There has never been a retrospective on Christopher Marlowe as comprehensive, complete and up-to-date in appraising the Marlovian landscape. Each chapter has been written by an eminent, international Marlovian scholar to determine what has been covered, what has not, and what scholarship and criticism will or might focus on next. The volume considers all of Marlowe’s dramas and his poetry, including his translations, as well as the following special topics: Critical Approaches to Marlowe; Marlowe’s Works in Performance; Marlowe and Theatre History; Electronic Resources for Marlovian Research; and Marlowe’s Biography. Included in the discussions are the native, continental, and classical influences on Marlowe and the ways in which Marlowe has interacted with other contemporary writers, including his influence on those who came after him. The volume has appeal not only to students and scholars of Marlowe but to anyone interested in Renaissance drama and poetry. Moreover, the significance for readers lies in the contributors’ approaches as well as in their content. Interest in the biography of Christopher Marlowe and in his works has bourgeoned since the turn of the century. It therefore seems especially appropriate at this time to present a comprehensive assessment of past and present traditional and innovative lines of inquiry and to look forward to future developments.
Focusing upon Marlowe the playwright as opposed to Marlowe the man, the essays in this collection position the dramatist's plays within the dramaturgical, ethical, and sociopolitical matrices of his own era. The volume also examines some of the most heated controversies of the early modern period, such as the anti-theatrical debate, the relations between parents and children, Machiavaelli1s ideology, the legitimacy of sectarian violence, and the discourse of addiction. Some of the chapters also explore Marlowe's polysemous influence on the theater of his time and of later periods, but, most centrally, upon his more famous contemporary poet/playwright, William Shakespeare.
When Hermione - eccentric, seventy and returned from India to a 'safe' life in the Home Counties - encounters Slug street-painting on the pavement, she employs him as assistant gardener. Slug, who has the motto ' Never Grow Old' tattooed across his head, will soon sort out Gerald, the pin-striped head gardener, soften his ruthless marshalling of her plants and introduce a more effusive atmosphere to her estate. But when Hugh, Hermione's huge husband, dies, Slug's skinhead cronies begin to threaten her peace, and Hermione retreats to the chaos of India, chasing the memories of her previous life. What happened to the young Indian with whom she fell passionately in love when she was nineteen, and who had insisted that she marry the more ' suitable' Hugh? Can she recreate the dream of over fifty years ago? Writing on Skin is blackly comic in its humour and sweeping in its imaginative scope.
After his wife's death, Jason Traherne, Marquess of Sheldon, shut his heart to everyone but his son. But there's something about Olivia Weston's unique blend of sweetness and sensuality which tempts him beyond all reason. Though there's nothing suitable about the feelings he inspires in her, Livvy can't help falling for the marquess...but can she persuade him to let go of the past and risk his heart again?
Art in England fills a void in the scholarship of both English and medieval art by offering the first single volume overview of artistic movements in Medieval and Early Renaissance England. Grounded in history and using the chronology of the reign of monarchs as a structure, it is contextual and comprehensive, revealing unobserved threads of continuity, patterns of intention and unique qualities that run through English art of the medieval millennium. By placing the English movement in a European context, this book brings to light many ingenious innovations that focused studies tend not to recognize and offers a fresh look at the movement as a whole. The media studied include architecture and related sculpture, both ecclesiastical and secular; tomb monuments; murals, panel paintings, altarpieces, and portraits; manuscript illuminations; textiles; and art by English artists and by foreign artists commissioned by English patrons.
From ancient Greece they came, remnants of the glorious Trojans. Led by Brutus, Kingman, holder of the bands of gold that wield the very magic of the Gods, these travelers are bowed but not broken, and they have come to Albion to begin anew. A vision of beauty called them to create a new Troy, and when they landed on the shores of the land that became Britain, they found an old magic that was fading. And so they began to construct a new Labyrinth, a place of magic that will bring unimaginable power to those who can control it. The temptress who brought Brutus to this land seeks to use him for her own purposes, but in that she fails, for it is the bride of Brutus who dooms the completion of the labyrinth . . . and sends all the players in this drama---handsome Brutus, his beautiful wife, Cornelia, and the sensuous and deadly Genvissa---into a hell of death and rebirth, until the Labyrinth is completed and the ancient magic is set free. A thousand years pass. Cathedrals rise in place of mud and wattle huts, hymns to saints replace odes to Celtic and Greek gods. But the magic from the dawn of time waits, and the players are not yet done with their destinies. They have new faces and new bodies, but old souls---and not all who have come back remember their parts in this drama. There are kings and princes, deadly court intrigues, and ancient powers awoken. And a warrior across the sea who only waits for his opportunity to finish what was started centuries before . . . At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.
The stigmatization as 'bastards' of children born outside of wedlock is commonly thought to have emerged early in Medieval European history. Christian ideas about legitimate marriage, it is assumed, set the standard for legitimate birth. Children born to anything other than marriage had fewer rights or opportunities. They certainly could not become king or queen. As this volume demonstrates, however, well into the late twelfth century, ideas of what made a child a legitimate heir had little to do with the validity of his or her parents' union according to the dictates of Christian marriage law. Instead a child's prospects depended upon the social status, and above all the lineage, of both parents. To inherit a royal or noble title, being born to the right father mattered immensely, but also being born to the right kind of mother. Such parents could provide the most promising futures for their children, even if doubt was cast on the validity of the parents' marriage. Only in the late twelfth century did children born to illegal marriages begin to suffer the same disadvantages as the children born to parents of mixed social status. Even once this change took place we cannot point to 'the Church' as instigator. Instead, exclusion of illegitimate children from inheritance and succession was the work of individual litigants who made strategic use of Christian marriage law. This new history of illegitimacy rethinks many long-held notions of medieval social, political, and legal history.
The third and fourth instalments of this exciting spy series set in Tudor England, amid the intrigue and danger of Henry VIII's royal court, from the authors of books in the bestselling BEAST QUEST series. In DEADLY STORM the royal court of King Henry VIII is on the move - and in danger! A terrible storm forces the court to shelter in a nearby castle. The King is in disguise, and he's not the only person with a secret. Death stalks the castle - but is it the dreaded plague or something even more sinister? When a servant is found dead, it's clear that something terrible is going on. Can young spy, Jack Briars, and his friend, Cat Thimblebee, solve the mystery before the King himself becomes a target? While in FATAL VOYAGE, Jack and Cat are once again called upon to save the King's life, this time aboard his majestic new ship, Fair Anne. But will this adventure leave the pair all at sea? A thrilling adventure series featuring young spy Jack Briars and his friend, Cat Thimblebee. This is WOLF HALL for children.
Today is Julia Clockhouse's twenty-fifth birthday. Her long-suffering Hindu servants are frantically trying to organise a party for her, but it's hard to do so amid the havoc wreaked by her wild spirit. They think she is possessed. Daughters of colonial tea-planters shouldn't have souls that escape their bodies, move objects with their minds, hear tongueless yogis speak. Julia Clockhouse does. As the day passes and the chaos mounts in the kitchen, Julia listens desperately for the return of her husband. Ben may have married her on the orders of her domineering father, but he had come to love her; together they had found the happiness they missed in childhood. But by the time the party guests are tumbling in from the rising fury of the monsoon Ben has still not come. Sara Banerji narrates the events of an extraordinary birthday with deft humour and haunting eloquence, weaving into Julia's story a picture of an isolated tea-plantation and all those who live there. The Tea-Planter's Daughter is a captivating flight of the imagination firmly rooted in the reality of the South Indian hills.
Winner - 2023 John Brinkerhoff Jackson Book Prize, UVA Center for Cultural Landscapes With more than eight hundred sprawling green acres in the middle of one of the world’s densest cities, Central Park is an urban masterpiece. Designed in the middle of the nineteenth century by the landscape architects Frederick Law Olmsted and Calvert Vaux, it is a model for city parks worldwide. But before it became Central Park, the land was the site of farms, businesses, churches, wars, and burial grounds—and home to many different kinds of New Yorkers. This book is the authoritative account of the place that would become Central Park. From the first Dutch family to settle on the land through the political crusade to create America’s first major urban park, Sara Cedar Miller chronicles two and a half centuries of history. She tells the stories of Indigenous hunters, enslaved people and enslavers, American patriots and British loyalists, the Black landowners of Seneca Village, Irish pig farmers, tavern owners, Catholic sisters, Jewish protesters, and more. Miller unveils a British fortification and camp during the Revolutionary War, a suburban retreat from the yellow fever epidemics at the turn of the nineteenth century, and the properties that a group of free Black Americans used to secure their right to vote. Tales of political chicanery, real estate speculation, cons, and scams stand alongside democratic idealism, the striving of immigrants, and powerfully human lives. Before Central Park shows how much of the history of early America is still etched upon the landscapes of Central Park today.
By examining the novels of critically and commercially successful authors such as Sarah Dessen (Someone Like You), Stephenie Meyer (the Twilight series), and Laurie Halse Anderson (Speak), Reading Like a Girl: Narrative Intimacy in Contemporary American Young Adult Literature explores the use of narrative intimacy as a means of reflecting and reinforcing larger, often contradictory, cultural expectations regarding adolescent women, interpersonal relationships, and intimacy. Reading Like a Girl explains the construction of narrator-reader relationships in recent American novels written about adolescent women and marketed to adolescent women. Sara K. Day explains, though, that such levels of imagined friendship lead to contradictory cultural expectations for the young women so deeply obsessed with reading these novels. Day coins the term “narrative intimacy” to refer to the implicit relationship between narrator and reader that depends on an imaginary disclosure and trust between the story's narrator and the reader. Through critical examination, the inherent contradictions between this enclosed, imagined relationship and the real expectations for adolescent women's relations prove to be problematic. In many novels for young women, adolescent female narrators construct conceptions of the adolescent woman reader, constructions that allow the narrator to understand the reader as a confidant, a safe and appropriate location for disclosure. At the same time, such novels offer frequent warnings against the sort of unfettered confession the narrators perform. Friendships are marked as potential sites of betrayal and rejection. Romantic relationships are presented as inherently threatening to physical and emotional health. And so, the narrator turns to the reader for an ally who cannot judge. The reader, in turn, may come to depend upon narrative intimacy in order to vicariously explore her own understanding of human expression and bonds.
The award-winning author of The Reunion continues her dazzling new series with a novel of one woman’s fall from saint to sinner . . . Lucy Betancourt’s future looks bleak. The daughter of an ailing vicar in a village with no eligible bachelors, her only hope is to find employment as a governess or companion. As she helps her childhood friend, the new Duchess of Worley, through her pregnancy, the ever-practical Lucy makes her plans. But life—in the way of the dashing Bex Brantwood—has something else in store for Lucy… Upon meeting Bex, the duke’s cousin, Lucy offers herself up to him. But Bex is no family man looking for a governess. And Lucy is not exactly mistress material. Still, the misunderstanding ends in a kiss neither can forget . . . Bex finds the proper vicar’s daughter and her most improper proposal endlessly amusing—and attractive. But, saddled with debt, he’s in no position to keep a woman, much less marry one, which is what a woman like Lucy deserves. Little does he know that even with her reputation at stake, Lucy will take the biggest gamble of her life by following her heart—straight into his arms . . .
This book relays the largely untold story of the approximately 1,100 Australian war graves workers whose job it was to locate, identify exhume and rebury the thousands of Australian soldiers who died in Europe during the First World War. It tells the story of the men of the Australian Graves Detachment and the Australian Graves Service who worked in the period 1919 to 1922 to ensure that grieving families in Australia had a physical grave which they could mourn the loss of their loved ones. By presenting biographical vignettes of eight men who undertook this work, the book examines the mechanics of the commemoration of the Great War and extends our understanding of the individual toll this onerous task took on the workers themselves.
In medieval England, a defendant who refused to plead to a criminal indictment was sentenced to pressing with weights as a coercive measure. Using peine forte et dure ('strong and hard punishment') as a lens through which to analyse the law and its relationship with Christianity, Butler asks: where do we draw the line between punishment and penance? And, how can pain function as a vehicle for redemption within the common law? Adopting a multidisciplinary approach, this book embraces both law and literature. When Christ is on trial before Herod, he refused to plead, his silence signalling denial of the court's authority. England's discontented subjects, from hungry peasant to even King Charles I himself, stood mute before the courts in protest. Bringing together penance, pain and protest, Butler breaks down the mythology surrounding peine forte et dure and examines how it functioned within the medieval criminal justice system.
In a tale set against a backdrop of plague-ridden, fourteenth-century Europe, Brother Thomas Neville is commanded by the Archangel Michael to stop the minions of Satan, who would take over the world as part of a larger plan to attack Heaven.
A champion of Africa, legendary for his good looks, his charm, and his prowess as a soldier, lover, and hunter, Denys Finch Hatton inspired Karen Blixen to write the unforgettable Out of Africa. Now esteemed British biographer Sara Wheeler tells the truth about this extraordinarily charismatic adventurer. Born to an old aristocratic family that had gambled away most of its fortune, Finch Hatton grew up in a world of effortless elegance and boundless power. In 1910, searching for something new, he arrived in British East Africa and fell in love–with a continent, with a landscape, with a way of life that was about to change forever. In Nairobi, Finch Hatton met Karen Blixen and embarked on one of the great love affairs of the twentieth century. Intellectual equals, Finch Hatton and Blixen were genuine pioneers in a land that was quickly being transformed by violence, greed, and bigotry. Ever restless, Finch Hatton wandered into a career as a big-game hunter and became an expert bush pilot. Mesmerized all his life by the allure of freedom and danger, Finch Hatton was, writes Wheeler, “the open road made flesh.”
“Inventing Edward Lear is an exceptional, valuable, original study, presenting new materials on aspects of Lear’s life and work.” —Jenny Uglow, author of Mr. Lear and The Lunar Men Edward Lear wrote some of the best-loved poems in English, including “The Owl and the Pussycat,” but the father of nonsense was far more than a poet. He was a naturalist, a brilliant landscape painter, an experimental travel writer, and an accomplished composer. Sara Lodge presents the fullest account yet of Lear’s passionate engagement in the intellectual, social, and cultural life of his times. Lear had a difficult start in life. He was epileptic, asthmatic, and depressive, but even as a child a consummate performer who projected himself into others’ affections. He became, by John James Audubon’s estimate, one of the greatest ornithological artists of the age. Queen Victoria—an admirer—chose him to be her painting teacher. He popularized the limerick, set Tennyson’s verse to music, and opened fresh doors for children and adults to share fantasies of magical escape. Lodge draws on diaries, letters, and new archival sources to paint a vivid picture of Lear that explores his musical influences, his religious nonconformity, his relationship with the Pre-Raphaelite movement, and the connections between his scientific and artistic work. He invented himself as a character: awkward but funny, absurdly sympathetic. In Lodge’s hands, Lear emerges as a dynamic and irreverent polymath whose conversation continues to draw us in. Inventing Edward Lear is an original and moving account of one of the most intriguing and creative of all Victorians.
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