representations of women on stage and in the many printed materials aimed at them, Karen Newman shows how female subjectivity—both the construction of the gendered subject and the ideology of women's subjection to men—was fashioned in Elizabethan and Jacobean England. Her emphasis is not on "women" so much as on the category of "femininity" as deployed in the late sixteenth and early seventeenth centuries. Through the critical lens of poststructuralism, Newman reads anatomies, conduct and domesticity handbooks, sermons, homilies, ballads, and court cases to delineate the ideologies of femininity they represented and produced. Arguing that drama, as spectacle, provides a peculiarly useful locus for analyzing the management of femininity, Newman considers the culture of early modern London to reveal how female subjectivity was fashioned and staged in the plays of Shakespeare, Jonson, and others.

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Playing Shakespeare’s Monarchs and Madmen is the third volume in the Peter Lang series, Playing Shakespeare’s Characters. As in the previous volumes, a broad range of contributors (actors, directors, scholars, educators, etc.) analyze the concepts of monarchy, leadership, melancholy and madness with not only references to Elizabethan and Jacobean studies, but also to Trump, Brexit, cross-gender and multi-cultural casting. What does it mean to “play the king” in the 21st century? What is the role of an “all-licensed” Fool in the age of spin? Who gets to represent the power dynamics in Shakespeare’s plays? This volume looks at the Henrys, Richards, Hamlets, Lears and various other dukes and monarchs and explores the ways in which men—and women—approach these portrayals of power and the lessons they hold for us today.

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Sir Thomas Stukeley, the notorious English courtier, pirate, adventurer and soldier, died at the Battle of Alcazar in Morocco in 1578, while serving in the army of King Sebastian of Portugal. This volume comprises the first modern-spelling, annotated edition of two plays in which he is a major character: George Peele's 'The Battle of Alcazar' (c.1588), and the anonymous 'Famous History of the Life and Death of Captain Thomas Stukeley' (c.1596).In his extensive introduction and commentary, Charles Edelman discusses the plays' authorship, their many textual problems, and what they reveal about Elizabethan performance practices. He also challenges most of the traditional assumptions about them. This edition shows that both works, long held to be unperformable, are instead fascinating and worthwhile representatives of the most exciting age in the history of the theatre.

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This entertaining and fact-packed guide provides all the information you’ll need to travel back in time to Elizabethan London – a booming city of courtiers, cutthroats, merchants, beggars, lawyers, dramatists, apprentices and adventurers. Find out the best way to the capital and where to stay. Saunter over London Bridge, with its hundreds of shops and houses. Glimpse Her Majesty at Whitehall, Europe’s largest palace. Watch the finest plays and players at the Rose Theatre, and marvel at the bustle of business in the Royal Exchange. Go down to Greenwich to stand on the deck of the Golden Hind, the ship that Sir Francis Drake sailed around the world. This intriguingly addictive guide provides all you need to know to sightsee, shop and meet the famous in the capital of a nation stirring to greatness.

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A sparkling anthology celebrating sport in all its variety; from elite rugby and football to rural games on the village green, from an exclusive golf club to the sheer pleasure of a bicycle ride.Part of the Macmillan Collector’s Library; a series of stunning, pocket-sized classics with ribbon markers. These beautiful books make perfect gifts or a treat for any book lover. This edition is edited and introduced by sports historian, Professor Martin Polley.A treat for sports fans, dip into this wide-ranging, entertaining collection of classic writing drawn from journalism, diaries, drama, fiction and more. On Your Marks spans from Elizabethan Shakespeare to twentieth-century George Orwell and features Daniel Defoe on horse racing, Jane Austen on baseball, Lewis Carroll on croquet and many more.

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Kit Marlowe: playwright, poet, lover. In the plague-stricken streets of Elizabethan England, Kit flirts with danger, leaving a trail of enemies and old flames in his wake. His plays are a roaring success; he seems destined for greatness.But the queen''s eyes are everywhere and the air is laced with paranoia. When Marlowe is arrested on charges of treason, heresy and sodomy - all of which are punishable by death - he is released on bail with the help of Thomas Walsingham, a man he presumes to be his friend, but who has in fact hired the infamous assassin Robin Poley to take care of Marlowe, fearing his own sins may come to light. Now, with the queen''s spies, the vengeful Baines, and the double-crossing Poley closing in, Marlowe''s last friend in the world is Ingram Frizer, a total stranger who is obsessed with his plays, and who will, within ten days'' time, become first Marlowe''s lover, and then his killer.Richly atmospheric, emotionally devastating and heartrendin

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On Magnetism contains poems about loss and remembrance, about the relation of the Renaissance and the Classical worlds to our own, about locales within lives. They are about sounding the world, and about measuring our responses to it through its various musics. The poems in the book resonate out from the title sonnet sequence, a capricious tribute to Elizabethan ‘magnetism man’ William Gilbert. Their themes and language echo compellingly back and forth across its different occasions and inspirations.‘These are poems that are deeply informed by the music of the classical lyrical tradition, but which speak to readers everywhere in clear and compelling ways. Moving, delicate on the surface but packing punch after punch, some of these poems will move you to tears.’ – Naomi Wolf‘On Magnetism is a sustained meditation on magnetism in all its senses. This is a life-enhancing book, a compellingly eloquent compilation of elegies, and of love-poems addressed to people and to the world.’ – Bernard O’Donoghue‘This collection, as Steven Matthews puts it, is a long walk in his “dad’s boots” around familiar landmarks: family, flowers, artistic and scientific artefacts. The poems are illuminated by the changing light of the seasons, by the poet’s tender, steady, considering gaze, and by an intellectual patience that allows us to see things as they were, as they are, and, slowly, anew.’ – Kate Clanchy

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This book looks at the musical culture of death in early modern England. This book looks at the musical culture of death in early modern England. In particular, it examines musical funeral elegies and the people related to commemorative tribute - the departed, the composer, potential patrons, and friends and family of the deceased - to determine the place these musical-poetic texts held in a society in which issues of death were discussed regularly, producing a constant, pervasive shadow over everyday life. The composition of these songs reached a peak at the end of the sixteenth and the beginning of the seventeenth centuries. Thomas Weelkes and Thomas Morley both composed musical elegies, as did William Byrd, Thomas Campion, John Coprario, and many others. Like the literary genre from which these musical gems emerged, there was wide variety in form, style, length, and vocabulary used. Embedded within them are clear messages regarding the social expectations, patronage traditions, and class hierarchy of late Elizabethan and early Jacobean England. En masse, they offer a glimpse into the complex relationship that existed between those who died, those who grieved, and attitudes toward both death and life. K. DAWN GRAPES is Assistant Professor of Music History at Colorado State University.

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Men and women in early modern Europe experienced their bodies very differently from the ways in which contemporary men and women do. In this challenging and innovative book, Gail Kern Paster examines representations of the body in Elizabethan-Jacobean drama in the light of humoral medical theory, tracing the connections between the history of the visible social body and the history of the subject's body as experienced from within. Focusing on specific bodily functions and on changes in the forms of embarrassment associated with them, Paster extends the insights of such critics and theorists as Mikhail Bakhtin, Norbert Elias, and Thomas Laqueur. She first surveys comic depictions of incontinent women as "leaky vessels" requiring patriarchal management and then considers the relation between medical bloodletting practices and the gender implications of blood symbolism. Next she relates the practice of purging to the theme of shame and assays ideas about pregnancy, childbirth, and nursing in medical and other nonliterary texts. Paster then turns to the use of reproductive processes in the plot structures of key Shakespeare plays and in Dekker's, Ford's, and Rowley's Witch of Edmonton. Including twelve vivid illustrations, The Body Embarrassed will be fascinating reading for students and scholars in the fields of Renaissance studies, gender studies, literary theory, the history of drama, and cultural history.

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Sumptuous photographs by designer Ashley Hicks (who recently photographed the interiors of Buckingham Palace) capture the smouldering spirit of the place: from the state rooms, which house possibly the finest collection of royal Stuart furniture in the world, to the private apartments and gardens, to the behind-the-scenes labyrinth of cellars and attics. Knole provides a window onto English history. The characters who people the pages of the book the grave Elizabethan statesman, the good-for-nothing gadabout at the seedy Court of King James I, the dashing Cavalier, the Restoration rake, the 3rd Duke, that magnificent and melancholy representative of the ancien regime, the whiskery and dark-hearted Mortimer who caused three nights of rioting in 1884 by closing the park to visitors are all representative of their age (members of a family described by Vita Sackville-West as a race too prodigal, too amorous, too weak, too indolent, and too melancholy : in short, a rotten lot, and nearly all stark staring mad. Of course, Vita s torn legacy with the property prompted her dear friend Virginia Woolf to pen Orlando, furthering the place s fame and glamorous lustre. Similarly, the architectural and decorative features of the house, so splendidly revealed by Ashley s photographs, illustrate the different tastes of successive ages, from Thomas Sackville s seventeenth-century makeover of a ramshackle medieval mansion to an early twentieth-century suite of rooms designed in the Bohemian style. Knole has never been illuminated in this way before.

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What do the Dead Sea Scrolls and frog overlays have to do with performing Shakespeare? They're both part of Louis Fantasia's approach in Instant Shakespeare. Mr. Fantasia, the first American to direct at the Shakespeare Globe Centre and a distinguished member of the international theatre community, has developed a pragmatic and uniquely American performance technique. Expanded and refined in performances and workshops throughout the world, Instant Shakespeare allows performers, directors, and teachers of all cultures and levels of experience to demystify Shakespeare and perform his texts in ways that are clear, fresh, and unpretentious. Mr. Fantasia's methods are solidly grounded in a rigorous analysis of the text and structure of Shakespeare's plays, and enriched by his insight into Elizabethan performance practices gleaned from his intimate association with the reconstruction of the Globe. Through Instant Shakespeare, novices and professionals alike achieve the textual clarity, nuanced characters, and dynamic actions that drive the most vigorous Shakespearean performances. Mr. Fantasia's respectful but irreverent approach pinpoints the shortcomings of contemporary Shakespeare practice and training, particularly generic and postmodern interpretations, and confronts theatre artists with the importance of conscious personal responsibility for the creative process. Employing analogies from music and architecture, he insists upon the hard and sometimes tedious work that necessarily underlies solid artistic choices. Mr. Fantasia shows how to understand Shakespeare's vocabulary as well as the structure and essential dramatic event of each play. He provides exercise monologues, exercise scenes, and tools for textual analysis; explains correct breathing; and lays out his philosophies of training and performance.

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This highly readable and informative collection of the best of British art showcases magnificent portraits by Thomas Gainsborough and Stanley Spencer; landscapes by J. M. W. Turner and David Hockney; satire by William Hogarth and Gilbert & George; sculpture by Henry Moore and Rachel Whiteread; and the latest works by Grayson Perry and Damien Hirst. Each artist is presented in a double-page spread that features a major work, details from the work, a brief biography and fascinating insights into the artist's life and times. Lucinda Hawksley's engaging survey compares the skill of the Elizabethan miniaturists and the magnificence of the High Victorians with the grit of post-war British modernists and the best of the Young British Artists, whose fearless approach to controversial themes make them worthy inheritors of the great traditions of British art.

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History lessons have never been so hilarious thanks to this collection of insults through the ages – the targets of your barrage of vintage invective won’t know what’s hit them. Ever wanted to ‘air the lungs (1)’ like a cowboy or dreamed of channelling the wit of Shakespeare to deliver that killer put-down to an Elizabethan fustilarian (2)? Are you too much of a medieval scobberlotcher (3) to realise this ambition? Well, you’re in luck, because The History of Insults has some of the finest put-downs of all time – starting with the Ancient Romans and Greeks and working through the centuries to modern times. This means you can dish out the best burns to bacon-fed bell swaggers (4) to your heart’s content. As they used to say in 19th-century London, ‘It’s more than enough to make a stuffed bird laugh!’ (1) Swear; (2) Scoundrel; (3) Lazy person; (4) Fat, loudmouth bullies

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This brilliant Revision Guide is packed with clear, in-depth study notes for GCSE OCR B History (Schools History Project). All the most popular Depth Study, Period Study and Thematic Study options are included, and we've covered a wide range of historical eras in Britain, Europe and the wider world. There's also plenty of top advice on the skills needed for each section of the exam as well as online quizzes for students to test their knowledge on different topics. We've even thrown in a free Online Edition of the whole book - don't say we never spoil you! The topics covered in this Revision Guide are: - The People's Health c. 1250-present - Migrants to Britain c. 1250-present - The Making of America 1789-1900 - The Norman Conquest 1065-1087 - The Elizabethans 1580-1603 - Living under Nazi Rule 1933-1945

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A powerful collection of chilling crime with new, modern stories and classic tales reaching back into ancient, medieval, Elizabethan and Victorian fiction: from Oedipus Rex and Thomas More's story of the Princes in the Tower to Scheherazade's 'The Three Apples' and the chilling crime fiction of Dickens, Poe, Henry James, Baroness Orczy, Wilkie Collins and F. Scott Fitzgerald. The new, contemporary and notable writers featured are: Jeremy Bates, Jesse Bethea, Allan Burd, Laura J. Campbell, Ramsey Campbell, D.R. Cartwright, Robert Ford, Tyler Jones, Theresa Konwinski, Alexes Lester, Robert Lopresti, Tom Mead, Marshall J. Moore, Jane Nightshade, Christi Nogle, Michael Penncavage, Zandra Renwick, Dan Stout, and Steve Toase. The Flame Tree Gothic Fantasy, Classic Stories and Epic Tales collections bring together the entire range of myth, folklore and modern short fiction. Highlighting the roots of suspense, supernatural, science fiction and mystery stories, the books in Flame Tree Collections series are beautifully presented, perfect as a gift and offer a lifetime of reading pleasure.

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A History of Modern Britain by Andrew Marr confronts head-on the victory of shopping over politics. This edition also includes an extra chapter charting the course from Blair to Brexit.It tells the story of how the great political visions of New Jerusalem or a second Elizabethan Age, rival idealisms, came to be defeated by a culture of consumerism, celebrity and self-gratification. In each decade, political leaders think they know what they are doing, but find themselves confounded. Every time, the British people turn out to be stroppier and harder to herd than predicted. Throughout, Britain is a country on the edge – first of invasion, then of bankruptcy, then on the vulnerable front line of the Cold War and later in the forefront of the great opening up of capital and migration now reshaping the world. This history follows all the political and economic stories, but deals too with comedy, cars, the war against homosexuals, Sixties anarchists, oil-men and punks, Margaret Thatcher's wonderful good luck, political lies and the true heroes of British theatre.

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A complete and unabridged full-color edition of the classic sourcebook on ornamental designFirst published in 1856, The Grammar of Ornament remains a design classic. Its inspiration came from pioneering British architect and designer Owen Jones (1809–1874), who produced a comprehensive design treatise for the machine age, lavishly illustrated in vivid chromolithographic color. Jones made detailed observations of decorative arts on his travels in Europe, the Middle East, and in his native London, where he studied objects on display at the Great Exhibition of the Works of Industry of All Nations in 1851 and at local museums. His aim was to improve the quality of Western design by changing the habits of Victorian designers, who indiscriminately mixed elements from a wide variety of sources.Jones's resulting study is a comprehensive analysis of styles of ornamental design, presenting key examples ranging from Maori tattoos, Egyptian columns, and Greek borders to Byzantine mosaic, Indian embroidery, and Elizabethan carvings. At once splendidly Victorian and insistently modern, The Grammar of Ornament celebrates objects of beauty from across time periods and continents, and remains an indispensable sourcebook today.

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When Olivia Shaw’s mother dies, the sophisticated food editor is astonished to learn she’s inherited a centuries-old English estate—and a title to go with it. Raw with grief and reeling from the knowledge that her reserved mother hid something so momentous, Olivia leaves San Francisco and crosses the pond to unravel the mystery of a lifetime. One glance at the breathtaking Rosemere Priory and Olivia understands why the manor, magnificent even in disrepair, was the subject of her mother’s exquisite paintings. What she doesn’t understand is why her mother never mentioned it to her. As Olivia begins digging into her mother’s past, she discovers that the peeling wallpaper, debris-laden halls, and ceiling-high Elizabethan windows covered in lush green vines hide unimaginable secrets. Although personal problems and her life back home beckon, Olivia finds herself falling for the charming English village and its residents. But before she can decide what Rosemere’s and her own future hold, Olivia must first untangle the secrets of her past.

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Why did Elizabethan adventurers believe that the interior of America hid vast caches of gold? Who started the rumor that British officers purchased revolutionary white women's scalps, packed them by the bale, and shipped them to their superiors? And why are people today still convinced that white settlers-hardly immune as a group to the disease-routinely distributed smallpox-tainted blankets to the natives? Rumor-spread by colonists and Native Americans alike-ran rampant in early America. In Groundless, historian Gregory Evans Dowd explores why half-truths, deliberate lies, and outrageous legends emerged in the first place, how they grew, and why they were given such credence throughout the New World. Arguing that rumors are part of the objective reality left to us by the past-a kind of fragmentary archival record-he examines how uncertain news became powerful enough to cascade through the centuries. Drawing on specific case studies and tracing recurring rumors over many generations, Dowd explains the seductive power of unreliable stories in the eastern North American frontiers from the sixteenth to the mid-nineteenth centuries. The rumors studied here-some alluring, some frightening-commanded attention and demanded action. They were all, by definition, groundless, but they were not all false, and they influenced the classic issues of historical inquiry: the formation of alliances, the making of revolutions, the expropriation of labor and resources, and the origins of war.

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This is the first volume of the Victoria History of the County of Somerset to be pub-lished since 1911, and is the result of the revival of the History under the patronage of the County Council. It provides a com-prehensive and detailed account of twenty-one parishes towards the southern boundary of the county and lying in the ancient hundreds of Pitney, Somerton, Tintinhull, and part of Kingsbury (East). The land is partly in the valleys of the Parrett and the Yeo and partly on the hills. The lower ground, still liable to flood on occasions, has gradually over the years been drained and converted into the 'moors' that are a feature of the area and provide unusually rich grazing. From the hills in the south comes the celebrated Ham stone. The volume includes the history of two small towns that can each claim to have served at some time as the county centre: Somerton, whose name is linked with that of the county, and the diminutive Ilchester at the junction of the Foss Way and another Roman road. Lang-port, a commercial centre on the navigable river Parrett, is also an ancient settlement. Other parishes that figure in the volume include Montacute, with its fine Elizabethan mansion, and Muchelney, with the remains of its medieval abbey, and there are National Trust properties at Lytes Cary (in Charlton Mackrell) and Tintinhull. The test is illus-trated with line-drawn maps and with plates that include both photographs, old and new, and reproductions of paintings and drawings.

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Step through the iron gates of one of London's most spectacular Victorian cemeteries on the hunt for the lost poets of Nunhead.Literary investigator Chris McCabe pushes back the tangled ivy and hacks his way through the poetic history of south-east London, revealing a map of intense artistic activity with Nunhead at its heart: from Barry MacSweeney in Dulwich to Robert Browning and William Blake in Peckham.Join McCabe on a journey back in time along underground rivers, through Elizabethan villages and urban woodland. Discover the surprising lives and lines of writers neglected amongst the moss-covered monuments of Nunhead Cemetery: from the 'Laureate of the Babies' and a New Zealander soldier-poet to those who chronicled London at the height of her industrial powers.But this is also a personal journey that highlights poetry's force in overcoming trauma; McCabe's exploration of Nunhead Cemetery is interwoven with diary entries that document his mother's illness.In this latest instalment in an ambitious project to plot the dead poets of the Magnificent Seven - London's great Victorian cemeteries - McCabe drills deep into the psyche of the city, and into his own past.Encounters with the dead and forgotten are charted in sinuous prose and with a wry humour that belies his meticulous research. Cenotaph South offers a powerful meditation on art, writing, memory and community, confirming McCabe as contemporary poetry's most innovative thinker. This is essential reading for anyone who has ever wondered what lies behind the canon, or beyond the cemetery gates.

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Shakespeare lived at a time when England was undergoing the revolution in ritual theory and practice we know as the English Reformation. With it came an unprecedented transformation in the language of religious life. Whereas priests had once acted as mediators between God and men through sacramental rites, Reformed theology declared the priesthood of all believers. What ensued was not the tidy replacement of one doctrine by another but a long and messy conversation about the conventions of religious life and practice. In this brilliant and strikingly original book, Sarah Beckwith traces the fortunes of this conversation in Shakespeare’s theater. Beckwith focuses on the sacrament of penance, which in the Middle Ages stood as the very basis of Christian community and human relations. With the elimination of this sacrament, the words of penance and repentance—"confess," "forgive," "absolve" —no longer meant (no longer could mean) what they once did. In tracing the changing speech patterns of confession and absolution, both in Shakespeare’s work and Elizabethan and Jacobean culture more broadly, Beckwith reveals Shakespeare’s profound understanding of the importance of language as the fragile basis of our relations with others. In particular, she shows that the post-tragic plays, especially Pericles, Cymbeline, The Winter’s Tale, and The Tempest, are explorations of the new regimes and communities of forgiveness. Drawing on the work of J. L. Austin, Ludwig Wittgenstein, and Stanley Cavell, Beckwith enables us to see these plays in an entirely new light, skillfully guiding us through some of the deepest questions that Shakespeare poses to his audiences.

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The thrilling story of the Jews in Venice – and the truth behind one of Shakespeare's most famous characters. Millions of visitors flood to Venice every year. Yet many are unaware of its history – one of dramatic expansion but also of rapid decline. And essential to any history of Venice during its glory days is the story of its Jewish population. Venice gave the world the word ghetto. Astonishingly, the ghetto prison turned out to be as remarkable a place as the city of Venice itself. With sound scholarship and a narrator's skill, Harry Freedman tells the story of Venice’s Jews. From the founding of the ghetto in 1516, to the capture of Venice by Napoleon in 1797, he describes the remarkable cultural renaissance that took place in the Venice ghetto. Gates and walls notwithstanding, for the first time in European history Jews and Christians mingled intellectually, learned from each other, shared ideas and entered modernity together. When it came to culture, the ghetto walls were porous. Any history of Venice and its Jews also can’t avoid the story of Shakespeare’s Shylock. The cultural and political revival in the Venice ghetto is often obscured from history by this fictional character. Who, we wonder, was Shylock? Would the people of Venice have recognized him and what did Shakespeare really think of him? Shakespeare’s ambivalent anti-Semitism reflects attitudes to Jews in Elizabethan England – but as Freedman demonstrates, Shakespeare’s myth is wholly ignorant of the literary, cultural and interfaith revival that Shylock would have experienced.

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Facing persecution in early modern England, some Catholics chose exile over conformity. Some even cast their lot with foreign monarchs rather than wait for their own rulers to have a change of heart. This book studies the relationship forged by English exiles and Philip II of Spain. It shows how these expatriates, known as the “Spanish Elizabethans,” used the most powerful tools at their disposal—paper, pens, and presses—to incite war against England during the “messianic” phase of Philip’s reign, from the years leading up to the Grand Armada until the king’s death in 1598.Freddy Cristóbal Domínguez looks at English Catholic propaganda within its international and transnational contexts. He examines a range of long-neglected polemical texts, demonstrating their prominence during an important moment of early modern politico-religious strife and exploring the transnational dynamic of early modern polemics and the flexible rhetorical approaches required by exile. He concludes that while these exiles may have lived on the margins, their books were central to early modern Spanish politics and are key to understanding the broader narrative of the Counter-Reformation.Deeply researched and highly original, Radicals in Exile makes an important contribution to the study of religious exile in early modern Europe. It will be welcomed by historians of early modern Iberian and English politics and religion as well as scholars of book history.

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Facing persecution in early modern England, some Catholics chose exile over conformity. Some even cast their lot with foreign monarchs rather than wait for their own rulers to have a change of heart. This book studies the relationship forged by English exiles and Philip II of Spain. It shows how these expatriates, known as the “Spanish Elizabethans,” used the most powerful tools at their disposal—paper, pens, and presses—to incite war against England during the “messianic” phase of Philip’s reign, from the years leading up to the Grand Armada until the king’s death in 1598.Freddy Cristóbal Domínguez looks at English Catholic propaganda within its international and transnational contexts. He examines a range of long-neglected polemical texts, demonstrating their prominence during an important moment of early modern politico-religious strife and exploring the transnational dynamic of early modern polemics and the flexible rhetorical approaches required by exile. He concludes that while these exiles may have lived on the margins, their books were central to early modern Spanish politics and are key to understanding the broader narrative of the Counter-Reformation.Deeply researched and highly original, Radicals in Exile makes an important contribution to the study of religious exile in early modern Europe. It will be welcomed by historians of early modern Iberian and English politics and religion as well as scholars of book history.

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In uncovering the origin of the designation 'University Wits', Bob Logan examines the characteristics of the Wits and their influence on the course of Elizabethan drama. For the first time, Christopher Marlowe is placed in the context of the six University Wits, where his reputation stands out as the most prominent, and the impact of his university education on his works is clarified. The essays selected for reprinting assess the most significant scholarship written about Marlowe, including biographical studies, challenges to familiar assumptions about the poet/playwright and his works, compositions on groupings of his works, on individual works, and on subjects particular to Marlowe. Unique in its perspective and in the collection of essays, this book will interest all students and scholars of Renaissance poetry, drama, and specialized cultural contexts.

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Many readers first encounter Shakespeare's plays in a book rather than a theater. Yet Shakespeare was through and through a man of the stage. So what do we lose when we leave Shakespeare the practitioner behind, and what do we learn when we think about his plays as dramas to be performed? David Bevington answers these questions with "This Wide and Universal Theater", which explores how Shakespeare's plays were produced both in his own time and in succeeding centuries. Making use of historical documents and the play scripts themselves, Bevington brings Shakespeare's original stagings to life. He explains how the Elizabethan playhouse conveyed a sense of place using minimal scenery, from the Forest of Arden in "As You Like It" to the tavern in "Henry IV, Part I". Moving beyond Shakespeare's lifetime, Bevington shows the prodigious lengths to which eighteenth- and nineteenth-century companies went to produce spectacular effects, from flying witches in "Macbeth" to terrifying storms punctuating "King Lear". To bring the book into the present, Bevington considers recent productions on both stage and screen, when character and language have taken precedence over spectacle. This volume brings a lifetime of study to bear on a remarkably underappreciated aspect of Shakespeare's art.

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Many readers first encounter Shakespeare's plays in a book rather than a theater. Yet Shakespeare was through and through a man of the stage. So what do we lose when we leave Shakespeare the practitioner behind, and what do we learn when we think about his plays as dramas to be performed? David Bevington answers these questions with "This Wide and Universal Theater", which explores how Shakespeare's plays were produced both in his own time and in succeeding centuries. Making use of historical documents and the play scripts themselves, Bevington brings Shakespeare's original stagings to life. He explains how the Elizabethan playhouse conveyed a sense of place using minimal scenery, from the Forest of Arden in "As You Like It" to the tavern in "Henry IV, Part I". Moving beyond Shakespeare's lifetime, Bevington shows the prodigious lengths to which eighteenth- and nineteenth-century companies went to produce spectacular effects, from flying witches in "Macbeth" to terrifying storms punctuating "King Lear". To bring the book into the present, Bevington considers recent productions on both stage and screen, when character and language have taken precedence over spectacle. This volume brings a lifetime of study to bear on a remarkably underappreciated aspect of Shakespeare's art.

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Last Acts argues that the Elizabethan and Jacobean theater offered playwrights, actors, and audiences important opportunities to practice arts of dying. Psychoanalytic and new historicist scholars have exhaustively documented the methods that early modern dramatic texts and performances use to memorialize the dead, at times even asserting that theater itself constitutes a form of mourning. But early modern plays also engage with devotional traditions that understand death less as an occasion for suffering or grief than as an action to be performed, well or badly. Active deaths belie narratives of helplessness and loss through which mortality is too often read and instead suggest how marginalized and constrained subjects might participate in the political, social, and economic management of life. Some early modern strategies for dying resonate with descriptions of politicized biological life in the recent work of Giorgio Agamben and Roberto Esposito, or with ecclesiastical forms. Yet the art of dying is not solely a discipline imposed upon recalcitrant subjects. Since it offers suffering individuals a way to enact their deaths on their own terms, it discloses both political and dramatic action in their most minimal manifestations. Rather than mournfully marking what we cannot recover, the practice of dying reveals what we can do, even in death. By analyzing representations of dying in plays by Marlowe, Shakespeare, and Jonson, alongside devotional texts and contemporary biopolitical theory, Last Acts shows how theater reflects, enables, and contests the politicization of life and death.

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In Printing the Middle Ages Siân Echard looks to the postmedieval, postmanuscript lives of medieval texts, seeking to understand the lasting impact on both the popular and the scholarly imaginations of the physical objects that transmitted the Middle Ages to the English-speaking world. Beneath and behind the foundational works of recovery that established the canon of medieval literature, she argues, was a vast terrain of books, scholarly or popular, grubby or beautiful, widely disseminated or privately printed. By turning to these, we are able to chart the differing reception histories of the literary texts of the British Middle Ages. For Echard, any reading of a medieval text, whether past or present, amateur or academic, floats on the surface of a complex sea of expectations and desires made up of the books that mediate those readings. Each chapter of Printing the Middle Ages focuses on a central textual object and tells its story in order to reveal the history of its reception and transmission. Moving from the first age of print into the early twenty-first century, Echard examines the special fonts created in the Elizabethan period to reproduce Old English, the hand-drawn facsimiles of the nineteenth century, and today's experiments with the digital reproduction of medieval objects; she explores the illustrations in eighteenth-century versions of Guy of Warwick and Bevis of Hampton; she discusses nineteenth-century children's versions of the Canterbury Tales and the aristocratic transmission history of John Gower's Confessio Amantis; and she touches on fine press printings of Dante, Froissart, and Langland.

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''We that are true lovers run into strange capers.''Four centuries after its publication in the Folio, As You Like It''s capacity to entertain and instruct remains evergreen. This edition provides a friendly yet authoritative introduction to the play, upholding it as a crowning expression of the Elizabethan Renaissance while underscoring its appeal to twenty-first century readers as Shakespeare''s most intrepid exploration of gender, sexuality, and the environment. Its double-cross-dressed heroine dominates the plot (and their love interest Orlando) to conduct a masterclass in gender fluidity. The melancholic Jaques unmasks the fundamental theatricality of existence and questions humanity''s prerogative to displace and harm other species. Through the clown Touchstone, the comedy tests the possibility that we might laugh ourselves wise, especially when we learn to laugh at ourselves. In the Forest of Arden, we encounter Shakespeare''s most beguiling vision of the natural world as a real

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An around-the-world tour of ancient Christmas celebrations, Pagan Solstice customs, and magical seasonal plants. Whether viewed as a mid-winter observance of the Winter Solstice or a celebration of the birth of Jesus Christ, for millennia cultures have taken time out to honour the darkest days of the year with lights, foods, and festivities. In ancient Egypt, people decorated their homes with greenery at the festival of the re-birth of the God Horus. The ancient Romans decorated their homes with vines and ivy and shared gifts, especially candles, at the midwinter festival of Saturnalia. In Scandinavian and Germanic cultures, the Yule Log was burned in the hearth, fruit orchards were wassailed, and sheaves of wheat were displayed to carry luck into the New Year. In Celtic cultures, mummers and guisers went door to door and European mistletoe (Viscum album) was gathered by Druids as a medicinal and magical aid. Presenting an around-the-world tour of ancient Christmas celebrations, Pagan Solstice customs, and magical seasonal plants, Ellen Evert Hopman shares lore, recipes, rituals, and crafts you can make as a family activity to enliven your Yuletide observance. She explores the origins of the Christmas tree and Santa Claus, as well as female gift bringers, holiday Spirits, and Yuletide animals. She shows how to make a Yule Log and decorate your house with greenery and grain weavings. She explains how to perform Winter Solstice divinations and cook traditional foods and drinks such as Wassail and Elizabethan gingerbread cookies. And she looks in depth at the medicinal and magical properties of the many herbs, barks, and berries associated with the Christmas and Yuletide season such as Frankincense and Myrrh, Cinnamon, Nutmeg, Hibiscus, Bayberry, and many more. Woven throughout with mystical seasonal lore, this guide offers practical and magical ways to celebrate and honour the darkest days of the year.

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Unravel the history, themes, and language of Shakespeare's plays, poems, and sonnets with this beautifully illustrated guide to his life and works.Comedy and romance, history, and tragedy, Shakespeare's canon has it all. Some 400 years after they were written and first performed, his works still remain fresh and relevant today. Discover the work of the world's most celebrated playwright with:- A clear and accessible format- Act-by-act plot summaries of all of his 39 plays with lists of characters- Guidance on how to read and interpret his great sonnets and narrative poems- Plays ordered by time and genre, helping readers to trace the development of Shakespeare's topics, themes, and artistry- Sidebars that clarify the mythological, geographical, and historical context of each play and decode its language, dramatic action, and themesShakespeare fans will revel in the marvellous depiction of the Stratford-upon-Avon-born Bard himself! His drama book allows you to dive into famous works like Hamlet, Romeo and Juliet, and A Midsummer Nights Dreams and explore Shakespeare's sources and inspirations for each! Themes, plots, characters, and language are brought to life with act-by-act plot summaries, resumes of main characters, and in-depth analysis of Shakespeare's use of the English language. Shakespeare: His Life and Works is a wonderful exploration of plays, poems, and sonnets in the context of his life and the Elizabethan and Jacobean theatre further enriching your experience on, on the page, stage, or screen. It's the perfect gift for existing fans of Shakespeare, and anyone looking to find out more about the work of the world's most celebrated playwright.

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In Subjects of Advice, Ivan Lupić uncovers the rich interconnectedness of dramatic art and the culture of counsel in the early modern period. While counsel was an important form of practical knowledge, with concrete political consequences, it was also an ingrained cultural habit, a feature of obligatory mental, moral, and political hygiene. To be a Renaissance subject, Lupić claims, one had to reckon with the advice of others. Lupić examines this reckoning in a variety of sixteenth-century dramatic contexts. The result is an original account of the foundational role that counsel played in the development of Renaissance drama. Lupić begins by considering the figure of Thomas More, whose influential argument about counsel as a form of performance in Utopia set the agenda for the entire century. Resisting linear narratives and recovering, instead, the simultaneity of radically different kinds of dramatic experience, he shows the vitality of later dramatic engagements with More's legacy through an analysis of the moral interlude staged within Sir Thomas More, a play possibly coauthored by Shakespeare. More also helps explain the complex use of counsel in Senecan drama, from the neo-Latin plays of George Buchanan, discussed in connection with Buchanan's political writings, to the historical tragedies of the mid-sixteenth century. If tyranny and exemplarity are the keywords for early Elizabethan drama of counsel, for the plays of Christopher Marlowe it is friendship. Lupić considers Marlowe's interest in friendship and counsel, most notably in Edward II, alongside earlier dramatic treatments, thus exposing the pervasive fantasy of the ideal counselor as another self. Subjects of Advice concludes by placing King Lear in relation to its dramatic sources to demonstrate Shakespeare's deliberate dispersal of counsel throughout his play. Counsel's customary link to plain and fearless speech becomes in Shakespeare's hands a powerful instrument of poetic and dramatic expression.

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A panoramic history of Puritanism in England, Scotland, and New EnglandThis book is a sweeping transatlantic history of Puritanism from its emergence out of the religious tumult of Elizabethan England to its founding role in the story of America. Shedding critical light on the diverse forms of Puritan belief and practice in England, Scotland, and New England, David Hall describes the movement’s deeply ambiguous triumph under Oliver Cromwell, its political demise with the Restoration of the English monarchy in 1660, and its perilous migration across the Atlantic to establish a “perfect reformation” in the New World. This monumental book traces how Puritanism was a catalyst for profound cultural changes in the early modern Atlantic world, opening the door for other dissenter groups such as the Baptists and the Quakers, and leaving its enduring mark on religion in America.

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The Italian scholar and poet Francesco Petrarch (1304–1374) is best remembered today for vibrant and impassioned love poetry that helped to establish Italian as a literary language. Petrarch inspired later Renaissance writers, who produced an extraordinary body of work regarded today as perhaps the high-water mark of poetic productivity in the European West. These "Petrarchan" poets were self-consciously aware of themselves as poets—as craftsmen, revisers, and professionals. As William J. Kennedy shows in Petrarchism at Work, this commitment to professionalism and the mastery of poetic craft is essential to understanding Petrarch’s legacy. Petrarchism at Work contributes to recent scholarship that explores relationships between poetics and economic history in early-modern European literature. Kennedy traces the development of a Renaissance aesthetics from one based upon Platonic intuition and visionary furor to one grounded in Aristotelian craftsmanship and technique. Their polarities harbor economic consequences, the first privileging the poet’s divinely endowed talent, rewarded by the autocratic largess of patrons, the other emphasizing the poet’s acquired skill and hard work. Petrarch was the first to exploit the tensions between these polarities, followed by his poetic successors. These include Gaspara Stampa in the emergent salon society of Venice, Michelangelo Buonarroti in the "gift" economy of Medici Florence and papal Rome, Pierre de Ronsard and the poets of his Pléiade brigade in the fluctuant Valois court, and William Shakespeare and his contemporaries in the commercial world of Elizabethan and early Stuart London. As Kennedy shows, the poetic practices of revision and redaction by Petrarch and his successors exemplify the transition from a premodern economy of patronage to an early modern economy dominated by unstable market forces.

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Was there such a thing as a modern notion of race in the English Renaissance, and, if so, was skin color its necessary marker? In fact, early modern texts described human beings of various national origins—including English—as turning white, brown, tawny, black, green, or red for any number of reasons, from the effects of the sun's rays or imbalance of the bodily humors to sexual desire or the application of makeup. It is in this cultural environment that the seventeenth-century London Gazette used the term "black" to describe both dark-skinned African runaways and dark-haired Britons, such as Scots, who are now unquestioningly conceived of as "white." In Shades of Difference, Sujata Iyengar explores the cultural mythologies of skin color in a period during which colonial expansion and the slave trade introduced Britons to more dark-skinned persons than at any other time in their history. Looking to texts as divergent as sixteenth-century Elizabethan erotic verse, seventeenth-century lyrics, and Restoration prose romances, Iyengar considers the construction of race during the early modern period without oversimplifying the emergence of race as a color-coded classification or a black/white opposition. Rather, "race," embodiment, and skin color are examined in their multiple contexts—historical, geographical, and literary. Iyengar engages works that have not previously been incorporated into discussions of the formation of race, such as Marlowe's "Hero and Leander" and Shakespeare's "Venus and Adonis." By rethinking the emerging early modern connections between the notions of race, skin color, and gender, Shades of Difference furthers an ongoing discussion with originality and impeccable scholarship.

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The Falklands War was a turning point in modern British history. On the one hand, it was what some considered to be the 'last of the great Elizabethan adventures', with the Royal Navy pulling off an incredible feat of maritime warfare, under the most appallingly risky circumstances. On the other hand, it was the first war of the modern age, using satellite surveillance, computer-driven missiles, night observation devices, and all the technologically developed power of modern weaponry. It was also a conflict that could so easily have gone terribly wrong for British forces. Instead, it was a resounding military success.And yet, the conflict's significance is often overlooked. Drawing upon the vast resources of the Imperial War Museum's sound archive, which contains thousands of interviews with both soldiers and civilians, both British and Argentinean, Forgotten Voices of the Falkands War redresses the balance, presenting a complete oral history of the Falklands War. From the initial invasion of the islands to the British landings, the sinking of the Belgrano to brutal combat at Goose Green, the Argentinean surrender through to its aftermath, the book is a unique and essential chronicle of the conflict told from all sides and perspectives. It includes the visceral and often terrifying experiences of the combatants as well as the poignant and sometimes surreal recollections of the islanders caught in the middle.Utilising all the qualities that have made the Forgotten Voices series so popular, Hugh McManners, who himself fought in the Falklands War and witnessed its brutality first-hand, has created the definitive oral history on the subject.

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- Following the style of the most famous book of Renaissance art history, Lives of the Most Excellent Painters, Sculptors, and Architects by Giorgio Vasari, this is one of the most comprehensive books of British art history covering the early period to the early nineteenth century.- Alain Cunningham compiled this monumental work with the support of his contemporaries, such as John Gibson Lockhart, the editor of Quarterly Review and Robert Southey. It took several years to complete.- The book selected forty-seven British artists; not only famous painters and architects like William Hogarth, William Blake, Joshua Reynolds, and Inigo Jones, but also some relatively forgotten figures from the Elizabethan period up to the nineteenth century.- Contains detailed bibliographic information, together with both historical and aesthetic background of the times in which the artists flourished.- An essential addition to the holdings of all art libraries (and universities with art courses) which do not hold the original book.

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This two-volume anthology celebrates four centuries of English poetry, from the Elizabethan era to the present day. This, the second of the two volumes, covers poets from Blake to Heaney, and provides an excellent portrayal of a wide variety of eighteenth to twentieth century poets. The richness and variety of this tradition are represented in this collection by all the great and familiar names, but also some of the less well-known poets who have often provided startling exceptions to the poetry of their age. The result is a rich and multi-coloured tapestry of the depth, diversity, and energy of poetry written in Britain and Ireland. Beginning with William Blake, this second volume, covers many of the Romantic poets (Wordsworth, Byron, Shelley, Keates). It gives a generous survey of nineteenth century verse, including that of Tennyson, Browning, Hopkins, and Lewis Carroll, with poets from the twentieth-century being represented by poets such as Graves, Betjeman, Larking, Hughes, and Heaney.

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The Great British Dig brings history and archaeology closer to home than ever before. Each week a team of archaeologists (led by presenter Hugh Dennis) descend on streets and gardens the length and breadth of the country to discover the treasures we have been living right on top of without realising. In this official tie-in book, on-screen expert Dr Chloë Duckworth digs deeper into the sites the show visited, as well as giving practical tips and advice for anyone who wants to have a go themselves. Uncovering a lost world of human stories just a few shovelfuls beneath our feet, Chloë explores the team’s techniques in fascinating detail, offering new insights and explanations about the discoveries made. As well as revealing the actual frontier of the Roman Empire in Britain, the Tudor palace of an Elizabethan spymaster, a revolutionary Victorian prison, a Second World War military base, and a prehistoric village under a school playing field, Chloë includes lots of information for anyone wanting to give it a go themselves. The book is packed with features, tip boxes and practical advice about digging in your own back garden, researching your local area for clues about what might have been there centuries ago, and dating things you may find. Highly illustrated, the book includes images never seen on screen, as well as archive photos and illustrations that bring history to life, and identification guides to bones, pottery, tools, coins and other things you might come across yourself. Foreword by Hugh Dennis, presenter of The Great British Dig.

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Taking cross-disciplinary and comparative approaches to the volume’s subject, this exciting collection of essays offers a reassessment of Shakespeare’s erotic and Ovidian mythology within classical and continental aesthetic contexts. Through extensive examination of mythological visual and textual material, scholars explore the transmission and reinvention of Ovidian eroticism in Shakespeare’s plays to show how early modern artists and audiences collectively engaged in redefining ways of thinking pleasure. Within the collection’s broad-ranging investigation of erotic mythology in Renaissance culture, each chapter analyses specific instances of textual and pictorial transmission, reception, and adaptation. Through various critical strategies, contributors trace Shakespeare’s use of erotic material to map out the politics and aesthetics of pleasure, unravelling the ways in which mythology informs artistic creation. Received acceptions of neo-platonic love and the Petrarchan tensions of unattainable love are revisited, with a focus on parodic and darker strains of erotic desire, such as Priapic and Dionysian energies, lustful fantasy and violent eros. The dynamics of interacting tales is explored through their structural ability to adapt to the stage. Myth in Renaissance culture ultimately emerges not merely as near-inexhaustible source material for the Elizabethan and Jacobean arts, but as a creative process in and of itself.

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At the cutting edge of new social and demographic history, this book provides a detailed picture of the most comprehensive system of poor relief operated by any Elizabethan town. Well before the Poor Laws of 1598 and 1601, Hadleigh, Suffolk—a thriving woolen cloth center with a population of roughly 3,000—offered a complex array of assistance to many of its residents who could not provide for themselves: orphaned children, married couples with more offspring than they could support or supervise, widows, people with physical or mental disabilities, some of the unemployed, and the elderly. Hadleigh's leaders also attempted to curb idleness and vagrancy and to prevent poor people who might later need relief from settling in the town. Based upon uniquely full records, this study traces 600 people who received help and explores the social, religious, and economic considerations that made more prosperous people willing to run and pay for this system. Relevant to contemporary debates over assistance to the poor, the book provides a compelling picture of a network of care and control that resulted in the integration of public and private forms of aid.

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From Dartmoor to Dartmouth, the River Dart flows through some of Devon's most beautiful scenery. The towns and villages which have grown up along its banks are steeped in history and proudly preserve their rich heritage. This book shows images from the past of places all the way along the river. From the Dartmeet through Holne, Hexworthy, Buckfastleigh, Staverton, Dartington, Totnes, Ashprington, Tuckenhay, Cornworthy, Stoke Gabriel, Dittisham, Galmpton, Dartmouth and Kingswear, archive photographs bring the history of the area to life.With over 200 images carefully selected from the Local Studies Archive at Torquay Library, these pictures cover a wide range of subjects, including: the revival of Buckfast Abbey, the development and preservation of the steam railway, the proud seafaring tradition of the area (from Elizabethan adventurers such as Gilbert, Raleigh and Davis to the Britannia Royal Naval College), local involvement in warfare (from the Norman Conquest to the Falklands Conflict), village life, and the vessels that have plied the Dart during the twentieth century. Of course, no book of this kind would be complete without mentioning some of the many colourful legends and folk stories that abound concerning this area and Mike Holgate has used many such tales in this expertly written captions.People who enjoy a long-standing association with the area will love the nostalgia of this book - which takes the reader both along the river and down memory lane! Those who are of a more recent association with the area will love the nostalgia of this book - which takes the reader both along the river and down memory lane! Those who are of a more recent association with the River Dart will delight in seeing its history displayed through high-quality images and comprehensive text.

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In a recent sale catalog, one bookseller apologized for the condition of a sixteenth-century volume as "rather soiled by use." When the book was displayed the next year, the exhibition catalogue described it as "well and piously used [with] marginal notations in an Elizabethan hand [that] bring to life an early and earnest owner"; and the book's buyer, for his part, considered it to be "enlivened by the marginal notes and comments." For this collector, as for an increasing number of cultural historians and historians of the book, a marked-up copy was more interesting than one in pristine condition. William H. Sherman recovers a culture that took the phrase "mark my words" quite literally. Books from the first two centuries of printing are full of marginalia and other signs of engagement and use, such as customized bindings, traces of food and drink, penmanship exercises, and doodles. These marks offer a vast archive of information about the lives of books and their place in the lives of their readers. Based on a survey of thousands of early printed books, Used Books describes what readers wrote in and around their books and what we can learn from these marks by using the tools of archaeologists as well as historians and literary critics. The chapters address the place of book-marking in schools and churches, the use of the "manicule" (the ubiquitous hand-with-pointing-finger symbol), the role played by women in information management, the extraordinary commonplace book used for nearly sixty years by Renaissance England's greatest lawyer-statesman, and the attitudes toward annotated books among collectors and librarians from the Middle Ages to the present. This wide-ranging, learned, and often surprising book will make the marks of Renaissance readers more visible and legible to scholars, collectors, and bibliophiles.

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In late medieval Catholicism, mourners employed an array of practices to maintain connection with the deceased—most crucially, the belief in purgatory, a middle place between heaven and hell where souls could be helped by the actions of the living. In the early sixteenth century, the Reformation abolished purgatory, as its leaders did not want attention to the dead diminishing people's devotion to God. But while the Reformation was supposed to end communication between the living and dead, it turns out the result was in fact more complicated than historians have realized. In the three centuries after the Reformation, Protestants imagined continuing relationships with the dead, and the desire for these relations came to form an important—and since neglected—aspect of Protestant belief and practice. In Speaking with the Dead in Early America, historian Erik R. Seeman undertakes a 300-year history of Protestant communication with the dead. Seeman chronicles the story of Protestants' relationships with the deceased from Elizabethan England to puritan New England and then on through the American Enlightenment into the middle of the nineteenth century with the explosion of interest in Spiritualism. He brings together a wide range of sources to uncover the beliefs and practices of both ordinary people, especially women, and religious leaders. This prodigious research reveals how sermons, elegies, and epitaphs portrayed the dead as speaking or being spoken to, how ghost stories and Gothic fiction depicted a permeable boundary between this world and the next, and how parlor songs and funeral hymns encouraged singers to imagine communication with the dead. Speaking with the Dead in Early America thus boldly reinterprets Protestantism as a religion in which the dead played a central role.

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Investigates Shakespeare's mode of composition and the way contemporary psychology informs dramatic representation through ekphrasis Describes Shakespeare's own ingenuity and his dramatizations of ingenuity according to classical and renaissance accounts of this activity Explains and illustrates in his plays the function of fantasy in reading the external world, as described in contemporary psychology Participates in the current scholarly interest in the intertextuality of theatrical scripts Traces Shakespeare's adaptations of the hybrid genre tragicomedy from his problem plays" to The Winter's Tale and demonstrates his use of the writings of Giraldi Cinzio and Battista Guarini to give unique shape to this late work Drawing inspiration from Robert Greene's deathbed attack on Shakespeare as "an upstart crow, beautified with our feathers," The Bodger (Elizabethan variant of "botcher," "mender," "patcher") argues that Shakespeare's dramas are compositions of "shreds and patches" pieced together by a mind of extraordinary synthetic acuity. Such patches include passages of dialogue that, as described in the sixteenth century, "lead objects before our eyes" by means of ekphrasis. The book offers substantial art-historical research into the only visual artist named by Shakespeare, Giulio Romano--who performs an important role in The Winter's Tale as the alleged sculptor of a statue of the dead Queen. Giulio, heir to Raphael's workshop, is known primarily as a painter and architect. My research has revealed that he was also a designer of sculpture. Applying historical and theoretical materials to close readings of several plays, I focus on the most critical issues of The Winter's Tale King Leontes' sudden fit of jealousy; Shakespeare's introduction of a surrogate playwright in the personification of Time, who refashions the play from tragedy to comedy, assisted by a behind-the-scenes female ghost writer; and the Queen's statue amazingly "coming to life" through an interactive declaration of faith. "

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