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The material life of the household

In a theatre that self-consciously cultivated its audiences' imagination, how and what did playgoers ‘see’ on the stage? This book reconstructs one aspect of that imaginative process, considering a range of printed and documentary evidence for the way ordinary individuals thought about their houses and households. It then explores how writers of domestic tragedies engaged those attitudes to shape their representations of domesticity. The book therefore offers a way of understanding theatrical representations based around a truly interdisciplinary study of the interaction between literary and historical methods. The opening chapters use household manuals, court depositions, wills and inventories to reconstruct the morality of household space and its affective meanings, and to explore ways of imaging these spaces. Further chapters discuss Arden of Faversham, Two Lamentable Tragedies, A Woman Killed With Kindness and A Yorkshire Tragedy, considering how the dynamics of the early modern house were represented on the stage. They identify a grammar of domestic representation stretching from subtle identifications of location to stage properties and the use of stage space. Investigating the connections between the seen and the unseen, between secret and revelation, between inside and outside, household and community, these plays are shown to offer a uniquely developed domestic mimesis.

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Fear and the new home front

Domestic Fortress offers a critical analysis of the contemporary home and its close relationship to fear and security. It considers the important connection between the private home, political life and the economy that we term tessellated neoliberalism. The book considers the nucleus of the domestic home as part of a much larger archipelago frontline of homes and gated communities that appear as a new home front set against diverse sources of social anxiety. These range from questions of invasion (such as burglary or identity theft) to those of security (the home as a financial resource in retirement and as a place of refuge in an unpredictable world). A culture of fear has been responded to through increasingly emphatic retreats by homeowners into fortified dwellings, palatial houses, concealed bunker pads and gated developments. Many feature elaborate security measures; alarms, CCTV systems, motion-sensing lights and impregnable panic rooms. Domestic Fortress locates the anxieties driving these responses to the corporate and political manufacturing of fear, the triumph of neoliberal models of homeownership and related modes of social individualisation and risk that permeate society today. Domestic Fortress draws on perspectives and research from criminology, urban studies and sociology to offer a sense of the private home as a site of wavering anxiety and security, exclusion and warmth, alongside dreams of retreat and autonomy that mesh closely with the defining principles of neoliberal governance.

Even as the home is acknowledged to play a vital role in sheltering us from the elements so it has now come to be a locus around which many anxieties are shut-out. The home allows us to lock out the daily hardships of life, but is also a site from which we witness a wide range of troubling phenomena: the insecurities of the workplace, plans for our future welfare, internationalized terror, geo-political warfare, ecological catastrophes, feelings of loss and uncertainty around identity, to say nothing of the daily risks of flood, fire and other disasters.

The home now plays a complex dual role that slips between offering us protection from these worries while also offering the nightmare of its own possible invasion, erosion or destruction. On top of these concerns entire industries have been built that sell a war against strangers, dirt and disaster. This of course includes the insurance industry itself, but also the use of technologies that both protect the home and make it effectively more impregnable to casual social contact as well as the proliferation of products devoted to domestic cleanliness. Domestic Fortress considers the fantasies and realities of dangers to the contemporary home and its inhabitants and details the wide range of actions taken in the pursuit of total safety.

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Yarington(?)’s Two Lamentable Tragedies
Lisa Hopkins and Gemma Leggott

Domestic tragedy, on the face of it the simplest and most unpretentious of tragic forms, is in fact potentially one of the most ambiguous, for almost every aspect of domestic tragedies is typically susceptible of being read on more than one level. Domestic tragedy, by definition, is set at home, both in the sense of taking place in England rather than being set abroad, as so many other tragedies are, and also in the sense that it is located in one or more private houses rather than in the more public space of the court. At the same time as

in The genres of Renaissance tragedy
Alan Warde, Jessica Paddock, and Jennifer Whillans

Introduction Eating in a domestic setting in the company of friends and non-resident kin is a significant form of social occasion in contemporary England. Most people eat out occasionally at the homes of friends or non-resident family members. In 2015, 22 per cent of respondents never ate with friends and only 19 per cent never with kin. People derive exceptionally high levels of enjoyment and satisfaction from such occasions, among the reasons being the particularly high value placed on hospitality in most societies, with the invitation to eat a full meal

in The social significance of dining out
Jon Birger Skjærseth and Tora Skodvin

2543Chap5 16/7/03 9:58 am Page 104 5 The Domestic Politics model Company-specific differences between ExxonMobil, Shell and Statoil can shed light on differences in their climate strategies to only a limited extent. Chapter 4 revealed that company-specific features with implications for climate strategies are marked more by similarities than differences. The CA model is also incapable of explaining changes in corporate climate strategies. We explore whether the national political contexts in which the companies operate prove more capable of explaining

in Climate change and the oil industry
The Serbian retreat, 1915
Angela K. Smith

5 Domestic survival strategies: the Serbian retreat, 1915 November 5th was full of rumours. Men were passing through all morning, thousands of them like ants against the sky when they had climbed the hilly road and reappeared on the crest. For some curious reason it did not occur to any of us that what we were watching so calmly was our entire army starting on their retreat across the snowy mountains of Albania to the Adriatic coast.1 Bulgaria entered the war at the end of September 1915, joining forces with Germany and Austria, and, as we have seen, the

in British women of the Eastern Front
Sara Mills

This chapter analyses the specificity of colonial public and domestic architecture and focuses on the way that these forms of architecture developed out of a complex relationship with both metropolitan and indigenous styles of architecture. These new forms of architecture were both a reflection of and embodiment of cultural norms at a stereotypical level – how the British would like to be perceived, how they wanted their rule and their colonising to be seen. Whilst public colonial architectural space has been analysed in some detail

in Gender and colonial space
Bereavement, time, and home spaces in Marilynne Robinson’s Housekeeping and Home
Lucy Clarke

extended metaphorical renderings of houses and home spaces – domestic metaphors that she uses repeatedly across her novels to ritualise and spatialise time and loss. This essay explores aspects of these metaphors – and the contribution they make to knowledge about grief – in relation to the domestic acts of two relatively under-examined female characters, Sylvia Foster and Glory Boughton, in Robinson's first and third novels, Housekeeping and Home. While there is arguably no limit to experiences of grief in Robinson's novels

in Marilynne Robinson
C. E. Beneš

Here follows part nine , which deals with familial and domestic matters. This part has six chapters: the first addresses how a wife should be guided , and how one may know if she is good or not; the second , how she should be looked after. The third posits that both spouses ought to love one another; the fourth , that they ought to live in peace. The

in Jacopo Da Varagine’s Chronicle of the city of Genoa
J.W.M. Hichberger

This chapter will consider the meeting point between the civilian and military worlds. The numbers of domestic military genre paintings are comparatively large. 1 It is not possible to detail them all, nor would it be profitable to do so, since there is often remarkable similarity between them and a frequent repetition of motifs. It will be argued that despite this appearance of continuity in

in Images of the army