It is a critical commonplace to note sharp cultural differences between Elizabethan and Jacobean England. But how and why did this transition take place? What kinds of decisions and assumptions were involved as writers responded to the new king? How did residual Elizabethan expectations and habits of mind shape the English response to James I, and what were the consequences? How much control did James have over his reception? This study examines these questions in detail by exploring a wide range of texts written during the first decade of his reign in England, from 1603 to 1613. At stake in these questions are some larger issues which have been central to much recent historically orientated work on English Renaissance literature, concerning the relationships between king and culture, literature and authority. Curtis Perry's study provokes a fresh examination of the contingencies shaping long-familiar notions of what constitutes the Jacobean as a literary period.

Shakespeare's tragic characters have often been seen as forerunners of modern personhood. It has been assumed that Shakespeare was able to invent such lifelike figures in part because of his freedom from the restrictions of classical form. Curtis Perry instead argues that characters such as Hamlet and King Lear have seemed modern to us in part because they are so robustly connected to the tradition of Senecan tragedy. Resituating Shakespearean tragedy in this way - as backward looking as well as forward looking - makes it possible to recover a crucial political dimension. Shakespeare saw Seneca as a representative voice from post-republican Rome: in plays such as Coriolanus and Othello he uses Senecan modes of characterization to explore questions of identity in relation to failures of republican community. This study has important implications for the way we understand character, community, and alterity in early modern drama.

Shakespeare and the Middle Ages brings together a distinguished, multidisciplinary group of scholars to rethink the medieval origins of modernity. Shakespeare provides them with the perfect focus, since his works turn back to the Middle Ages as decisively as they anticipate the modern world: almost all of the histories depict events during the Hundred Years War, and King John glances even further back to the thirteenth-century Angevins; several of the comedies, tragedies, and romances rest on medieval sources; and there are important medieval antecedents for some of the poetic modes in which he worked as well.
Several of the essays reread Shakespeare by recovering aspects of his works that are derived from medieval traditions and whose significance has been obscured by the desire to read Shakespeare as the origin of the modern. These essays, taken cumulatively, challenge the idea of any decisive break between the medieval period and early modernity by demonstrating continuities of form and imagination that clearly bridge the gap. Other essays explore the ways in which Shakespeare and his contemporaries constructed or imagined relationships between past and present. Attending to the way these writers thought about their relationship to the past makes it possible, in turn, to read against the grain of our own teleological investment in the idea of early modernity. A third group of essays reads texts by Shakespeare and his contemporaries as documents participating in social-cultural transformation from within. This means attending to the way they themselves grapples with the problem of change, attempting to respond to new conditions and pressures while holding onto customary habits of thought and imagination. Taken together, the essays in this volume revisit the very idea of transition in a refreshingly non-teleological way.

Shakespeare's tragic characters have often been seen as forerunners of modern personhood. It has been assumed that Shakespeare was able to invent such lifelike figures in part because of his freedom from the restrictions of classical form. Curtis Perry instead argues that characters such as Hamlet and King Lear have seemed modern to us in part because they are so robustly connected to the tradition of Senecan tragedy. Resituating Shakespearean tragedy in this way - as backward looking as well as forward looking - makes it possible to recover a crucial political dimension. Shakespeare saw Seneca as a representative voice from post-republican Rome: in plays such as Coriolanus and Othello he uses Senecan modes of characterization to explore questions of identity in relation to failures of republican community. This study has important implications for the way we understand character, community, and alterity in early modern drama.

For writers in the early modern period, thinking about royal favorites inevitably meant thinking about the uneasy intersection of the personal and the public in a political system traditionally organized around patronage and intimacy. Depictions of favoritism - in a variety of texts including plays, poems, libels, and pamphlets - explore the most fundamental ideological questions concerning personal monarchy and the early modern public sphere, questions about the nature and limits of prerogative and about the enfranchisement or otherwise of subjects. In this study, Curtis Perry examines the ideological underpinnings of the heated controversies surrounding powerful royal favorites and the idea of favoritism in the late Elizabethan and early Stuart period. Perry argues that the discourse of corrupt favoritism is this period's most important unofficial vehicle for exploring constitutional unease concerning the nature and limits of personal monarchy within the balanced English constitution.

It is a critical commonplace to note sharp cultural differences between Elizabethan and Jacobean England. But how and why did this transition take place? What kinds of decisions and assumptions were involved as writers responded to the new king? How did residual Elizabethan expectations and habits of mind shape the English response to James I, and what were the consequences? How much control did James have over his reception? This study examines these questions in detail by exploring a wide range of texts written during the first decade of his reign in England, from 1603 to 1613. At stake in these questions are some larger issues which have been central to much recent historically orientated work on English Renaissance literature, concerning the relationships between king and culture, literature and authority. Curtis Perry's study provokes a fresh examination of the contingencies shaping long-familiar notions of what constitutes the Jacobean as a literary period.

For writers in the early modern period, thinking about royal favorites inevitably meant thinking about the uneasy intersection of the personal and the public in a political system traditionally organized around patronage and intimacy. Depictions of favoritism - in a variety of texts including plays, poems, libels, and pamphlets - therefore explore the most fundamental ideological questions concerning personal monarchy and the early modern public sphere, questions about the nature and limits of prerogative and about the enfranchisement or otherwise of subjects. In this study, Curtis Perry examines the ideological underpinnings of the heated controversies surrounding powerful royal favorites and the idea of favoritism in the late Elizabethan and early Stuart period. Perry argues that the discourse of corrupt favoritism is this period's most important unofficial vehicle for exploring constitutional unease concerning the nature and limits of personal monarchy within the balanced English constitution.

This book features five plays from the English Renaissance that explore political questions and developments by telling stories about the erotic impulses of a ruler. The volume contains fully annotated and modernized versions of Marlowe's Edward II, Shakespeare's Measure for Measure, Massinger's The Duke of Milan, Davenant's The Cruel Brother, and Ford's Love's Sacrifice. The editor provides an introduction, initial discussion, and selected illustration(s) for each play, along with an introduction to erotic politics and the Renaissance??????era political mentality. A bibliography includes suggestions for further reading and a list of useful websites for students.

When Lee Kuan Yew died recently, the world media turned its attention to the nation he led for decades: Singapore. Lee Kuan Yew's revolutionary transformation of Singapore from a poor and corrupt colonial backwater into an economic powerhouse renowned for its wealth, order, and rectitude is one of the great-and most surprising-stories of modern era. In Singapore: Unlikely Power, John Perry provides an evenhanded and authoritative history of the island nation that ranges from its Malay origins to the present day. Blessed with a natural deepwater port that is shielded by mountain ranges from oceanic storms and which sits along one of the most strategic straits in the world, Singapore has served as a major shipping entrepot throughout modern history. The first great naval power to exploit the island's strategic location was China, and during the fourteenth and fifteenth centuries thousands of Chinese emigrated to Singapore. The most famous colonizer, though, was Britain, which ruled Singapore until the 1960s except for when the Japanese occupied it during World War Two. From the early nineteenth century onward, Singapore was a vital node in the global economy, which relied on oceanic shipping and the protection of the British Navy. Perry covers all of this before turning to the era of independence, which began in the 1960s. Plagued with the usual assortment of ills that former colonies in the tropics suffered from-corruption, inequality, lack of an educated population-Singapore improbably vaulted from essentially third-world status into a first world dynamo over the course of three decades. In the process, longtime leader Lee Kuan Yew did many things that other post-colonial leaders shunned. He embraced the colonial past, established close ties with its World War Two tormentor (Japan), and adopted a resolutely pragmatist approach to economic development rather than following any one fashionable ideological program. Today, it is one of the wealthiest and best educated countries in the world, and it is a model regime for states looking to develop rapidly but which are relatively unconcerned with freedom or democracy (although Singapore itself is a democracy). In sum, this is an accessible, comprehensive, and indeed colorful overview of a city-state that has perfected one of the most influential political-economic models in the world.

Always Remember, You are Loved: A Child's Curiosity About the Loss of a Loved One was written to assist every family that needs carefully chosen words at the most emotional and difficult times. Finding the RIGHT words to say, the PERFECTLY CHOSEN words to explain such a tragedy to a young, curious and broken hearted child can be emotionally difficult for the parent, as well. As Parents, Guardians and Caregivers, we have a great responsibility to love and teach the children that we have been blessed with. There is no perfect way to explain the loss of a loved one. Yet, our children deserve our greatest efforts to ease their heartache and guide them in the direction of healing. It is my faith that this book will touch the heart of a child who is in pain. It is my dream that this book will provide healing and closure for those, children and adults alike, who have lost someone near and dear to their hearts and encourage them to treasure all of the wonderful memories left behind.