Drama and the Politics of Generational Conflict in Shakespeare’s England examines the intersection between art and culture and explains how ideas about age circulated in early modern England. Stephannie Gearhart illustrates how a variety of texts – including drama by Shakespeare, Jonson, and Middleton – placed elders’ and youths’ voices in dialogue with one another to construct the period’s ideology of age and shape elder-youth relations.

The "rogue," a term that described criminals, prostitutes, vagrants, beggars, and the unemployed, dominated the pages of early modern popular crime literature. Rogue Sexuality resituates the rogue by focusing on how their menace—and their seductive appeal—emerged not only from their social marginality, but also from their supposedly excessive sexuality and prodigious sexual reproduction. Through discussions of both familiar and little-studied early modern works by William Shakespeare, John Milton, Ben Jonson, Thomas Middleton, Thomas Dekker, Robert Greene, Thomas Harman, and the inventor of modern demography John Graunt, this volume posits the sexualized rogue as the avatar of a new category of "socio-sexual identity" and traces a surprising social transposition, in which socio-political elites are portrayed as appropriating the rogue's sexual vitality and performative charisma to navigate moments of crisis. By tracking the movement of rogue sexuality from a criminal to a normative discursive register, this book challenges the distinctions that literary critics and historians tend to draw between orderly and disorderly sexuality. With its focus on reproduction, rogue sexuality also provides a new framework for what Michel Foucault called "biopolitics," the state's focus on exercising power over life. In legal, administrative, and scientific documents, this book shows that early modern writers grappled with popular pamphlets' rendering of the alleged threat of rogue reproduction. Rogue Sexuality thus offers a new approach to the political history of early modern England as a population—as a people whose aggregate sexual life and reproduction were a key part of its political imagination.

Drama and the Politics of Generational Conflict in Shakespeare's England examines the intersection between art and culture and explains how ideas about age circulated in early modern England. Stephannie Gearhart illustrates how a variety of texts - including drama by Shakespeare, Jonson, and Middleton - placed elders' and youths' voices in dialogue with one another to construct the period's ideology of age and shape elder-youth relations.

A collection of essays written by arts and humanities scholars across disciplines, this book argues that higher education has been compromised by its uncritical acceptance of our culture’s standards of productivity, busyness, and speed. Inspired by the Slow Movement, contributors explain how and why university culture has come to value productivity over contemplation and rapidity over slowness. Chapter authors argue that the arts and humanities offer a cogent critique of fast culture in higher education, and reframe the discussion of the value of their fields by emphasizing the dialectic between speed and slowness.

By examining how female characters speak and act during coming of age, engagement, marriage, and intimacy, Consent in Shakespeare will enhance understanding about how and why women spoke, remained silent, or acted as they did in relation to their intimate partners in Early Modern and contemporary private and public situations in and around the Mediterranean. Consent in intimate relationships is front and center in today’s conversations. This book re-examines the verbal and physical interactions of female-identified characters in Early Modern and contemporary cultures in Shakespeare’s Mediterranean comedies and the sources from which he derived his plays. This re-examination of the words that women say or do not say, and actions that women do or do not take, in Shakespeare’s Mediterranean plays and his probable sources sheds light on how Shakespeare’s audiences might have perceived Mediterranean cultural mores and norms. Assessment of source materials for Shakespeare’s comedies set in the Balkans, France, Italy, the Near East, North Africa, and Spain suggests how women of diverse backgrounds communicated in everyday life and peak life experiences in the Early Modern era. Given Shakespeare’s impact worldwide, this initiative to shift the conversation about the power of consent of female protagonists and supporting characters in Shakespeare’s Mediterranean plays will further transform conversations about consent in class, board and conference rooms, and the international stage.

"The proverb goes that "blood is thicker than water." But do common bloodlines in fact demand special duties or prescribe affections? Does this maxim presume that we can or should only love others biologically similar to ourselves? Are we nobler if we do, or somehow defective if we don't? "Thicker than Water" examines the roots of this belief by studying the omnipresent discourse of bloodlines and kindred relations in the literature of early modern Europe, specifically its role in the creation and maintenance of oppressive social structures. Lauren Weindling examines how drama from England, France, and Italy tests these assumptions about blood and love, exposing their underlying political function. Among the key texts that Weindling studies are Shakespeare's Romeo and Juliet, Othello, and The Merchant of Venice, Pierre Corneille's Le Cid, Giambattista della Porta's La Sorella and its English analog, Thomas Middleton's No Wit/Help Like a Woman's, John Ford's 'Tis Pity She's a Whore, and Machiavelli's La Mandragola. Each of these plays in some way offers an extreme limit case for these beliefs in plots of love, courtship, and marriage (e.g., blood feuds or incest). They also illustrate that blood functions not as a biological basis for affinities, but discursively. Moreover, they feature the voices of marginalized groups, unprivileged by this ideology, which present significant counterpoints to this bloody worldview. Those outsiders reveal that finding alternative vocabularies to the bloody discourse of elite groups is both extremely difficult and often ineffectual, further evidenced by their persistence today. Much critical work on blood has examined this discourse as it manifests onstage: as evidence of guilt, the product of violence, or in bleeding figures. This book, instead, examines the work that blood does unseen in its connection to discourses of love and kinship-arbitrating social and emotional connections between persons, and thus underwriting our deepest forms of social organization"--

OXFORD SHAKESPEARE TOPICS General Editors: Peter Holland and Stanley Wells Oxford Shakespeare Topics provide students and teachers with short books on important aspects of Shakespeare criticism and scholarship. Each book is written by an authority in its field, and combines accessible style with original discussion of its subject. This book traces Shakespeare's portrayal of outsiders in some of his most famous plays. Some of Shakespeare's most memorable characters are treated as outsiders in at least part of their plays—Othello, Shylock, Malvolio, Katherine (the 'Shrew') , Edmund, Caliban, and many others. Marked as different and regarded with hostility by some in their society, many of these characters have become icons of group identity. While many critics use the term 'outsider,' this is the first book to analyse it as a relative identity and not a fixed one, a position that characters move into and out of, to show some characters affirming their places as relative insiders by the way they treat others as more outsiders than they are, and to compare characters who are outsiders not just in terms of race and religion but also in terms of gender, age, poverty, illegitimate birth, psychology, morality, and other issues. Are male characters who love other men outsiders for that reason in Shakespeare? How is the suspicion of women presented differently than suspicion of racial or religious outsiders? How do the speeches in which various outsiders stand up for the rights of their group compare? Can an outsider be admired? How and why do the plays shift sympathy for or against outsiders? How and why do they show similarities between outsiders and insiders? With chapters on Merchant of Venice, Twelfth Night, Othello, King Lear, The Tempest, and women as outsiders and insiders, this book considers such questions with attention both to recent historical research on Shakespeare's time and to specifics of the language of Shakespeare's plays and how they work on stage and screen.

This volume argues against Gérard Genette’s theory that there is an “insurmountable opposition” between drama and narrative and shows that the two forms of storytelling have been productively intertwined throughout literary history. Building on the idea that plays often incorporate elements from other genres, especially narrative ones, the present study theorises drama as a fundamentally narrative genre. Guided by the question of how drama tells stories, the first part of the study delineates the general characteristics of dramatic narration and zooms in on the use of narrative forms in drama. The second part proposes a history of dramatic storytelling from the Renaissance to the twenty-first century that transcends conventional genre boundaries. Close readings of exemplary British plays provide an overview of the dominant narrative modes in each period and point to their impact in the broader cultural and historical context of the plays. Finally, the volume argues that throughout history, highly narrative plays have had a performative power that reached well beyond the stage: dramatic storytelling not only reflects socio-political realities, but also largely shapes them.

Fathers are central to the drama of Shakespeare's time: they are revered, even sacred, yet they are also flawed human beings who feature as obstacles in plays of all genres. In Problem Fathers in Shakespeare and Renaissance Drama, Tom MacFaul examines how fathers are paradoxical and almost anomalous characters on the English Renaissance stage. Starting as figures of confident authority in early Elizabethan drama, their scope for action becomes gradually more restricted, until by late Jacobean drama they have accepted the limitations of their power. MacFaul argues that this process points towards a crisis of patriarchal authority in wider contemporary culture. While Shakespeare's plays provide a key insight into these shifts, this book explores the dramatic culture of the period more widely to present the ways in which Shakespeare's work differed from that of his contemporaries while both sharing and informing their artistic and ideological preoccupations.

Revista de Estudios Ingleses es un anuario dirigido y gestionado por miembros del Departamento de Filología Inglesa y Alemana de la Universidad de Almería con el propósito de ofrecer un foro de intercambio de producción científica en campos del conocimiento tan diversos como la lengua inglesa, literatura en lengua inglesa, didáctica del inglés, traducción, inglés para fines específicos y otros igualmente vinculados a los estudios ingleses.