staying relevant to new contexts, and even to transcend conflicting
beliefs, offering a unifying set of values for a diverse society to hold
in common. Unfortunately, it is also very difficult to sustain in
Governments and their associated funding bodies will almost
inevitably fail to reconcile the appealing language of shared consensus
with the vexed task of
In this article, I propose that the key to the underlying dissidence of M. G. Lewis‘s The
Monk lies in the novel s depiction of consent, a fundamental principle in late
eighteenth-century British discourse. For British thinkers of all stripes, a government
and populace that valued consent made Britain the greatest nation in the world; The Monk
disrupts this worldview by portraying consent, whether express or tacit, political or
sexual, as incoherent. By depicting consent as illegible and pervasively undermining the
distinction between consent and coercion, The Monk effectually threatens a value that
rested at the core of late eighteenth-century British identity.
Academic analyses in cultural studies of the second half of the twentieth century had made a case to extend the term 'culture' to the tastes, practices and creativity of the groups marginalised by ethnicity and class. This book deals with Shakespeare's role in contemporary culture in twenty-first-century England. It looks in detail at the way that Shakespeare's plays inform modern ideas of cultural value and the work required to make Shakespeare part of modern culture. The book shows how advocacy for Shakespeare's universal and transcendent values deal with multiple forms of 'Shakespeare' in the present and the past. His plays have the potential to provide a tangible proxy for value that may stabilise the contingency and uncertainty that attends the discussion of both value and culture in the twenty-first century. The book shows how the discussions of culture involve both narratives of cultural change and ways of managing the knowledge in order to arrive at definitions of culture as valuable. It examines the new languages of value proffered by the previous Labour government in the first decade of the twenty-first century. The book further shows how both the languages and the practice of contemporary cultural policy have been drastically affected by economic pressures and the political changes occasioned by the post-2008 fiscal crisis.
This is the first biography of Thomas Harris (1738-1820). Until now, little has been known about his life. He was most visible as the man who controlled Covent Garden theatre for nearly five decades, one of only two venues in London allowed by law to perform spoken drama. Harris presided over one of the most eventful periods in the history of the English stage; uncovering his involvement provides new perspectives upon landmark events in London’s history. But this career was only one of many: he became the confidant of George III, a philanthropist, sexual suspect, and a brothel owner in the underworld of Covent Garden. While deeply involved in Pitt the younger’s government, Harris worked as a ‘spin doctor’ to control the release of government news. Only through understanding his career is it possible to appreciate fully the suppression of radicalism in the period. As novelists created elaborate storylines with fictional intriguers lurking in the shadows, Harris was the real thing. Harris’s career intersects many of the hidden worlds of the eighteenth century including the art of theatre and theatre management, the activities of the Secret Service, radical protest, and sexual indulgence. This narrative of detection brings together a hoard of newly discovered manuscripts to construct his numerous lives.
This edited collection is the first to engage directly with Foucault’s thought on
theatre and with the theatricality of his thought. Michel Foucault was not only
one of the most controversial and provocative thinkers of the twentieth century,
he was also one of its most inventive and penetrating researchers. Notoriously
hard to pin down, his work evades easy categorisation – philosopher, historian
of ‘systems of thought’, ‘radical journalist’ ‒ Foucault was all of these
things, and so much more. In what some see as a post-critical landscape, the
book forcefully argues for the urgency and currency of Foucauldian critique, a
method that lends itself to theatrical ways of thinking: how do we understand
the scenes and dramaturgies of knowledge and truth? How can theatre help
understand the critical shifts that characterised Foucault’s preoccupation with
the gaze and the scenographies of power? Above all, what makes Foucault’s work
compelling comes down to the question he repeatedly asked: ‘What are we at the
present time?’ The book offers a range of provocative essays that think about
this question in two ways: first, in terms of Foucault’s self-fashioning – the
way he plays the role of public intellectual through journalism and his many
public interviews, the dramaturgy of his thinking, and the appeal to theatrical
tropes in his work; and, second, to think about theatre and performance
scholarship through Foucault’s critical approaches to truth, power, knowledge,
history, governmentality, economy, and space, among others, as these continue to
shape contemporary political, ethical, and aesthetic concerns.
the office of deputy to the chief remembrancer of the exchequer in the
late 1580s and early 1590s, during which time he had acquired a reputation as a serial complainer, regularly dispatching exhaustive memoranda
detailing the inadequacies of government institutions in Ireland and the
corrupt activities of senior officials there.2 His targets ranged from practices such as the abuse of martial law and malfeasance amongst the exchequer officers to individuals as highly placed in the Irish administration as
Adam Loftus, the archbishop of Dublin, lord chancellor of
The Burley manuscript is a miscellany compiled by William Parkhurst in the late sixteenth and early seventeenth century, unique in its size – over six hundred items inscribed on nearly four hundred folios – and its variety: poems and letters, essays and aphorisms, speeches, satires and sententiae, mostly in English but including Latin, Italian, French and Spanish. In this study, annotated transcriptions are given of all of the private letters in English, including those that are translations from those of the fourth-century Roman patrician Q. Aurelius Symmachus, and all the English verse. Incipit transcriptions and identification are provided for each of the other items, including those in foreign languages. The history and provenance of the collection are described in detail, with lengthy notes on memorial transcription of verse and prose, and the clandestine interception of letters. The book makes available, in a readily searchable form, texts, annotations and commentary that will have an impact on a wide range of scholarship. It will not only act as a guide to one of the English Renaissance’s most prized miscellanies, but also be found useful in a wide range of studies, illuminating such diverse subjects as, for example, the circulation of verse, the correspondence of John Donne (particularly with Henry Wotton and Henry Goodere), the self-fashioning of English gentlemen after the classical Romans of their class, and the government’s paranoiac spying on its own citizens. Literary scholars and editors, and social historians, may here draw on a deep well of contemporary writing, not readily available hitherto.
This book addresses the special relationship from the perspective of post-Second World War British governments. It argues that Britain's foreign policy challenges the dominant idea that its power has been waning and that it sees itself as the junior partner to the hegemonic US. The book also shows how at moments of international crisis successive British governments have attempted to re-play the same foreign policy role within the special relationship. It discusses the power of a profoundly antagonistic relationship between Mark Twain and Walter Scott. The book demonstrates Stowe's mis-reading and mis-representation of the Highland Clearances. It explains how Our Nig, the work of a Northern free black, also provides a working-class portrait of New England farm life, removed from the frontier that dominates accounts of American agrarian life. Telegraphy - which transformed transatlantic relations in the middle of the century- was used by spiritualists as a metaphor for the ways in which communications from the other world could be understood. The story of the Bolton Whitman Fellowship is discussed. Beside Sarah Orne Jewett's desk was a small copy of the well-known Raeburn portrait of Sir Walter Scott. Henry James and George Eliot shared a transatlantic literary network which embodied an easy flow of mutual interest and appreciation between their two milieux. In her autobiography, Gertrude Stein assigns to her lifelong companion the repeated comment that she has met three geniuses in her life: Stein, Picasso, and Alfred North Whitehead.
This novel is a designedly political document. Written at the time of the Hastings impeachment and set in the period of Hastings’s Orientalist government, Hartly House, Calcutta (1789) represents a dramatic delineation of the Anglo-Indian encounter. The novel constitutes a significant intervention in the contemporary debate concerning the nature of Hastings’s rule of India by demonstrating that it was characterised by an atmosphere of intellectual sympathy and racial tolerance. Within a few decades the Evangelical and Anglicising lobbies frequently condemned Brahmans as devious beneficiaries of a parasitic priestcraft, but Phebe Gibbes’s portrayal of Sophia’s Brahman and the religion he espouses represent a perception of India dignified by a sympathetic and tolerant attempt to dispel prejudice.
This collection of essays on roads in Britain in the Middle Ages addresses the topic from a cultural, anthropological and literary point of view, as well as a historical and archaeological one. Taking up Jacques Derrida's proposal that 'the history of writing and the history of the road' be 'meditated upon' together, it considers how roads ‘write’ landscapes. The anthology sets Britain’s thoroughfares against the backdrop of the extant Roman road system and argues for a technique of road construction and care that is distinctively medieval. As well as synthesizing information on medieval road terminology, roads as rights of passage and the road as an idea as much as a physical entity, individual essays look afresh at sources for the study of the medieval English road system, legal definitions of the highway, road-breaking and road-mending, wayfinding, the architecture of the street and its role in popular urban government, English hermits and the road as spiritual metaphor, royal itineraries, pilgrimage roads, roads in medieval English romances, English river transport, roads in medieval Wales, and roads in the Anglo-Scottish border zone.