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different sorts of performative manifestations, and by contemplating ( theor-ising ) them, portrays the multiplicity of forms and shapes theatre could assume, before later eras compartmentalised and institutionalised them within specific, fixed architectural and social spaces. Nonetheless, our inclusive notion of theatre is narrowed down by a specific agenda: we study theatre as a connective instrument

in Transnational connections in early modern theatre

Among the ‘small finds’ unearthed in the Museum of London’s archaeological excavations of the sites upon which early modern English playhouses once stood – theatrical ephemera including fragile filaments of costume-wire, bits of lace and fringe, bent dress-pins, tiny glass beads, scattered hooks, buttons and buckles, shards of ceramic tobacco

in Transnational connections in early modern theatre
Raleigh’s ‘Ocean to Scinthia’, Spenser’s ‘Colin Clouts Come Home Againe’ and The Faerie Queene IV.vii in colonial context

Raleigh’s estates in east Cork (Colin Rynne, ‘The Social Archaeology of MUP_Armitage_Ralegh.indd 134 07/10/2013 14:09 Love’s ‘emperye’ 135 ‘Ocean to Scinthia’, ‘strange’ colonial Ireland, like the poem’s ‘new worlds’, does not function merely as an anecdotal backdrop but rather as a fundamental part of its imperial, Petrarchan conceit: like the Queen herself, the country fuels the driving erotic energy of Raleigh’s despairing art. V. Love, war and riches Of the imperial conceits in ‘Ocean’, some refer explicitly to ‘new worlds’ and colonial opportunity there. But

in Literary and visual Ralegh

result, ‘dressing and undressing were social processes that required … other pairs of hands’. 67 The construction of the spectator as a participant in visual and material culture in Henry V therefore draws on processes which would have been familiar to playgoers from the experience of piecing together their own visual appearance, or helping to compose the dress of relatives, friends, masters, mistresses

in Making and unmaking in early modern English drama
The scholarly achievements of Sir James Ware

examine how he compiled such an impressive collection of manuscripts. It will expose the existence of a wide scholarly network, thereby demonstrating the extent of social and cultural interaction between ethnic and religious communities. Researching Dublin’s history It is no accident that the authors of two notable histories of Dublin – one in manuscript form, the other published – were related to Ware, the second of which was posthumously published as The history and antiquities of the city of Dublin from the earliest accounts (1766). Written by Walter Harris, who was

in Dublin
Narrative palimpsests and moribund epochalities

codes of warrior manliness it subtends, Shakespeare contributes a further turn of the screw to a perhaps perennial sense of crisis at the heart of the chivalric ethos, a sense of crisis which may, paradoxically, be part of its temporal structure. He performs on the stage the open-ended temporality of that destructive social dynamic in order to provoke a crisis which may in some way be genuinely

in Love, history and emotion in Chaucer and Shakespeare

Shakespeare began to take legal possession of New Place, the largest house in the borough, in May 1597. It was a significant personal and professional investment in both monetary and social terms. Stratford-upon-Avon was still reeling from the effects of the two devastating fires of 1594 and 1595, and the cruel winter of 1596–97 had witnessed a high rate of deaths. The poverty

in Finding Shakespeare’s New Place
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Shakespeare’s voyage to Greece

epic scale by applying irony to Montaigne’s dream. 4 Yet as Fredric Jameson points out in Archaeologies of the Future , ‘the desire called utopia’ has always been structurally ambivalent. 5 And since the fall of Communism there has been a paradigm-shift in responses to the Orwellian scene when the cynics expose the contradiction of the old noble’s perfect state, in which some are more equal than others, with their

in Free Will
The abortive Northern Rebellion of 1663

authorities in Durham and Yorkshire.6 This particular treason raises a number of questions about the political, religious and social experience of the Restoration as well as its acceptance at the local level in the aftermath of the turbulent 1650s. It also raises questions about whether inherited notions of plotting and the character of the informer at the time may have influenced the reception of this particular plot. Understanding the nature and, indeed, the very idea of political plotting as an early modern phenomenon in the texts of the early Restoration is important

in From Republic to Restoration
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Of letters and the man: Sir Walter Ralegh

archaeological excavation: one must carefully sift through layers of debris to find only traces of what once existed, while those same traces might be in danger of being deconstructed to oblivion with further analysis. Some whole gems shine through the sifting, however: anthologized lyrics like ‘Nature That Washed Her Hands in Milk’ and ‘The Nymph’s Reply,’ as well as ‘The Lie,’ called ‘perhaps the most famous poem attributed to Ralegh’ but not (ironically) without controversy in attribution.7 As the present   3 Michael Rudick, The Poems of Sir Walter Ralegh: A Historical

in Literary and visual Ralegh