The reign of King Stephen (1135-54) has usually been seen as uniquely disasterous in the history of the medieval England -- a counrty riven by a civil war between Stephen and his first cousin, the Empress Matilda, and by an anarchy during which overmighty barons laid waste the country and 'Christ and his saints slept'. Donald Matthew challenges this picture. By questioning such melodramatic assumptions, and by looking clearly at what can and cannot be known about Stephen, he brings new light to both the king and his reign. He shows that much of what has been written about Stephen has been based on the selective use of the testimony of hostile witnesses, and has been shot through by wishful thinking or by the political or historical prejudices of the day. King Stephen is an important, well-written and timely reinterpretation of the crisis of Norman government.
In Performance and Religion in Early Modern England, Matthew J. Smith seeks to expand our view of “the theatrical.” By revealing the creative and phenomenal ways that performances reshaped religious material in early modern England, he offers a more inclusive and integrative view of performance culture. Smith argues that early modern theatrical and religious practices are better understood through a comparative study of multiple performance types: not only commercial plays but also ballads, jigs, sermons, pageants, ceremonies, and festivals. Our definition of performance culture is augmented by the ways these events looked, sounded, felt, and even tasted to their audiences. This expanded view illustrates how the post-Reformation period utilized new capabilities brought about by religious change and continuity alike. Smith posits that theatrical practice at this time was acutely aware of its power not just to imitate but to work performatively, and to create spaces where audiences could both imaginatively comprehend and immediately enact their social, festive, ethical, and religious overtures. Each chapter in the book builds on the previous ones to form a cumulative overview of early modern performance culture. This book is unique in bringing this variety of performance types, their archives, venues, and audiences together at the crossroads of religion and theater in early modern England. Scholars, graduate and undergraduate students, and those generally interested in the Renaissance will enjoy this book.
INSIDE OUT, (a collection of poems) speaks to the commonality of the human experience. The highs, lows, ups and downs. It is a very personal book that is meant to touch readers on a personal level.
It is a commonly held belief that medieval Catholics were focussed on the 'bells and whistles' of religious practices, the smoke, images, sights and sounds that dazzled pre-modern churchgoers. Protestantism, in contrast, has been cast as Catholicism's austere, intellective and less sensual rival sibling. With iis white-washed walls, lack of incense (and often music) Protestantism worship emphasised preaching and scripture, making the new religion a drab and disengaged sensual experience. In order to challenge such entrenched assumptions, this book examines Tudor views on the senses to create a new lens through which to explore the English Reformation. Divided into two sections, the book begins with an examination of pre-Reformation beliefs and practices, establishing intellectual views on the senses in fifteenth-century England, and situating them within their contemporary philosophical and cultural tensions. Having established the parameters for the role of sense before the Reformation, the second half of the book mirrors these concerns in the post-1520 world, looking at how, and to what degree, the relationship between religious practices and sensation changed as a result of the Reformation. By taking this long-term, binary approach, the study is able to tackle fundamental questions regarding the role of the senses in late-medieval and early modern English Christianity. By looking at what English men and women thought about sight, hearing, smell, taste and touch, the stereotype that Protestantism was not sensual, and that Catholicism was overly sensualised is wholly undermined. Through this examination of how worship was transformed in its textual and liturgical forms, the book illustrates how English religion sought to reflect changing ideas surrounding the senses and their place in religious life. Worship had to be 'sensible', and following how reformers and their opponents built liturgy around experience of the sacred through the physical allows us to tease out the tensions and pressures which shaped religious reform.
In Georgian England, independence was associated with manly virtue and physical vigour. Fundamentally, the political world was thought to consist of "independent men" exercising their consciences and standing up for the general good. As such, Georgians thought about political action and masculine virtue very differently to the ways in which we do today.
Uncovering the roots of the U.S. Constitution The U.S. Constitution influences nearly every aspect of our lives. But for all the fierce disputes about what the Constitution means, the historical foundations of America’s legal and political institutions pass almost unnoticed today. This is a glaring oversight, one that clouds our understanding of the Constitution and American law and politics in general. For the Constitution did not spring up suddenly in 1787. The framers were influenced at every turn by a tradition of constitutional development dating back to ancient times. Political scientist and legal scholar Matthew A. Pauley fills in the blanks in our understanding by chronicling the three most important influences on the American constitutional experience: ancient Greece, ancient Rome, and England. Pauley’s masterful historical survey sheds new light on our system of representative democracy, our court structure, and our traditions of law—civil and criminal, public and private. No student of law or government can afford to ignore this highly readable, deeply informative work. Athens, Rome, and England adds immeasurably to our appreciation and understanding of the roots of the American Constitution and our legal and political system.
The story of the twelfth-century rivalry for the throne between the daughter and the nephew of Henry I—a battle that tore England apart for over a decade. The Anarchy was the first civil war in post-Conquest England, enduring throughout the reign of King Stephen between 1135 and 1154. It ultimately brought about the end of the Norman dynasty and the birth of the mighty Plantagenet kings. When Henry I died having lost his only legitimate son in a shipwreck, his barons had sworn to recognize his daughter Matilda, widow of the Holy Roman Emperor, as his heir, and remarried her to Geoffrey, Count of Anjou. But when she was slow to move to England upon her father’s death, Henry’s favorite nephew, Stephen of Blois, rushed to have himself crowned, much as Henry himself had done on the death of his brother William Rufus. Supported by his brother Henry, Bishop of Winchester, Stephen made a promising start, but Matilda would not give up her birthright and tried to hold the English barons to their oaths. The result was more than a decade of civil war that saw England split apart. Empress Matilda is often remembered as aloof and high-handed, Stephen as ineffective and indecisive. By following both sides of the dispute and seeking to understand their actions and motivations, Matthew Lewis aims to reach a more rounded understanding of this crucial period of English history—and ask to what extent there really was anarchy.
Early Modern England was obsessed with the 'turke'. Following the first Ottoman siege of Vienna in 1529 the printing presses brought endless prayer sheets, pamphlets and books concerning this 'infidel' threat before the public in the vernacular for the first time. As this body of knowledge increased, stimulated by a potent combination of domestic politics, further Ottoman incursions and trade, English notions of Islam and of the 'turke' became nuanced in a way that begins to question the rigid assumptions of traditional critical enquiry. New Turkes: Dramatizing Islam and the Ottomans in Early Modern England explores the ways in which print culture helped define and promulgate a European construction of 'Turkishness' that was nebulous and ever shifting. By placing in context the developing encounters between the Ottoman and Christian worlds, it shows how ongoing engagements reflected the nature of the 'Turke' in sixteenth century English literature. By offering readings of texts by artists, poets and playwrights - especially canonical figures like Kyd, Marlowe and Shakespeare - a bewildering variety of approaches to Islam and the 'turke' is revealed fundamentally questioning any dominant, defining narrative of 'otherness'. In so doing, this book demonstrates how continuing English encounters, both real and fictional, with Muslims complicated the notion of the 'Turke'. It also shows how the Anglo-Ottoman relationship - which was at its peak in the mid-1590s - was viewed with suspicion by Catholic Europe, particularly the apparent ritual and devotional similarities between England's reformed church and Islam. That the 'new turkes' were not Ottoman Muslims, but English Protestants, serves as a timely riposte to the decisive rhetoric of contemporary conflicts and modern scholarly assumption.
The Pilgrim and the Bee makes a broad claim about a reading-centered history, reclaiming for this purpose a distinctive body of texts. Brown's analysis marks an important step toward a better history of reading."—David D. Hall, Harvard University
This book is a detailed examination of the sources and protocols John Foxe used to justify the Reformation, and claim that the Church of Rome had fallen into the grip of Antichrist. The focus is on the pre-Lollard, medieval history in the first two editions of the Acts and Monuments. Comparison of the narrative that Foxe writes to the possible sources helps us to better understand what it was that Foxe was trying to do, and how he came to achieve his aims. A focus on sources also highlights the collaborative circle in which Foxe worked, recognizing the essential role of other scholars and clerics such as John Bale and Matthew Parker.
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