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Paul Greenhalgh

dominant that it became the mainstay of war-time propaganda. In essence, the English national profile fabricated in the closing decades of the nineteenth century was derived from the pre-industrial world. The Tudor and Elizabethan eras were most popular for the identification of Englishness, due to their historical location at the start of English imperial history. The establishment of the

in Ephemeral vistas
Heather Norris Nicholson

provide a visual patchwork of how people in villages, towns and cities across Britain were swept along by populist enthusiasm. 29 Unlike the London-focused Festival of Britain in 1951, amateur coverage of the 1953 Coronation suggests that localised participation had both real and symbolic significance. 30 Many people equated the accession of the young queen with the start of a new Elizabethan era that would mark the end of

in Amateur film
Peter Dawson
Jeffrey Richards

are writing songs of a standard which has probably not been reached in Britain since the Elizabethan era’. 14 He cited in particular John Ireland, C. Armstrong Gibbs, Thomas Dunhill and Roger Quilter, and he included in his permanent repertoire James Dear’s Sherwood , Armstrong Gibbs’s Silver , Vaughan Williams’s Orpheus With His Lute and Somervell’s In Summertime on Bredon. He recorded

in Imperialism and music
Wayward apprentices and other ‘evil disposed persons’ at London’s fairs
Anne Wohlcke

, middling, and elite Londoners all helped define the place of amusement in their early modern metropolis. City and county efforts to contain festive amusements in London are one of many examples that reveal the challenges of maintaining urban order in the face of London’s growth. During the late seventeenth and early eighteenth centuries, policing throughout the City and surrounding counties varied by parish. During the Elizabethan era, traditional policing in London was undertaken by householders who took turns serving as constables or other officers.18 Neighbourhood

in The ‘perpetual fair’
Gender, race, nation, and the amusements of London fairs
Anne Wohlcke

Fawkes’s collection did not originate with his own journeys to faraway places, it did demonstrate that he knew how to tap into and profit from the commodity culture associated with this wider world. As Fawkes mined a global culture for his exhibits he also pulled from England’s home-grown culture of expert craftsmanship. The clocks he and others exhibited represented the finest male workmanship of England, and in particular London, where clock- and instrument-makers had created a prestigious reputation for themselves as the world’s finest since the Elizabethan era.25

in The ‘perpetual fair’
Abstract only
Alexandra Gajda and Paul Cavill

divisions between history and fiction were, of course, splendidly flouted by numerous early modern poets and dramatists. As writers drew on the growing stock of printed chronicles and histories, the later Elizabethan era became one of the great ages of historical literature. A breed of poethistorians such as Samuel Daniel, Michael Drayton and William Warner turned their pens to the versifying of English history. The English chronicle play blazed fiercely in the 1590s, before fizzling out at the end of Elizabeth’s reign. Too many dangerous associations had been evoked by

in Writing the history of parliament in Tudor and early Stuart England
Indira Ghose

’s successor in Geneva. Eminent aristocratic patrons in the early Elizabethan era supported both prominent preachers and troupes of players – among them the Earls of Leicester and Warwick. 21 Even certain playing companies were characterized by a militant Protestant stance, such as the rivals to the Lord Chamberlain’s Men, the Admiral’s Men. Will Kemp, the star clown in Shakespeare’s company, was known for

in Shakespeare and laughter
English mercantile and diplomatic encounters with Russia, 1553–88
Felicity Jane Stout

: Cambridge University Press, 1984), p. 113. 11 H. S. Cobb, ‘Cloth exports from London and Southampton in the later 15th and early 16th centuries: a revision’, Economic History Review, 31 (1978), 601–9. See also H. Zins, England and the Baltic in the Elizabethan Era, trans. H. C. Stevens (Manchester: Manchester University Press, 1972), pp. 160–91. 12 A. G. R. Smith, The Emergence of a Nation State: The Commonwealth of England, 1529–1660, 2nd edn (Harlow: Longman, 1997), p. 52. 13 B. Dietz, ‘Antwerp and London: the structure and balance of trade in the 1560s’, in E. W. Ives, R

in Exploring Russia in the Elizabethan commonwealth
John Walter

. 140–2; P. Clark, ‘“The Ramoth-Gilead of the Good”; urban change and political radicalism at Gloucester 1540–1640’, in P. Clark, A. G. R. Smith and N. Tyacke (eds), The English Commonwealth, 1547–1640 (London, 1979), p. 175. 122 H. Zins, England and the Baltic in the Elizabethan Era (Manchester, 1972), pp. 248–63; J. K. Federowicz, England’s Baltic Trade in the Early Seventeenth Century: A Study in AngloPolish Commercial Diplomacy (Cambridge, 1980), pp. 110–15; Dyer, The City of Worcester in the Sixteenth Century, pp. 166–7; Leonard, The Early History of English Poor

in Crowds and popular politics in early modern England
Eric Pudney

playwright’, see Hunter, esp. pp. 132–58. However, Andy Kesson, John Lyly and Early Modern Authorship (Manchester: Manchester University Press, 2014) contends that Lyly’s status as a court writer has been exaggerated (p. 12). 90 Scepticism and belief in English witchcraft drama decade, with peak years during the Elizabethan era (1570–1600). Around 40 per cent of these translations are from a Latin original, making Latin the biggest source language for English translations during this period.103 Not all Latin texts were necessarily ancient, of course, but a large number

in Scepticism and belief in English witchcraft drama, 1538–1681