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Archaism, etymology and the idea of development
William Rhodes

‘penetrating the social bonds underneath the language, the networks embodied in the persons’. 28 This is what the debate about the meaning of the word ‘borrough’ brings out, as a proper understanding of the new governmental terminology leads to the transformation of Irish social organisation, territorial division and political community. The Anglo-Saxon terms Irenius uses are unclear in a way that further underscores the distinction between physical place and the networks of social persons that Irenius wants to disrupt. 29

in Rereading Chaucer and Spenser
Imagining union in early Jacobean panegyric
Christopher Ivic

reception history of Daniel’s printed Panegyrike reveals the poem’s entrance into a broader political community. Daniel’s manuscript ‘Panegyrick’ was followed by the publication of lengthier print versions of the poem in the form of two folio issues (STC 6258, 6259) and an octavo edition (STC 6260). There is ample evidence that the folio issues of the Panegyrike also served as presentation copies. ‘The Folio’, Pitcher tells us, ‘is printed on high quality paper, with the same typeface, ornaments, and layout as Daniel’s collected edition, the 1601/2 Works Folio

in The subject of Britain, 1603–25
Scott, Small, and the Edinburgh Edition
Willy Maley
Alasdair Thanisch

, he complicates its usual teleology and pays attention to the material conditioning of cultural development. As Fania Oz-Salzberger observes in her introduction to Ferguson’s Essay on the History of Civil Society : ‘The essential point here is that, as a political community of men, civil society was always there; and that some of its essential features are not a matter of progress […] Ferguson’s concept of human advance does not append moral improvement to progress in technology, production and wealth’. 21 Ferguson

in John Derricke’s The Image of Irelande: with a Discoverie of Woodkarne
Reimagining nationhood in Macbeth
Christopher Ivic

of Great Britain than he did of Bohemia. The majority of the characters in Shakespeare’s plays who represent England as an island-nation or island-realm give voice to an ‘imagined political community’ co-terminous with natural boundaries or, even more so, barriers in part because England’s borders with Wales and Scotland in the early modern period were far from fixed. 8 As a cultural construct, the imagined island-nation or island-realm performs the ideological work of fixing the fluid national boundaries that constituted the Scottish and Welsh Marches in the

in The subject of Britain, 1603–25
Elisabeth Bronfen

never fully tied together. Rather, this plethora of individual positions is connected at certain moments, only to break up again and then, at a later point, be temporarily joined once more. At the same time, there is a larger ideological agenda to this serial form, given that, in Deadwood , it corresponds to a specific understanding of what makes up a political community. As Caroline Levine suggests, when characters in serial TV drama are loosely and unevenly brought together in ‘a makeshift order rather than a coherent system’, this draws attention to the radical

in Serial Shakespeare
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Veep, Homeland, and Scandal
Elisabeth Bronfen

democracy to do one or the other, sometimes one and the other, sometimes both at the same time and/or by turns’. 1 Those considered to be rogue are sometimes legitimate compeers, sometimes illegitimate antagonists, and, as such, they contest any unequivocal distinction between inclusion and exclusion. The proximity between a democratic rule by representatives of the populace held to be eligible and rule by those ‘othered’ as rogues, who lay claim to a countersovereignty, is, thus, ambiguous. Given that those who operate outside the legitimate rules of the political

in Serial Shakespeare