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John Lydgate’s ‘Soteltes for the coronation banquet of Henry VI’
Heather Blatt

3 Reading materially: John Lydgate’s ‘Soteltes for the coronation banquet of Henry VI’ Allone as I went vp and doun, I ane abbay wes fair to se, Thinkand quhat consolatioun Wes best in to aduersitie, On cais I kest on syd myne e And saw this writtin vpoun a wall: ‘Off quhat estait, man, that thow be, Obey and thank thi God off all’. Robert Henryson, ‘Abbey Walk’1 Like other texts addressed in these chapters, the short lyric poem ‘Abbey Walk’, by the late fifteenth-century Scots poet Robert Henryson, engages the work of reading in ways that facilitate and even

in Participatory reading in late-medieval England
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Regina Maria Roche, the Minerva Press, and the bibliographic spread of Irish gothic fiction
Christina Morin

4 Gothic materialities: Regina Maria Roche, the Minerva Press, and the bibliographic spread of Irish gothic fiction Evocative of the nationally transformative potential of travel sketched in The old Irish baronet (1808) and The tradition of the castle (1824), Regina Maria Roche's The castle chapel (1825) establishes the global journey of one of its two protagonists as the key to restored and refreshed identities at home. Compelled by his dependent status to conciliate the favour of a rich uncle by travelling first to India and then

in The gothic novel in Ireland, c. 1760–1829
Print, dissent, and the social society
Sara Lodge

1 Material backgrounds: print, dissent, and the social society How did Hood become a writer and illustrator whose every utterance is liable to play? Answering this question means looking afresh at Hood’s background and the route he followed into the literary profession. The first two chapters of this book are particularly concerned with three aspects of Hood’s upbringing and apprenticeship: his early exposure to the burgeoning marketplace of printed products, the culture of dissent that shaped his family life and schooling, and the social and political

in Thomas Hood and nineteenth-century poetry
Cardboard publishers in Latin America
Lucy Bell

4 Recycling materials, recycling lives: cardboard publishers in Latin America Lucy Bell Latin American editoriales cartoneras are small, independent publishers that make their books by hand out of recycled cardboard and aim to sell them at prices lower than those of large publishing houses. This cultural movement first began in Buenos Aires in the wake of the 2001 economic crisis, during which unemployment rates soared and people had a home one week but were homeless the next. One of the most visible impacts of the deep recession was the appearance of thousands

in Literature and sustainability
Jessica L. Malay

6 Elizabeth Hardwick’s material negotiations Jessica L. Malay Hardwick New Hall, now in the hands of the National Trust, is represented on its web page with a short descriptor: ‘An Elizabethan Masterpiece’. This descriptor sits about two-thirds down the page, underneath a stunning westerly view of the house. To those unfamiliar with the house, its relationship to Elizabeth Hardwick, Countess of Shrewsbury may not be at first apparent, though the initials ‘ES’ in carved openwork decorating the tops of the six banqueting houses may intrigue and elicit the

in Bess of Hardwick
Abstract only
History, belief, and the theatre of enactment
Molly Flynn

4 Material witness History, belief, and the theatre of enactment Russia’s twenty-first-century documentary theatre artists draw upon the legacy of their country’s twentieth century in their search for new methods with which to stage collisions between theatre and everyday life. Chapter 2 illustrated how the artists of the Joseph Beuys Theatre and Moscow’s Sakharov Center use documentary theatre to make meaningful interventions in Russia’s culture of commemoration. Chapter 3 showed how the artists at Teatr.doc draw out important connections between the

in Witness onstage
Denim and silk
Robert Shaughnessy

. Perhaps taking his cue from Ralph Koltai’s pop-art settings for the National Theatre six years earlier (see Chapter V ), designer Christopher Morley rendered Arden non-realistically: for some reviewers, by what appeared to be organic material, in the shape of ‘hanging wooden poles’ (Michael Billington, Guardian , 13 June), ‘a grove of bamboos or an assortment of organ pipes’ (J. C. Trewin

in As You Like It
Pirkko A. Koppinen

Fire ‘is a rapid chemical oxidative reaction that generates heat, light and produces a range of chemical products’. 1 Since early hominins harnessed fire at least 500,000 years ago and ‘learned to maintain and control ignition’, fire has had a profound material effect on human beings, 2 including those living in early medieval England, who depended on fire as a technology for heating, cooking, lighting, and manufacturing. 3 This chapter focuses on references to fire in the clues of the duplicate texts of Legbysig and Ligbysig (R.30a and b), and is

in Riddles at work in the early medieval tradition
Bulletin of the John Rylands Library
Bulletin of the John Rylands Library