Staging Power in Tudor and Stuart English History Plays examines the changing ideological conceptions of sovereignty and their on-stage representations in the public theaters during the Elizabethan and early Stuart periods (1580-1642). The study examines the way in which the early modern stage presented a critical dialogue concerning the nature of sovereignty through the lens of specifically English history, focusing in particular on the presentation and representation of monarchy. It presents the subgenre of the English history play as a specific reaction to the surrounding political context capable of engaging with and influencing popular and elite conceptions of monarchy and government. This project is the first of its kind to specifically situate the early modern debate on sovereignty within a 'popular culture' dramatic context; its purpose is not only to provide an historical timeline of English political theory pertaining to monarchy, but to situate the drama as a significant influence on the production and dissemination thereof during the Tudor and Stuart periods. Some of the plays considered here, notably those by Shakespeare and Marlowe, have been extensively and thoroughly studied. But others-such as Edmund Ironside, Sir Thomas Wyatt, and King John and Matilda-have not previously been the focus of much critical attention.

In this work R. Malcolm Smuts examines the fundamental cultural changes that occurred within the English royal court between the last decade of the sixteenth century and the outbreak of the Civil War in 1642.

Please note: This is a companion version & not the original book. Sample Book Insights: #1 Play is a biological process that has evolved over generations to promote survival. It shapes the brain and makes animals smarter and more adaptable. It fosters empathy and makes possible complex social groups. #2 We are built to play, and play is the purest expression of our individuality. We are happiest when we are playing. But as we get older, we are made to feel guilty for playing, and we are told that it is unproductive and a waste of time. #3 Play is not just for the rich and retired. In fact, it is often a catalyst that helps us be more productive and happier in everything we do. #4 At some companies, play is becoming more recognized as an important part of success. And I’m not just talking about Ping-Pong tables in the break room. Employees who have engaged in play throughout their lives outside of work and bring that emotion to the office are able to do well at work-related tasks that at first might seem to have no connection at all to play.

The purpose of this study is to examine the evolution of religious polemical drama from the Middle Ages to the Elizabethan and Stuart periods.

Don Carlos and Mary Stuart, two of German literature's greatest dramas, deal with the timeless issues of power, freedom, and justice. These new translations into blank verse are accurate, elegant, and playable. The introduction, notes, and chronology set the plays in their cultural and intellectual background, while a family tree explains the historical relationship between Don Carlos and Mary Stuart.

In the field of seventeenth-century English drama, women participated not only as spectators or readers, but more and more as patronesses, as playwrights, and later on as actresses and even as managers. This study examines English women writers' tragedies and tragicomedies in the seventeenth century, specifically between 1613 and 1713, which represent the publication dates of the first original tragedy (Elizabeth Cary's The Tragedy of Mariam) and the last one (Anne Finch's Aristomenes) written by a Stuart woman playwright. Through this one-hundred year period, major changes in dramatic form and ideology are traced in women's tragedies and tragicomedies. In examining the whole of the century from a gender perspective, this project breaks away from conventional approaches to the subject, which tend to establish an unbridgeable gap between the early Stuart period and the Restoration. All in all, this study represents a major overhaul of current theories of the evolution of English drama as well as offering an unprecedented reconstruction of the genealogy of seventeenth-century English women playwrights.

Two centuries of dramatic change are covered by this exciting and richly illustrated work. Eighteen leading scholars explore the political, social, religious, and cultural history of the period when monarchs based in south-east England imperfectly attempted to extend their authority over thewhole of the British Isles. These centuries witnessed the Reformation, the civil wars, and two revolutions, in which two monarchs, two wives of a king, and two archbishops of Canterbury were tried and executed, and hundreds of men and women tortured and burned in the name of religion. Yet in the same period, an explosion ofliteracy and the printed word, transformations in landscapes and townscapes, new forms of wealth, new structures of power, and new forms of political participation freed minds and broadened horizons. These centuries marked the beginning of Britain's imperial power and its emergence as perhaps themost liberal and mature of European states. The integrated illustrations and maps form an essential part of the book, complementing all aspects of the text. It also contains a Chronology, Glossary, Family Trees of the monarchy, Further Reading, and an extensive Index.

Part of the NEW Ginn History series, these colourful KS2 pupil books cover key moments in world history. The series includes Victorian Britain, Ancient Greece, Explorations and Encounters and Britain since 1930. Photography, cartoons and illustration bring the past to life while questions at the end of each chapter provoke further thinking and a Glossary reinforces key words and concepts.