Containing detailed readings of plays by Shakespeare, Marlowe and Middleton, as well as poetry and prose, this book provides a major historical and critical reassessment of the relationship between early modern Protestantism and drama. Examining the complex and painful shift from late Medieval religious culture to a society dominated by the ideas of the Reformers, Adrian Streete presents a fresh understanding of Reformed theology and the representation of early modern subjectivity. Through close analysis of major thinkers such as Augustine, William of Ockham, Erasmus, Luther and Calvin, the book argues for the profoundly Christological focus of Reformed theology and explores how this manifests itself in early modern drama. Moving beyond questions of authorial 'belief', Streete assesses Elizabethan and Jacobean drama's engagement with the challenges of the Reformation.

Containing detailed readings of plays by Shakespeare, Marlowe and Middleton, as well as poetry and prose, this 2009 book provides a major historical and critical reassessment of the relationship between early modern Protestantism and drama. Examining the complex and painful shift from late medieval religious culture to a society dominated by the ideas of the Reformers, Adrian Streete presents a fresh understanding of Reformed theology and the representation of early modern subjectivity. Through close analysis of major thinkers such as Augustine, William of Ockham, Erasmus, Luther and Calvin, the book argues for the profoundly Christological focus of Reformed theology and explores how this manifests itself in early modern drama. Moving beyond questions of authorial 'belief', Streete assesses Elizabethan and Jacobean drama's engagement with the challenges of the Reformation.

A substantial reference work that supersedes existing studies, the Companion, explores the place of Shakespeare in relation to a wide range of artistic practices and activities, past and present. The 'arts' are defined broadly as cultural processes that take in publishing, exhibiting, performing, reconstructing and disseminating. The 30 newly commissioned chapters are divided into 6 sections: Shakespeare and the Book; Shakespeare and Music; Shakespeare on Stage and in Performance; Shakespeare and Youth Culture; Shakespeare, Visual and Material Culture; and Shakespeare, Media and Culture. Each chapter provides both a synthesis and a discussion of a topic, informed by current thinking and theoretical reflection. Key Features * Addresses Shakespeare in terms of a global frame of reference * Chapters consider chronology and overview, critical history and analysis * Responds to a growing critical and pedagogical interest in the relations between Shakespeare, the arts, film, performance and mass media more generally

My journey of a lifetime continues from book #1 of my autobiography, "My Pink Gas Mask," with book #2, "I Only Laugh When It Hurts." Dazzled by London's bright lights, Race Riots, Gangsters, Wild Women, Rock 'n' Roll at the 2 I's Coffee Bar, and Tough Wrestlers: Jack Spot, The Krays, Polish Peter Rachman, "Mad-Fred" the Ear-Biter, Becky Big Tits, George Kidd, and Bert Assirati. Join me...if you're tough enough

Book #4 of my autobiography. If sex and violence sells, this book should make a million. From Soho's Gangsters and Porn Peddlers to Prison in Gay Paris, "Mad Fred the Ear Biter," Welsh Wizards, Hell's Angels, Passolini, Sir Athol Oakley, and Battles against World Champ George Kidd & Hardman Les Kellett, and Mary Quant. Then, best of all, Lovely Linda.

Pure T.N.T.: Tenacious. Nasty. Truthful. Guaranteed to spark controversy But that's the story of my life. My adventure continues and I come face to face with the Wild, Wild Women of British Wrestling Will I survive? Read and find out.

Book #3 of my autobiography. My dream had come true: "Big Time Wrestling" in Britain's Golden Age. My first contest was Main Event against Mr. TV Jackie Pallo, then wars with Mick McManus, Alan Colbeck, Melvin Riss, Jim Breaks, "Stiff Cliff" Beaumont, Vic Faulkner, Bert Royal, Peter Rann, the dreaded "Blood Boots," "King of the Gypsies" Uriah Burton, and more. Plus I got married and became a father.

I am a born Fighter. My earliest memories are the first five years of my life in the war-torn, bomb-ravaged Welsh hills. Brutality was a way of life. Bareknuckle fistfights with mountain gypsies, brawls with tough Welsh Miners on the Colliery Slag Heaps, and boxing in rough fairground booths honed my fighting spirit and paved the way for countless titles as a Professional Wrestler--from the Lightweight Champion of Wales to the Light Heavyweight Champion of the World. Join me for the start of my fast, bumpy ride of a lifetime

This book examines the many and varied uses of apocalyptic and anti-Catholic language in seventeenth-century English drama. Adrian Streete argues that this rhetoric is not simply an expression of religious bigotry, nor is it only deployed at moments of political crisis. Rather, it is an adaptable and flexible language with national and international implications. It offers a measure of cohesion and order in a volatile century. By rethinking the relationship between theatre, theology and polemic, Streete shows how playwrights exploited these connections for a diverse range of political ends. Chapters focus on playwrights like Marston, Middleton, Massinger, Shirley, Dryden and Lee, and on a range of topics including imperialism, reason of state, commerce, prostitution, resistance, prophecy, church reform and liberty. Drawing on important recent work in religious and political history, this is a major re-interpretation of how and why religious ideas are debated in the early modern theatre.