Examines the rise and fall of Tudor nobles and the actions leading to the demise of the Tudor era. The Tudors as a dynasty executed many people, both high and low. But the nobility were the ones consistently involved in treason, either deliberately or unconsciously. Exploring the long sixteenth century under each of the Tudor monarchs gives a sense of how and why so many were executed for what was considered the worst possible crime and how the definition of treason changed over the period. This book examines how and why Tudor nobles like Edward Stafford, 3rd Duke of Buckingham; Queen Consort Anne Boleyn; Henry Howard, Earl of Surrey; and Robert Devereux, 2nd Earl of Essex, fell into the trap of treason and ended up on the block under the executioner’s axe. Treason and the Tudor nobility seem to go hand in hand as, by the end of the sixteenth century and the advent of the Stuart dynasty, no dukes remained in England. How did this happen and why?

Charts the history of execution laws and practices in the 'Bloody Code' era and its extraordinary transformation by 1900.

A significant contribution to the development of social theory which provides a comprehensive summary of the various traditions. Barnes offers an accessible introduction for undergraduates which presents his own arguments along the way.; It is intended that this work will be adopted on undergraduate and postgraduate courses on social theory within social and political science. It will also appeal to students of social psychology, social anthropology and social geography.

The relationship between medievalism and reception explored via a rich variety of case studies. At the intersection of the twin fields of medievalism and reception studies is the timely and fascinating question of how a contested past is deployed in the context of a conflicted and contradictory present. Despite their shared roots and a fundamental orientation towards the entanglement of past and present, the term "reception" is rarely taken up in medievalist scholarship, and they have developed along parallel but divergent lines, evolving their own emphases, problematics, sensibilities, vocabularies, and critical tools. This book is the first to reunite these two fields. Its introduction and first chapter clearly set out their tangled intellectual and disciplinary histories. The ten essays that follow reflect upon the relationship between medievalism and reception in theory and in practice, through thematically, temporally, and geographically expansive case studies, engaging with theories of translation, postcolonialism, fan studies, persona studies, and Indigenous studies. Individual topics examined include the cultural impact of Robin Hood; the Tulsa rase massacre; the crusades in the nineteenth century; later representations of Chaucer's works; Victorian representations of Anne Boleyn; and media such as Star Wars and Game of Thrones. As a whole, this collection models and demonstrates the value of a new and self-aware approach to medievalism, enriched by a conscious and critical redeployment of reception theories and methodologies.

Royer examines the changing ritual of execution across five centuries and discovers a shift both in practice and in the message that was sent to the population at large. She argues that what began as a show of retribution and revenge became a ceremonial portrayal of redemption as the political, religious and cultural landscape of England evolved.

The Tower of London in English Renaissance Drama historicizes the Tower of London's evolving meanings in English culture alongside its representations in twenty-four English history plays, 1579-c.1634, by William Shakespeare, Christopher Marlowe and others. While Elizabeth I, James I, and Charles I fashioned the Tower as a showplace of royal authority, magnificence, and entertainment, many playwrights of the time revealed the Tower's instability as a royal symbol and represented it, instead, as an emblem of opposition to the crown and as a bodily and spiritual icon of non-royal English identity.

Beginning with the victory of Henry Tudor over Richard III at Bosworth Field in 1485, and ending with the death of the childless Elizabeth I in 1603 following a 45-year reign, the Tudor dynasty marks a period in British history where England was transformed from a minor medieval kingdom to a preeminent European power on the verge of empire.

Throughout its history, persecutions and martyrdom have been Christianity's faithful companions. Remarkably enough, Christians have always valued martyrdom in a positive way. This positive evaluation of martyrdom most certainly has to do with the absolute, uncompromising nature of it. The martyrs' lives and deaths represent the most uncompromising of answers to the divine call. The focus of the contributions in this volume is not in the first place on reconstructing the historical events of the martyr's life and death "wie es eigentlich gewesen ist," but on the discourse generated by this event as mediated in texts. More than a Memory aims to explore the reciprocal relationship between this discourse of martyrdom and the construction of Christian identity. It will do so by presenting a number of test cases in which this dynamic can be seen at work. They will lead the reader through the entire history of Christianity, starting with the Martyrdom of Lyons and Vienne in the second century and ending in the Latin America of the 1960's. Each article will present a test case of discourse-analysis, attempting to explore the issue of how a document or coherent group of documents contributed to create a distinct Christian identity. Taken together, the essays provide an array of examples of how martyrdom impinged on the way Christian identity has been negotiated in the Christian past. In doing this, the volume at the same time illustrates the sheer importance of martyrdom and the reflection and writing about it throughout the history of Christianity until today.

Forty-five gruesome but not gratuitous accounts from the Tudor reign, including the death of Richard III and the botched execution of Mary Queen of Scots. This decidedly darker take on the Tudors, from 1485 to 1603, covers a whole host of horrors from the Tudor reign. Particular attention is paid to the various gruesome ways in which the Tudors despatched their various villains and lawbreakers, from simple beheadings, to burnings and of course the dreaded hanging, drawing and quartering. Other chapters cover the various diseases prevalent during Tudor times, including the dreaded “Sweating Sickness”—rather topical at the moment, unfortunately—as well as the cures for these sicknesses, some of which were considered worse than the actual disease itself. The day-to-day living conditions of the general populace are also examined, as well as various social taboos and the punishments that accompanied them, i.e. the stocks, as well as punishment by exile. Tudor England was not a nice place to live by twenty-first-century standards, but the book will also serve to explain how it was still nevertheless a familiar home to our ancestors. “He does not shy away from the gory details, which adds another element to stories that are familiar to those who are Tudor fans. If you want something spooky to read in October or know more about the darker side of Tudor history, I recommend reading House of Tudor.” —Adventures of a Tudor Nerd “It really does cover so many different things that there will be something for everyone whatever your interests are; political, personal, medical, or death. A brilliant gory discourse on my favourite period of history!” —Tudor Blogger

With its mix of family drama, sex and violence, Britain's Tudor dynasty (1485-1603) has long excited the interest of filmmakers and moviegoers. Since the birth of movie-making technology, the lives and times of kings Henry VII, Henry VIII, and Edward VI and queens Mary I, Jane Grey and Elizabeth I have remained popular cinematic themes. From 1895's The Execution of Mary Stuart to 2011's Anonymous, this comprehensive filmography chronicles every known movie about the Tudor era, including feature films; made-for-television films, mini-series, and series; documentaries; animated films; and shorts. From royal biographies to period pieces to modern movies with flashbacks or time travel, this work reveals how these films both convey the attitudes of Tudor times and reflect the era in which they were made.