Through an investigation of the dedications and addresses from various printed plays of the English Renaissance, the author recuperates the richness of these prefaces and connects them to the practice of patronage. The prefatory matter discussed ranges from the printer John Day's address to readers (the first of its kind) in the 1570 edition of Gorboduc to Richard Brome's dedication to William Seymour and address to readers in his 1640 play, Antipodes. The study includes discussion of prefaces in plays by Shakespeare's contemporaries as well as Shakespeare himself, among them Marston, Jonson, and Heywood. The author uses these prefaces to show that English playwrights, printers and publishers looked in two directions, toward aristocrats and toward a reading public, in order to secure status for and dissemination of dramatic texts. The author points out that dedications and addresses to readers constitute obvious signs that printers, publishers and playwrights in the period increasingly saw these dramatic texts as occupying a rightful place in the humanistic and commercial endeavor of book production.
Gender, Culture and Politics in England, 1560-1640 integrates social history, politics and literary culture as part of a ground-breaking study that provides revealing insights into early modern English society. Susan D. Amussen and David E. Underdown examine political scandals and familiar characters-including scolds, cuckolds and witches-to show how their behaviour turned the ordered world around them upside down in very specific, gendered ways. Using case studies from theatre, civic ritual and witchcraft, the book demonstrates how ideas of gendered inversion, failed patriarchs, and disorderly women permeate the mental world of early modern England. Amussen and Underdown show both how these ideas were central to understanding society and politics as well as the ways in which both women and men were disciplined formally and informally for inverting the gender order. In doing so, they give a glimpse of how we can connect different dimensions of early modern society. This is a vital study for anyone interested in understanding the connections between social practice, culture, and politics in 16th- and 17th-century England.
This book is a survey of personal illness as described in various forms of early modern manuscript life-writing. How did people in the seventeenth century rationalise and record illness? Observing that medical explanations for illness were fewer than may be imagined, the author explores the social and religious frameworks by which illness was more commonly recorded and understood. The story that emerges is of illness written into personal manuscripts in prescriptive rather than original terms. This study uncovers the ways in which illness, so described, contributed to the self-patterning these texts were set up to perform.
David Farley-Hills argues that Shakespeare did not work in splendid isolation, but responded as any other playwright to the commercial and artistic pressures of his time. In this book he offers an interpretation of seven of Shakespeare's plays in the light of pressures exerted by his major contemporary rivals. The plays discussed are Hamlet, Troilus and Cressida, All's Well That Ends Well, Othello, Measure for Measure, Timon of Athens, and King Lear.
The cultural Cold War between the Soviet Union and the West was without precedent. At the outset of this original and wide-ranging historical survey, David Caute establishes the nature of the extraordinary cultural competition set up post-1945 between Moscow, New York, London and Paris, with the most intimate frontier war staged in the city of Berlin. Using sources in four languages, the author of The Fellow-Travellers and The Great Fear explores the cultural Cold War as it rapidly penetrated theatre, film, classical music, popular music, ballet, painting and sculpture, as well as propaganda by exhibition. Major figures central to Cold War conflict in the theatre include Brecht, Miller, Sartre, Camus, Havel, Ionesco, Stoppard and Konstantin Simonov, whose inflammatory play, The Russian Question, occupies a chapter of its own based on original archival research. Leading film directors involved included Eisenstein, Romm, Chiarueli, Aleksandrov, Kazan, Tarkovsky and Wajda. In the field of music, the Soviet Union in the Zhdanov era vigorously condemned 'modernism', 'formalism', and the avant-garde. A chapter is devoted to the intriguing case of Dmitri Shostakovich, and the disputed authenticity of his 'autobiography' Testimony. Meanwhile in the West the Congress for Cultural Freedom was sponsoring the modernist composers most vehemently condemned by Soviet music critics; Stravinsky, Schoenberg, Hindemith among them. Despite constant attempts at repression, the Soviet Party was unable to check the appeal of jazz on the Voice of America, then rock music, to young Russians. Visits to the West by the Bolshoi and Kirov ballet companines, the pride of the USSR, were fraught with threats of cancellation and the danger of defection. Considering the case of Rudolf Nureyev, Caute pours cold water on overheated speculations about KGB plots to injure him and other defecting dancers. Turning to painting, where socialist realism prevailed in Russia, and the impressionist heritage was condemned, Caute explores the paradox of Picasso's membership of the French Communist Party. Re-assessing the extent of covert CIA patronage of abstract expressionism (Pollock, De Kooning), Caute finds that the CIA's role has been much exaggerated, likewise the dominance of the New York School. Caute challenges some recent, one-dimensional, American accounts of 'Cold War culture', which ignore not only the Soviet performance but virtually any cultural activity outside the USA. The West presented its cultural avant-garde as evidence of liberty, even through monochrome canvases and dodecaphonic music appealed only to a minority audience. Soviet artistic standards and teaching levels were exceptionally high, but the fear of freedom and innovation virtually guaranteed the moral defeat which accelerated the collapse of the Soviet Union.
Most American historians and legal scholars incorrectly assume that controversies and litigation about free speech began abruptly during World War I. However, there was substantial debate about free speech issues between the Civil War and World War I. Important free speech controversies, often involving the activities of sex reformers and labor unions, preceded the Espionage Act of 1917. Scores of legal cases presented free speech issues to Justices Holmes and Brandeis. A significant organization, the Free Speech League, became a principled defender of free expression two decades before the establishment of the ACLU in 1920. World War I produced a major transformation in American liberalism. Progressives who had viewed constitutional rights as barriers to needed social reforms came to appreciate the value of political dissent during its wartime repression. They subsequently misrepresented the prewar judicial hostility to free speech claims and obscured prior libertarian defenses of free speech based on commitments to individual autonomy.
Compiled by scholars with unrivalled knowledge of the sources, this dictionary provides biographies of all musicians and instrument makers employed by the English court from 1485-1714. A number of the musicians featured here have never previously received a dictionary entry. Coverage of these minor figures helps to flesh out the picture of musical life in the court in a way which individual studies of more major composers cannot. In addition to basic biographical details, entries feature information on: appointments; probate material; family background; heraldry; signatures and holograph documents; subscriptions to books; bibliographic references. A finding-list of variant names, details of the succession of court places assumed by musicians and an index of subjects and place names completes this comprehensive reference work.
Jonson, Marston, Chapman, Middleton, Heywood, Webster and Fletcher are playwrights of the Jacobean stage whose outstanding literary achievements have to some extent been obscured or misunderstood in Shakespeare's shadow. This timely reassessment, based on the accumulated scholarship of the decades since Una Ellis-Fermor's Jacobean Drama in 1936, comes when the opening of the Swan Theatre at Stratford-upon-Avon gives the public, at last, the chance to see on the professional stage some of the neglected masterpieces of the richest period of our theatre.
Money talked in sixteenth-century England, as money still does today. But what the sixteenth century's gold and silver had to say for itself is strikingly different from the modern discourse of money. As David Landreth demonstrates in The Face of Mammon, the material and historical differences between the coins of the English Renaissance and today's paper and electronic money propel a distinctive and complex assessment of the relation between material substance and human value. Although the sixteenth century was marked by the traumatic emergence of conditions that would prove to be characteristic of the modern economy, the discipline of economics had not been invented to assess those conditions. The Face of Mammon considers how literary texts investigated these unexplained material transformations through attention to the materiality of gold and silver money. In new readings of Spenser's Faerie Queene, Marlowe's Jew of Malta, three plays by Shakespeare-King John, The Merchant of Venice, and Measure for Measure-the poetry of John Donne, and the prose of Thomas Nashe, Landreth argues that these texts situate the act of exchange at the center of a system of "common wealth" that sought to integrate political, ethical, and religious values with material ones, and probe the ways in which market value corrodes that system even as it depends upon it. Joining the methods of material-culture studies to those of economic criticism, The Face of Mammon offers a new account of the historical transformations of the concept of value to scholars of early modern literature, culture, and art, as well as to those interested in economic history.
Nashaway became Lancaster, Wachusett became Princeton, and all of Nipmuck County became the county of Worcester. Town by town, New England grew—Watertown, Sudbury, Turkey Hills, Fitchburg, Westminster, Walpole—and with each new community the myth of America flourished. In People of the Wachusett the history of the New England town becomes the cultural history of America's first frontier. Integral to this history are the firsthand narratives of town founders and citizens, English, French, and Native American, whose accounts of trading and warring, relocating and putting down roots proved essential to the building of these communities. Town plans, local records, broadside ballads, vernacular house forms and furniture, festivals—all come into play in this innovative book, giving a rich picture of early Americans creating towns and crafting historical memory. Beginning with the Wachusett, in northern Worcester County, Massachusetts, David Jaffee traces the founding of towns through inland New England and Nova Scotia, from the mid-seventeenth century through the Revolutionary Era. His history of New England's settlement is one in which the replication of towns across the landscape is inextricable from the creation of a regional and national culture, with stories about colonization giving shape and meaning to New England life.
A ... synthesis of African and African-American history that shows how slavery differed in different regions of the country, and how the Africans and their descendants influenced the culture, commerce, and laws of the early United States"--
England on Edge traces the collapse of the government of Charles I, the disintegration of the established church, and the accompanying cultural panic that led to civil war. Focused on the years 1640 to 1642, it examines social and religious turmoil and the emergence of an unrestrained popular press. Hundreds of people not normally seen in historical surveys make appearances here, in a drama much larger than the struggle of king and parliament.
Shakespeare’s London 1613 offers for the first time a comprehensive ‘biography’ of this crucial year in English history. The book examines political and cultural life in London, including the Jacobean court and the city, which together witnessed an exceptional outpouring of cultural experiences and transformative political events. The royal family had to confront the sudden death of Prince Henry, heir apparent to the throne, which provoked unparalleled grief. Meanwhile, an unprecedented number of plays performed at court helped move the country away from sadness to the happy occasion of Princess Elizabeth’s marriage to a German prince. Shakespeare’s productions dominated London’s cultural landscape, while other playwrights, writers and printers produced an extraordinary number of books. Readers interested in literature, cultural history, and the royal family will find in this book a rich and accessible account of this monumental year.
Deluxe A4 Edition of this new version of the whole story of the Bounty, covers everything, from its disastrous crew selection, the Mutiny, incitement of Polynesian wars, trials, executions, pardons, kidnaps, rapes, enslavement to the brutal island murders. Make no mistake; it may have been the beginning of the Romantic Age but there was nothing romantic about the mutiny on the Bounty, why did Fletcher Christian choose oblivion over common sense on that hot sunny morning so long ago? Was it because far from freeing the crew from oppression he was actually mentally unstable? Where exactly was Peter Heywood and why did half the crew choose certain death in an open boat rather than sail away with the mutineers? Just some of the questions answered in this book, for the first time the whole story, the complete story, including the Pandora's hunt for the mutineers and the Admiralty's revenge, and the true price of Peter Heywood's freedom.
A New Nation of Goods highlights the significant role of provincial artisans in four crafts in the northeastern United States—chairmaking, clockmaking, portrait painting, and book publishing—to explain the shift from preindustrial society to an entirely new configuration of work, commodities, and culture.
Blown by the Spirit traces the story of the Antinomians, the most important puritan radical group of the English civil war. Most historians have been skeptical about the existence of this group, or any group like it. This book provides proof of the existence of the Antinomians as well as the important role they played in the pre-history of the English civil-war.
We are in the midst of a biological revolution. Molecular tools are now providing new means of critically testing hypotheses and models of microevolution in populations of wild, cultivated, weedy and feral plants. They are also offering the opportunity for significant progress in the investigation of long-term evolution of flowering plants, as part of molecular phylogenetic studies of the Tree of Life. This long-awaited fourth edition, fully revised by David Briggs, reflects new insights provided by molecular investigations and advances in computer science. Briggs considers the implications of these for our understanding of the evolution of flowering plants, as well as the potential for future advances. Numerous new sections on important topics such as the evolutionary impact of human activities, taxonomic challenges, gene flow and distribution, hybridisation, speciation and extinction, conservation and the molecular genetic basis of breeding systems will ensure that this remains a classic text for both undergraduate and graduate students in the field.
In this book, first published in 1991, David Mann argues for more attention to the performer in the study of Elizabethan plays and less concern for their supposed meanings and morals. He concentrates on a collection of extracts from plays which show the Elizabethan actor as a character onstage. He draws from the texts a range of issues concerning performance practice: the nature of iterance; doubling and its implications for presentational acting; the importance of clowning and improvisation; and the effects of audience and venue on the dynamics of performance. The author suggests that the stage representation of players is in part a nostalgic farewell to the passing of an impure but perhaps more vital theatre, and in part an acknowledgement of the threat the adult theatre’s growing sophistication offered to its institutional and adolescent rivals. This title will be of interest to students of Drama and Performance.
The story of the wreck of the British merchant brig Isabella on the Falkland Islands in 1812, the rescue of whose passengers was complicated by the outbreak of war between Britain and the United States, telling of the adventures which befell citizens of both countries before the passengers were restored to their native shore.
John Donne is best known as a poet of live, brilliantly able to recreate a man's experience of emotions and realities. But he is also a poet of the spiritual journey. His religious poems speak of shame, fear and self-concious complexity and doubt, but his sermons can soar into a word-music seldom equalled, or can condense theology into epigrams as witty as those which date from his youthful lusts. He fascinates because he is a man battered by sex - and by God. David Edwards has written an extremely readable book which ranges over all Donne's poetry and prose, and relates the literature to what is known or probable about his life. He takes twentieth-century research and criticism into careful account but aims to provide more than a detailed examination of a limited part of the subject. He is not sentimental about Donne's faults and limitations, and he does not try to sound superior to either the poet or the preacher. His aim is to achieve a portrait of a living man, a man who both suffered and gloried in his experience of flesh and spirit. David L. Edwards retired as Provost of Southwark Cathedral in 1994. He was formerly a fellow of All Souls College, Oxford, Editor of the SCM Press, Dean of King's College, Cambridge, and a Canon of Westminster Abbey and the Speaker's Chaplain in the House of Commons.
On July 4, 1845, Henry David Thoreau moved into the cabin he had built on the shore of Walden Pond. Houghton Mifflin Harcourt is proud to publish an exceptional new edition of what is perhaps the most important book in our history as a publisher. Walden: An Annotated Edition features the definitive text of the book with extensive notes on Thoreau's life and times by the distinguished biographer and critic Walter Harding. In the third chapter, Thoreau writes, "How many a man has dated a new era in his life from the reading of a book?" For many readers, Walden is that book. Written a century and a half ago, it grows more meaningful every day, and whether you are reading it for the first time or the hundredth, Walter Harding's insightful comments will open your eyes to the true depths of this masterpiece.
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