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Puritans, papists and projectors

Early modern stereotypes are often studied as evidence of popular belief, something mired with prejudices and commonly held assumptions. This volume of essays goes beyond this approach, and explores practices of stereotyping as contested processes. To do so the volume draws on recent works on social psychology and sociology. The volume thereby brings together early modern case studies, and explores how stereotypes and their mobilisation shaped various negotiations of power, in spheres of life such as politics, religion, everyday life and knowledge production. The volume highlights early modern men’s and women’s remarkable creativity and agency: godly reformers used the ‘puritan’ stereotype to understand popular aversion to religious discipline; Ben Jonson developed the characters of the puritan and the projector in ways that helped diffuse anxieties about fundamental problems in early modern church and state; playful allusions to London’s ‘sin and sea coal’ permitted a knowing acceptance of urban growth and its moral and environmental costs; Tory polemics accused of ‘popery’ returned the same accusations to Whig Protestants; humanists projected related Christian stereotypes outwards to make sense of Islam and Hinduism in the age of Enlightenment. Case studies collectively point to a paradox: stereotyping was so pervasive and foundational to social life and yet so liable to escalation that collective engagements with it often ended up perpetuating the very processes of stereotyping. By highlighting these dialectics of stereotyping, the volume invites readers to make fresh connections between the early modern past and the present without being anachronistic.

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David M. Bergeron

the Hope built in 1614, and the active and numerous dramatic companies provide ample evidence of a vibrant cultural force. Publication of plays and theatre performances in 1613 (at court and in the public theatres) underscore the growing cultural power of London’s theatrical landscape, from which Shakespeare was beginning to exit, but leaving behind an exceptionally rich heritage. 11

in Shakespeare’s London 1613
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Sam Rohdie

Theatre There are three filmmakers who are present in every Rivette film: Renoir (for the sense of theatre and improvisation and the idea that the entry into the false, into play and theatre and roles, is a path to the truth of things), Rossellini (for the virtues of the imperfect, the heterogeneity and mismatch of different realities, chance and the arrival of the miraculous, the secret, the mystery … suddenly, without apparent cause as the source of the energy and delight of cinema), and Bresson (for the purity of cinematic forms, mise en scène as an

in Film modernism
Billy’s Last Stand, The Blinder, A Kestrel for a Knave and Kes
David Forrest
Sue Vice

again with Hines five years later on Two Men from Derby, differs very little from the radio play and theatre versions, although, predictably, the violence appears to have been toned down. Thus the play maintains the earlier version’s stark aesthetic and formal structure, its minimal use of location and its symbolic rather than multi-­dimensional or realist characterisation. In Billy’s Last Stand, Hines can be seen to work outside the generic tropes that would characterise his work with Loach. For example, Darkly and Billy are avowedly unrepresentative figures: Billy

in Barry Hines
Koji Yamamoto

behaviours could be exposed as the crimes and sins that they were. Elizabethan plays and theatres thus embodied both the rapid commercialisation and underlying contradictions of the period. Elizabethan state and its critics The onset of inflation, commercialisation and social dislocation was ‘matched in scale and pace by state formation, the extension of royal policy through law into communities’. 21 We thus return to Pulton’s world, in which Parliament and the Privy Council passed statutes and proclamations

in Stereotypes and stereotyping in early modern England
The French Lieutenant’s Woman (1981)
Colin Gardner

‘other’ into its representational economy (almost the same but not quite) – but also one of transgression and difference that refuses to cohere into the dominant episteme of orthodox power (a case, in racial terms, of almost the same but not white ). Mimicry thus becomes the potentially subversive agency of inauthenticity within the domain of the dominant authority through a form of role-playing and theatre akin to mockery

in Karel Reisz
Victoria Coldham-Fussell

Plagiarized History, Theology and Physiology of Christian Faith and Laughter ’, Lamp-Post of the Southern California C. S. Lewis Society , 27 ( 2003 ), 12 – 31 . For a literal interpretation of Luke see Anthony Munday , A Second and Third Blast of Retrait from Plaies and Theatres ( New York : Garland, 1973 [1580] ), pp. 11 – 12 . 106  Gurevich, Medieval Popular Culture , p. 180. 107  Anon., ‘A Sermon against Miracle-Plays’, p. 51. 108  The phrase ‘savage farce’ is used by Verna A. Foster , The Name and Nature of Tragicomedy ( Aldershot : Ashgate

in Comic Spenser