DOCSLIB.ORG

Bibliography

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Bibliography Bibliography Abrams, M.H. The Mirror and the Lamp: Romantic Theory and the Critical Tradition. New York: Oxford University Press, 1953. Adams, Thomas R., ed. Pietro Martire d’Anghiera et al. The history of travayle in the West and East Indies. 1577. Delmar, NY: Scholars’ Facsimiles & Reprints, 1992. Adler, Judith. ‘Origins of Sightseeing.’ Annals of Tourism Research 16 (1989): 7–29. Agrippa, Henry Cornelius. Three Books of Occult Philosophy. London, 1650. Anderson, Benedict. Imagined Communities: Reflections on the Origin and Spread of Nationalism. London: Verso Editions, 1983. Anon. ‘A stately tragedy containing the ambitious life and death of the great Cham. c. 1590.’ MS. X.d.259. Folger Shakespeare Library. Anon. ‘Letter from Henry, prince of Purpoole, to the Great Turk [manuscript], 1594? December 27.’ MS. V.a.190. Folger Shakespeare Library. Anon. Merrie conceited iests of George Peele Gentleman, sometimes a student in Oxford Wherein is shewed the course of his life how he liued: a man very well knowne in the Citie of London and elsewhere. London, 1607. Aravamudan, Srinivas. Tropicopolitans: Colonialism and Agency, 1688–1804. Durham: Duke University Press, 1999. Arber, Edward, ed. A Transcript of the Registers of the Company of Stationers of London, 1554–1640 A.D. 5 vols. London: privately printed, 1875–94. Ardila, J.A.G. ‘The Influence and Reception of Cervantes in Britain, 1607–2005.’ The Cervantean Heritage: Reception and Influence of Cervantes in Britain. Ed. J.A.G. Ardila. London: Legenda (MHRA), 2009. 2–31. Argyll, Archibald Campbell, Marquis of. ‘Chapter V. Of travel.’ Instructions to a son by Archibald, late Marquis of Argyle; written in the time of his confinement. London, 1661. 69–78. Aristotle. Ethics. Trans. J.A.K. Thomson. Harmondsworth: Penguin, 1976. Ascham, Roger. The scholemaster or plaine and perfite way of teachyng children, to vnderstand, write, and speake, the Latin tong but specially purposed for the priuate brynging vp of youth in ientlemen and noble mens houses, and commodious also for all such, as haue forgot the Latin tonge ... By Roger Ascham. London, 1570. Astington, John H. English Court Theatre, 1558–1642. Cambridge: Cambridge University Press, 1999. Bach, Rebecca Ann. ‘Ben Jonson’s “Civil Savages”.’ Studies in English Literature, 1500–1900 37 (1997): 277–93. –––. Colonial Transformations: The Cultural Production of the New Atlantic World, 1580–1640. New York: Palgrave, 2000. Barber, C.L. Shakespeare’s Festive Comedy. Princeton: Princeton University Press, rpt. 1972. Barbour, Richmond. Before Orientalism: London’s Theatre of the East, 1576–1626. Cambridge: Cambridge University Press, 2003. Barczyk-Barakonska, Liliana. ‘“Never to go forth of the limits”: Space and Melancholy in Robert Burton’s Library Project.’ Journal of European Studies 33.3–4 (December 2003): 213–26. 214 Bibliography 215 Barnes, Barnabe. The Devil’s Charter. Ed. Nick de Somogyi. London: Nick Hern Books, 1999. Bartels, Emily C. Spectacles of Strangeness: Imperialism, Alienation, and Marlowe. Philadelphia: University of Pennsylvania Press, 1993. Bate, Jonathan. ‘The Elizabethans in Italy.’ Travel and Drama in Shakespeare’s Time. Ed. Jean-Pierre Maquerlot and Michèle Willems. Cambridge: Cambridge University Press, 1996. 55–74. Bawcutt, N.W., ed. The Control and Censorship of Caroline Drama: The Records of Sir Henry Herbert, Master of the Revels. Oxford: Clarendon Press, 1996. Beaumont, Francis. The Knight of the Burning Pestle. Ed. Sheldon P. Zitner. Revels Plays. Manchester: Manchester University Press, 1984, rpt. 2004. Behn, Aphra. The Widow Ranter: or, The History of Bacon in Virginia. Ed. Aaron R. Walden. New York: Garland, 1993. ——. Oroonoko and Other Writings. Ed. Paul Salzman. Oxford: Oxford University Press, 1994, rpt. 1998. Belsey, Catherine. The Subject of Tragedy. London: Methuen, 1985. Berek, Peter. ‘Tamburlaine’s Weak Sons: Imitation as Interpretation before 1593.’ Renaissance Drama n.s. 13 (1982): 55–82. Birringer, Johannes H. ‘Marlowe’s Violent Stage: “Mirrors” of Honor in Tamburlaine.’ ELH 51.2 (1984): 219–39. Blount, Thomas. Glossographia, or, A dictionary interpreting all such hard words of whatsoever language now used in our refined English tongue with etymologies, defini- tions and historical observations on the same: also the terms of divinity, law, physick, mathematicks and other arts and sciences explicated. London, 1661. Blundeville, Thomas. A briefe description of vniuersal mappes and cardes, and of their vse…. London, 1589. Brome, Richard. A Jovial Crew. Ed. Ann Haaker. Regents Renaissance Drama Series. London: Edward Arnold, 1968. ——. The Antipodes. Three Renaissance Travel Plays. Ed. Anthony Parr. The Revels Plays Companion Library. Manchester: Manchester University Press, 1995. Brown, Theodore M. ‘Descartes, Dualism, and Psychosomatic Medicine.’ The Anatomy of Madness: Essays in the History of Psychiatry. Ed. W.F. Bynum, Roy Porter, and Michael Shepherd. London: Tavistock Publications, 1985. 40–63. Burnett, Mark Thornton. ‘Tamburlaine: An Elizabethan Vagabond.’ Studies in Philology 84 (1987): 308–23. Burton, Robert. The Anatomy of Melancholy. 1621. Ed. Holbrook Jackson. New York: New York Review Books, 2001. Busino, Horatio. The Journals of Two Travellers in Elizabethan and Early Stuart England: Thomas Platter and Horatio Busino. Ed. Peter Razzell. London: Caliban Books, 1995. Cain, Tom, ed. The Poetry of Mildmay Fane, Second Earl of Westmorland: From the Fulbeck, Harvard and Westmorland Manuscripts. Manchester: Manchester University Press, 2001. Campbell, Mary B. The Witness and the Other World: Exotic European Travel Writing, 400–1600. Ithaca: Cornell University Press, 1988. Canfield, J. Douglas. ‘The Ideology of Restoration Tragicomedy.’ ELH 51.3 (1984): 447–64. Carey, Daniel. Continental Travel and Journeys Beyond Europe in the Early Modern Period: An Overlooked Connection. London: Hakluyt Society, 2009. 216 Bibliography ——. ‘Hakluyt’s Instructions: The Principal Navigations and Sixteenth-Century Travel Advice.’ Studies in Travel Writing 13.2 (2009): 167–85. Cartelli, Thomas. Marlowe, Shakespeare, and the Economy of Theatrical Experience. Philadelphia: University of Pennsylvania Press, 1991. ——. ‘Marlowe and the New World.’ Christopher Marlowe and English Renaissance Culture. Ed. Darryll Grantley and Peter Roberts. Aldershot: Scolar Press, 1996. 110–18. Cawley, Robert Ralston. The Voyagers and Elizabethan Drama. Boston: Modern Languages Association, 1938. Chalk, Darryl. ‘Contagious Emulation: Antitheatricality and Theatre as Plague in Troilus and Cressida.’ This Earthly Stage: World and Stage in Late Medieval and Early Modern England. Ed. Brett D. Hirsch and Christopher Wortham. Cursor Mundi 13. Turnhout: Brepols, 2010. 75–101. Chambers, E.K. The Elizabethan Stage. 4 vols. Oxford: Oxford University Press, 1923, rpt. 1974. Chapman, George. The Gentleman Usher. All Fools and The Gentleman Usher. Ed. Thomas Marc Parrott. Boston: D.C. Heath & Co, 1907. ——, Ben Jonson, and John Marston. Eastward Ho. ed. R.W. Van Fossen. The Revels Plays. Manchester: Manchester University Press, 1979, rpt. 1999. Chua, Brandon. ‘The Politics of Cowardice: Fear, Interest, and Security in Aphra Behn’s The Widdow Ranter.’ antiTHESIS 20 (2010): 173–93. Clare, Janet. ‘The Production and Reception of Davenant’s “Cruelty of the Spaniards in Peru”.’ Modern Language Review 89 (1994): 832–41. ——, ed. Drama of the English Republic, 1649–60. The Revels Plays Companion Library. Manchester: Manchester University Press, 2002. Clark, Ira. Professional Playwrights: Massinger, Ford, Shirley, & Brome. Lexington: University Press of Kentucky, 1992. Clode, Charles M., ed. Memorials of the Guild of Merchant Taylors of the Fraternity of St. John the Baptist, in the City of London: and of its associated charities and institutions. London, 1875. Colahan, Clark. ‘Shelton and the Farcical Perception of Don Quixote in Seventeenth-Century Britain.’ The Cervantean Heritage: Reception and Influence of Cervantes in Britain. Ed. J.A.G. Ardila. London: Legenda (MHRA), 2009. 61–5. Cole, Richard G. ‘Sixteenth-Century Travel Books as a Source of European Attitudes toward Non-White and Non-Western Culture.’ Proceedings of the American Philosophical Society 116.1 (1972): 59–67. Cope, Kevin L. ‘The Glory that WAS Rome – and Grenada, and Rhodes, and Tenochtitlan: Pleasurable Conquests, Supernatural Liaisons, and Apparitional Drama in Interregnum Entertainments.’ Studies in the Literary Imagination 32.2 (1999): 1–17. Coryate, Thomas. Coryats Crudities. London, 1611. ——. The Odcombian banquet. London, 1611. ——. Thomas Coriate Traueller for the English Wits. London, 1616. Corye, John. The generous enemies, or, The ridiculous lovers a comedy. London, 1672. Courtland, Joseph. A Cultural Studies Approach to Two Exotic Citizen Romances by Thomas Heywood. New York: Peter Lang Publishing, 2001. Craik, Katharine A. ‘Reading Coryats Crudities (1611).’ Studies in English Literature 1500–1900 44.1 (2004): 77–96. Bibliography 217 Creaser, John W., ed. Ben Jonson. Volpone, or The Fox. London Medieval and Renaissance Series. London: Hodder and Stoughton, 1978. Cromwell, Otelia. Thomas Heywood: A Study of the Elizabethan Drama of Everyday Life. Yale Studies in English. New Haven: Yale University Press, 1928. Cunningham, Peter, ed. Revels at Court: Being Extracts from the Revels Accounts of the Reigns of Queen Elizabeth and James I. To Which is Added Tarlton’s Jests and Tarlton’s News Out of Purgatory. Vol. 7. Piccadilly: The Shakespeare Society, 1853. Cunningham, William.
Load more

Recommended publications
  • John Dryden and the Late 17Th Century Dramatic Experience Lecture 16 (C) by Asher Ashkar Gohar 1 Credit Hr
    JOHN DRYDEN AND THE LATE 17TH CENTURY DRAMATIC EXPERIENCE LECTURE 16 (C) BY ASHER ASHKAR GOHAR 1 CREDIT HR. JOHN DRYDEN (1631 – 1700) HIS LIFE: John Dryden was an English poet, literary critic, translator, and playwright who was made England's first Poet Laureate in 1668. He is seen as dominating the literary life of Restoration England to such a point that the period came to be known in literary circles as the “Age of Dryden”. The son of a country gentleman, Dryden grew up in the country. When he was 11 years old the Civil War broke out. Both his father’s and mother’s families sided with Parliament against the king, but Dryden’s own sympathies in his youth are unknown. About 1644 Dryden was admitted to Westminster School, where he received a predominantly classical education under the celebrated Richard Busby. His easy and lifelong familiarity with classical literature begun at Westminster later resulted in idiomatic English translations. In 1650 he entered Trinity College, Cambridge, where he took his B.A. degree in 1654. What Dryden did between leaving the university in 1654 and the Restoration of Charles II in 1660 is not known with certainty. In 1659 his contribution to a memorial volume for Oliver Cromwell marked him as a poet worth watching. His “heroic stanzas” were mature, considered, sonorous, and sprinkled with those classical and scientific allusions that characterized his later verse. This kind of public poetry was always one of the things Dryden did best. On December 1, 1663, he married Elizabeth Howard, the youngest daughter of Thomas Howard, 1st earl of Berkshire.
    [Show full text]
  • PDF Hosted at the Radboud Repository of the Radboud University Nijmegen
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Radboud Repository PDF hosted at the Radboud Repository of the Radboud University Nijmegen The following full text is a publisher's version. For additional information about this publication click this link. http://hdl.handle.net/2066/105248 Please be advised that this information was generated on 2017-12-06 and may be subject to change. Voorplaat van Graun's Montezuma Typisch zeventiende-/achttiende-eeuwse toneelvoorstellling van een Italiaans vorst Peter Rietbergen MONTEZUMA GEMEMOREERD De barokke opera als ‘machine’ voor de overdracht van cultuur en ideeënt Inleiding In 1983 wees ik op de opvallende hoeveelheid opera's die in de achttiende eeuw werd gecomponeerd rond de climacterische ontmoeting tussen de Aztekenlceizer Montezuma en de leider van de Spaanse conquistadores, Cortés. Mijn idee was dat dit fenomeen niet alleen getuigde van een groei­ ende behoefte aan exotische ensceneringen, maar ook liet zien hoezeer zelfs in de opera de 'edele wilde' was doorgedrongen, die men nu ging con­ trasteren met een Europese cultuur welke niet meer vanzelfsprekend als absoluut superieur werd gezien.1 Juist in het kader van de vraagstelling van de onderhavige bundel leek het zinvol deze stelling eens nader te bear­ gumenteren, temeer omdat nu, in tegenstelling tot het begin van de jaren '80, voor het eerst ook uitvoeringen van althans enkele van die opera's beschikbaar zijn gekomen. Veelal denken mensen, ook cultuurhistorici, bij de zogenaamde 'barolc- opera' vooral aan virtuoze aria's gezongen door castraten, waarbij men op de koop toe neemt dat de intriges gemeten naar de maatstaven van het hedendaagse levenstempo toch altijd 'traag' en dus 'zwak' heten, en zich urenlang afspelen in ensceneringen die door moderne regisseurs dikwijls als ouderwets worden verafschuwd: zij achten dit genre eigenlijk alleen nog acceptabel indien het geactualiseerd wordt.
    [Show full text]
  • Bringing Richard Brome Online
    This is a repository copy of Bringing Richard Brome Online. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/105805/ Version: Published Version Article: Hirsch, BD orcid.org/0000-0002-6231-2080 (2010) Bringing Richard Brome Online. Early Theatre, 13 (1). pp. 137-153. ISSN 1206-9078 10.12745/et.13.1.837 This article is protected by copyright. Reproduced in accordance with the publisher's self-archiving policy. Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Early Theatre Volume 13, Issue 1 2010 Article 7 Bringing Richard Brome Online Brett D. Hirsch∗ ∗University of Western Australia, [email protected] Copyright c 2010 by Early Theatre. Early Theatre is produced by The Berkeley Electronic Press (bepress). http://digitalcommons.mcmaster.ca/earlytheatre Bringing Richard Brome Online Brett D. Hirsch Abstract This review essay assesses Richard Brome Online, an online edition of the collected works of Richard Brome, in terms of the design, functionality, and usability of its features.
    [Show full text]
  • Volume 4 2014
    2101 EAST COLISEUM BOULEVARD FORT WAYNE, IN 46805-1499 Volume 4 2014 Volume Volume 4 2014 Volume 4 2014 EDITORS at Indiana University– at Mount St. Mary’s University Purdue University Fort Wayne Emmitsburg, Maryland M. L. Stapleton, Editor Sarah K. Scott, Associate Editor Cathleen M. Carosella, Managing Editor Jessica Neuenschwander, Pub. Assistant BOARD OF ADVISORS Hardin Aasand, Indiana University–Purdue University, Fort Wayne; David Bevington, University of Chicago; Douglas Bruster, University of Texas, Austin; Dympna Callaghan, Syracuse University; Patrick Cheney, Pennsylvania State University; Sara Deats, University of South Florida; J. A. Downie, Goldsmiths College, University of London; Lisa M. Hopkins, Sheffield Hallam University; Heather James, University of Southern California; Roslyn L. Knutson, University of Arkansas, Little Rock; Robert A. Logan, University of Hartford; Ruth Lunney, University of Newcastle (Australia); Laurie Maguire, Magdalen College, Oxford University; Lawrence Manley, Yale University; Kirk Melnikoff, University of North Carolina at Charlotte; Paul Menzer, Mary Baldwin College; John Parker, University of Virginia; Eric Rasmussen, University of Nevada, Reno; David Riggs, Stanford University; John P. Rumrich, University of Texas, Austin; Carol Chillington Rutter, University of Warwick; Paul Werstine, King's College, University of Western Ontario; Charles Whitney, University of Nevada, Las Vegas Marlowe Studies: An Annual is a journal devoted to studying Christopher Marlowe and his role in the literary culture of his time, including but not limited to studies of his plays and poetry; their sources; relations to genre; lines of influence; classical, medieval, and continental contexts; performance and theater history; textual studies; the author’s professional milieu and place in early modern English poetry, drama, and culture.
    [Show full text]
  • Durham E-Theses
    Durham E-Theses Studies in the heroic drama of John Dryden Blyth, Michael Graham How to cite: Blyth, Michael Graham (1978) Studies in the heroic drama of John Dryden, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/8000/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk Studies in the Heroic Drama of John Dryden Thesis submitted to the University of Durham for the degree of Ph.D. by Michael Graham Blyth The copyright of this thesis rests with the author No quotation from it should be published without his prior written consent and information derived from it should be acknowledged 2rsity of Durham Tiber 1978 Acknowledgements My sincere thanks go to the following for their invaluable assistance: Dr. Ray Selden, Durham University English Department, who has given a great deal of his time and critical energy to supervising my work in all stages of its development; Mr.
    [Show full text]
  • Human Sacrifice and Seventeenth- Century Economics: Otway's Venice
    id3316428 pdfMachine by Broadgun Software - a great PDF writer! - a great PDF creator! - http://www.pdfmachine.com http://www.broadgun.com HUMAN SACRIFICE AND SEVENTEENTH- CENTURY ECONOMICS: OTWAY’S VENICE PRESERV’D Derek Hughes University of Warwick Whereas human sacrifice in Virgil in inseparable from Aeneas’ mission, Tasso and his imitators repeatedly oppose Christian imperialism to the practice of human sacrifice, and see such imperialism as culminating in the abolition of cannibalistic sacrifice in the New World. The contrary view?? That European civilization itself embodied forms of sacrificial barbarity appears not only in the well-known condemnations of conquistador atrocities but, in England, in critical accounts of the growing culture of measurement, enumeration, and monetary exchange. Answering the contention that the East Indies trade did not justify the sacrifice of lives that it entailed, Dudley Digges responded by citing Neptune’s justification in the Aeneid of the sacrifice of Palinurusto the cause of empire: “unum pro multis [dabitur caput].” Not all authors were, however, so complacent. Particularly in the late seventeenth-century, authors such as Dryden, Otway, and Aphra Behn came to see the burgeoning trading economy as embodying systems of exchange which, in reducing the individual to an economic cipher, recreated the primal exchanges of human sacrifice. In Venice Preserv’d (1682), for example, Otway depicts an advanced, seventeenth-century trading empire, initially regulated by clocks, calendars, documents, and coinage. As the play proceeds, these are increasingly revealed to be elaborations of more primitive forms of exchange. A perpetually imminent regression to pre-social anarchy is staved off by what Otway portrays as the originary forms of economic transaction: the submissive offering of weapons to potential foes (daggers change hands far more often than coins) or the offering of the body in the act of human sacrifice.
    [Show full text]
  • Scripted Improvisation in the Antipodes
    ISSUES IN REVIEW 129 ‘Now mark that fellow; he speaks Extempore’: Scripted Improvisation in The Antipodes Concluding his near-paraphrase of Hamlet’s famous advice to the players, Letoy in Richard Brome’s The Antipodes chastises Byplay, an actor with a penchant for improvisation, with the following lines: But you, sir, are incorrigible, and Take license to yourself to add unto Your parts your own free fancy, and sometimes To alter or diminish what the writer With care and skill compos’d; and when you are To speak to your coactors in the scene, You hold interlocutions with the audients— (2.1.93–9)1 Unlike the silent company Hamlet addresses, whose leader assents to Hamlet’s presumptuous lessons with only ‘I warrant your honour’ and a slightly more defensive ‘I hope we have reformed that indifferently with us, sir’ (3.2.13, 30),2 Byplay argues back saying, ‘That is a way, my lord, has been allowed / On elder stages to move mirth and laughter.’ ‘Yes’, Letoy replies, ‘in the days of Tarlton and Kemp, / Before the stage was purged from barbarism, / And brought to the perfection it now shines with’ (2.1.100–4) . Scholars often acknowledge, like Letoy, that improvisation played a signifi- cant role in early English theatre. Actors playing Vice characters in Tudor the- atre improvised before and after the plays in which they performed.3 Renais- sance texts contain stage directions instructing actors to improvise—Greene’s Tu Quoque (1611), for example, includes a direction for characters to ‘talk and rail what they list’ and The Trial of Chivalry (1601) contains the remark- able direction, ‘speaks anything, and Exit’.4 Elizabethan clowns, and in par- ticular Richard Tarlton and William Kemp, were famous for their ability to improvise.
    [Show full text]
  • Keywords of Identity, Race, and Human Mobility in Early Modern
    CONNECTED HISTORIES IN THE EARLY MODERN WORLD Das, Melo, SmithDas, & Working Melo, in Early Modern England Modern Early in Mobility Human and Race, Identity, of Keywords Nandini Das, João Vicente Melo, Haig Z. Smith, and Lauren Working Keywords of Identity, Race, and Human Mobility in Early Modern England Keywords of Identity, Race, and Human Mobility in Early Modern England Connected Histories in the Early Modern World Connected Histories in the Early Modern World contributes to our growing understanding of the connectedness of the world during a period in history when an unprecedented number of people—Africans, Asians, Americans, and Europeans—made transoceanic or other long distance journeys. Inspired by Sanjay Subrahmanyam’s innovative approach to early modern historical scholarship, it explores topics that highlight the cultural impact of the movement of people, animals, and objects at a global scale. The series editors welcome proposals for monographs and collections of essays in English from literary critics, art historians, and cultural historians that address the changes and cross-fertilizations of cultural practices of specific societies. General topics may concern, among other possibilities: cultural confluences, objects in motion, appropriations of material cultures, cross-cultural exoticization, transcultural identities, religious practices, translations and mistranslations, cultural impacts of trade, discourses of dislocation, globalism in literary/visual arts, and cultural histories of lesser studied regions (such as the
    [Show full text]
  • The Beestons and the Art of Theatrical Management in Seventeenth-Century London
    THE BEESTONS AND THE ART OF THEATRICAL MANAGEMENT IN SEVENTEENTH-CENTURY LONDON by Christopher M. Matusiak A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Department of English University of Toronto © Copyright by Christopher M. Matusiak (2009) Library and Archives Bibliothèque et Canada Archives Canada Published Heritage Direction du Branch Patrimoine de l’édition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre référence ISBN: 978-0-494-61029-9 Our file Notre référence ISBN: 978-0-494-61029-9 NOTICE: AVIS: The author has granted a non- L’auteur a accordé une licence non exclusive exclusive license allowing Library and permettant à la Bibliothèque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par télécommunication ou par l’Internet, prêter, telecommunication or on the Internet, distribuer et vendre des thèses partout dans le loan, distribute and sell theses monde, à des fins commerciales ou autres, sur worldwide, for commercial or non- support microforme, papier, électronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L’auteur conserve la propriété du droit d’auteur ownership and moral rights in this et des droits moraux qui protège cette thèse. Ni thesis. Neither the thesis nor la thèse ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent être imprimés ou autrement printed or otherwise reproduced reproduits sans son autorisation.
    [Show full text]
  • Adultery in Early Stuart England
    Veronika Christine Pohlig ___________________________ Adultery in Early Stuart England ________________________________________ Dissertation am Fachbereich Philosophie und Geisteswissenschaften der Freien Universität Berlin 2009 Erstgutachterin: Frau Prof. Dr. Sabine Schülting Zweitgutachter: Herr Prof. Dr. Dr. Russell West-Pavlov Datum der mündlichen Prüfung: 03.07.2009 ACKNOWLEDGEMENTS Firstly, I would like to take this opportunity to thank Prof. Ann Hughes, whose enlightening undergraduate seminar at Keele University taught me the fundamentals of historic research, and first sparked my interest in matters of gender and deviance, thus laying the basis for this project. I wish to express my gratitude towards the Graduiertenkolleg Codierung von Gewalt im medialen Wandel for giving me the opportunity to work with a number of amazing individuals and exchange ideas across disciplinary boundaries, and also for providing the financial means to make travelling in order to do research for this project possible. Special thanks goes out to the helpful staff at Gloucestershire Archives. Above all, I am greatly indebted to Prof. Sabine Schülting for providing the warm intellectual home in which this project could thrive, and for blending munificent support with astute criticism. I am most grateful to have benefited from her supervision. I wish to extend my most heartfelt thanks to Maggie Rouse, Sabine Lucia Müller, Anja Schwarz, Judith Luig, and to Kai Wiegandt for their insightful comments on various parts of this dissertation in various stages, but, more importantly, for unerring support and motivation. These were also given most generously by my brother-in-law, Matthias Pohlig, who read the manuscript with a keen historian's eye and provided invaluable feedback at a crucial stage of its genesis.
    [Show full text]
  • The Witches of Lancashire
    GLOBE QUARTOS THE WITCHES OF LANCASHIRE RICHARD BROME and THOMAS HEYWOOD First printed: Londotl} 1634 This editiotl prepared by Gabriel Egan GLOBE EDUCATION atld II m II NICK HERN BOOKS LONDON www.nickhcrnbooks.co.uk GLOBE QUARTOS This edition of The Witches of Lancashire first published in Great Britain as a paperback original in 2002 by Nick Hem Books Limited 14 Larden Road, London W3 7ST in association with Globe Education Shakespeare's Globe, New Globe Walk London SE1 9DT Copyright in this edition © 2002 International Shakespeare Globe Centre Ltd Typeset in Aldine-401 by the editor Printed by CLE Print Limited, 5t Ives, Cambs PE27 3LE A CIP catalogue record for this book is available from the British Library ISBN 1 85459 664 0 PREFACE Over 400 plays written between 1567 and 1642 have survived in print. Few are now read and even fewer are performed. In 1995 Globe Education initiated a 30-year project to stage readings with professional casts of all the surviving texts so that audiences may once again hear plays by Barnes, Haughton, Shirley, Wilkins et al. In 1997 Mark Rylance, Artistic Director of Shakespeare's Globe, included full productions of Beaumont and Fletcher's The Maid's Tragedy and Middleton's A Chaste Maid ill Cheapside as pan of the Globe Theatre's opening season. Over 30,000 people came to hear and see the two plays. The popularity of the readings and the productions prompted Globe Education to approach Nick Hem to publish the texts being revived at the Globe to enable more people to read, study and, ideally, to produce them.
    [Show full text]
  • New Approaches to Richard Brome
    Early Theatre 10.2 (2007) Issues in Review ELEANOR LOWE, ELEANOR COLLINS, KAREN KETTNICH, FARAH KARIM-COOPER, AND MIMI YIU Offstage and Onstage Drama: New Approaches to Richard Brome Richard Brome had his dramatic debut in Ben Jonson’s play, Bartholomew Fair, where he is described by the Stage-keeper in the Induction as skulking about backstage: ‘But for the whole play, will you ha’ the truth on’t? I am looking, lest the poet hear me, or his man, Master Brome, behind the arras. It is like to be a very conceited scurvy one, in plain English’ (Induction, 6–9).1 So Jonson immortalizes Brome as being backstage, literally and metaphor- ically within his master’s shadow. Beginning with Edward Phillips, writing twenty three years after the playwright’s death, critical evaluation preserves Brome’s literary and social status as Jonson’s servant. For many years he has remained a shadowy figure in the tiring house and in Jonson’s service, even electing servitude as a frame of self-reference.2 The introduction to Matthew Steggle’s seminal work on Brome, Place and Politics on the Caroline Stage, identifies several good reasons why this relatively neglected Caroline playwright deserves attention. Among them are Brome’s complex, stimulating, and entertaining plays; his relationship with key dramatists and poets (including his time in Jonson’s service); the variety of his literary legacy and its theatrical afterlife; legal evidence, contributing towards Renaissance scholars’ knowledge of the working lives of theatre pro- fessionals; and his rare status and example as a servant writer.3 This list summarizes many excellent reasons for studying Brome’s work and life, and the dramatic and biographical importance highlighted by Steggle is reflected in the four varied essays which follow.4 The first paper concerns Brome’s contract with the Salisbury Court theatre, while the latter three take an individual Brome play as their subject: The English Moor, The Antipodes, and The Weeding of Covent Garden.
    [Show full text]