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examined students at London grammar schools. These teachers and clergymen supplied an educational network for promising students. In The Description of England , Chapter 3 ‘Of Universities’ (1577), William Harrison states that in addition to the universities, ‘there are a great number of grammar schools throughout the realm, and those very liberally endowed for the better relief of poor scholars, so that there are not many corporate towns now

in The early Spenser, 1554–80

. Ultimately, though, to speak of a ‘Shakespeare brand’, rather than of the range of organisations that deploy the word ‘Shakespeare’ in their own corporate identities, is often to occlude unwittingly the work that those organisations do to generate the valuable impression of a Shakespeare brand. The brand valuation research that resulted in the declaration that Shakespeare was worth $600 million was, in

in Cultural value in twenty-first-century England
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gained a new currency in a world fuelled by war, conflict, cruelty, death, corruption and injustice. Just as in the 1590s, in the twenty-first century Kyd’s play is sharing the stages with Titus Andronicus (another play which has undergone a huge upsurge in interest). Productions engage head on with state politics, domination, religion, national identity, lack of hope. Whether set in the corporate world that tramples over

in Doing Kyd
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Erotic commodification, cross-cultural conversion, and the bed-trick on the English stage, 1580–1630

, commercial trickery, and trickery involving religious or racial identity. I want to show that these three forms of deception are often connected or elided because they refer to historically specific anxieties that co-existed in late-sixteenth- and early-seventeenth-century English society. Early modern theatre in London, especially after the rise of

in Conversions
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How did laywomen become nuns in the early modern world?

–7. 23 Marilyn Oliva, The convent and the community in late medieval England (Woodbridge: Boydell & Brewer, 1998 ), pp. 48–9. 24 Sharon Strocchia, ‘Naming a nun: spiritual exemplars and corporate identity in Florentine

in Conversions
Scotland’s screen destiny

In a recent discussion of Scottish identities, Cairns Craig argues that, in the wake of the failure in 1979 of the devolution referendum, a divided construction of the possibilities inherent in a national cultural practice emerged. On the one hand, Craig suggests, the collapse of the devolutionary imperative in Scotland precipitated a sense of communal loss and apocalyptic gloom

in Shakespeare and Scotland
Dramatic and civil logics of the European state-form

thought of the pure event or an idolatry of surprise. Quite the opposite: I refuse to believe that the accident responds to the call of an identity which, in a sense, is only waiting for it to unfurl. I know definitively, resolutely, that ‘it is dangerous to essenciate.’ Not only because essentializing is a steamroller that levels

in Transnational connections in early modern theatre
Shakespeare in the time of the political

Night’s Dream as the watershed where he realized the supreme advantage of his collective identity , in being at once a player, sharer and writer in a communal fellowship exempt from market pressure. So, like the king with two bodies, Shakespeare’s sovereignty arose, on this view, from his dispersed and multiple personality in a corporate organization, and the golden opportunity the 1594 Lord

in Free Will

which such ideas spread outside Dublin and the inner Pale, but there are some hints. The rhetoric of commonwealth was certainly deployed in Carrickfergus in the 1590s, and in 1593 the corporation demonstrated a firm mark of civic identity by building a new town house.10 Similarly Kilkenny Corporation in 1578–79 rebuilt their Tholsel, suggesting a corporate sense.11 Humanist ideas of the civil commonwealth gradually permeated Dublin Corporation. As a result, the rulers of the city began more far-reaching attempts to control the behaviour of those who lived there so

in Dublin
The ends of incompletion

cannot tell what All new fashyons, be plesaunt to me. (sig. A3v) Boorde’s depiction of an Englishman obsessed with different styles of clothing intersects with anxieties about dress and the instability of national identity widespread in early modern Europe. 47 Since ‘foreign cloth’ was seen as ‘sinister in its power to undermine England

in Making and unmaking in early modern English drama