First published in 1996, this volume asked the question: who - and what - was Christopher Marlowe? Dramatist, poet, atheist and possible spy, he was a man in contrast with his time. The authors here gather to explore Marlowe on the four hundredth anniversary of his death. They include significant interdisciplinary elements and focus on dramaturgy, textual criticism and biography. It is hoped that the diversity of approaches can further debates on both Marlowe and Renaissance culture.

Taking as its chronological starting-point the female body of late medieval devotional literature, the volume moves on to a consideration of the representation of gendered bodies in later literature. It then proceeds to examine sixteenth-century occupational orderings of the (male) body in education, the civil service and the army, and involves explorations into a variety of rituals for the purification, ordering and disciplining of the flesh. It includes enquiries into the miraculous royal body, demon bodies, the 'virtual' body of satire, and ends the late seventeenth century with dramatic representations of the diseased body, and the grotesque bodies of travellers' tales as signifiers of racial difference. It pushes forward post-modern notions of the body as a site for competing discourses. It provides new dimensions to fantasies, rituals and regulations in narratives ('fictions') of the body as identifications of forms of knowledge unique to the early modern period. Each of the essays sheds new light on how these late medieval and early modern narratives function to produce specialized and discrete languages of the body that cannot be understood simply in terms, say, of religion, philosophy or physiology, but produce their own discrete forms of knowledge. Thus the essays materially contribute to an understanding of the relationship between the body and spatial knowledge by giving new bearings on epistemologies built upon pre-modern perceptions about bodily spaces and boundaries. They address these issues by analysing forms of knowledge constructed through regulations of the body, fantasies about extensions to the body and creations of bodily, psychic, intellectual and spiritual space. The essays pose important questions about how these epistemologies offer different investments of knowledge into structures of power. What constitutes these knowledges? What are the politics of corporeal spaces? In what forms of knowledge about spatial and bodily perceptions and p

This title was first published in 2000: England experienced something of a social revolution in the years from the early 16th century to the Civil War. This work seeks to add a new dimension to the discussion of this phenomena by focusing on the emerging role and function of social behaviour as a means of signalling social identity and rank. Noting the even greater emphasis placed on manners, customs and ordinary behaviour during that time period, Darryll Grantley demonstrates the interrelation of two key elements - education and drama - in the reconstruction of social identity. By examining the relationship between education and drama, Grantley contributes important perspectives on the ways in which drama functioned in society. He explores education as a prominent motif in the aristocratically patronized drama of the 16th century; the contribution of the academy to the evolution of public modes of drama; education and the playwrights; education and the audience; and the representations of learning and social behaviour on the public stage.

First published in 1996, this volume asked the question: who - and what - was Christopher Marlowe? Dramatist, poet, atheist and possible spy, he was a man in contrast with his time. The authors here gather to explore Marlowe on the four hundredth anniversary of his death. They include significant interdisciplinary elements and focus on dramaturgy, textual criticism and biography. It is hoped that the diversity of approaches can further debates on both Marlowe and Renaissance culture.

Taking as its chronological starting-point the female body of late medieval devotional literature, the volume moves on to a consideration of the representation of gendered bodies in later literature. It then proceeds to examine sixteenth-century occupational orderings of the (male) body in education, the civil service and the army, and involves explorations into a variety of rituals for the purification, ordering and disciplining of the flesh. It includes enquiries into the miraculous royal body, demon bodies, the 'virtual' body of satire, and ends the late seventeenth century with dramatic representations of the diseased body, and the grotesque bodies of travellers' tales as signifiers of racial difference. It pushes forward post-modern notions of the body as a site for competing discourses. It provides new dimensions to fantasies, rituals and regulations in narratives ('fictions') of the body as identifications of forms of knowledge unique to the early modern period. Each of the essays sheds new light on how these late medieval and early modern narratives function to produce specialized and discrete languages of the body that cannot be understood simply in terms, say, of religion, philosophy or physiology, but produce their own discrete forms of knowledge. Thus the essays materially contribute to an understanding of the relationship between the body and spatial knowledge by giving new bearings on epistemologies built upon pre-modern perceptions about bodily spaces and boundaries. They address these issues by analysing forms of knowledge constructed through regulations of the body, fantasies about extensions to the body and creations of bodily, psychic, intellectual and spiritual space. The essays pose important questions about how these epistemologies offer different investments of knowledge into structures of power. What constitutes these knowledges? What are the politics of corporeal spaces? In what forms of knowledge about spatial and bodily perceptions and p

This title was first published in 2000: England experienced something of a social revolution in the years from the early 16th century to the Civil War. This work seeks to add a new dimension to the discussion of this phenomena by focusing on the emerging role and function of social behaviour as a means of signalling social identity and rank. Noting the even greater emphasis placed on manners, customs and ordinary behaviour during that time period, Darryll Grantley demonstrates the interrelation of two key elements - education and drama - in the reconstruction of social identity. By examining the relationship between education and drama, Grantley contributes important perspectives on the ways in which drama functioned in society. He explores education as a prominent motif in the aristocratically patronized drama of the 16th century; the contribution of the academy to the evolution of public modes of drama; education and the playwrights; education and the audience; and the representations of learning and social behaviour on the public stage. Throughout, the study explores the increasing social significance of education in 16th- and 17th-century England, and the reflection of that cultural change in the drama of the period.

British theatre has a greater tradition than any other, having started all the way back in 1311 and still going strong today. But that is too much for one book to cover, so this volume deals with early theatre and has a cut-off date in 1899. Still, this is almost six centuries, centuries during which British theatre not only developed but produced some of the greatest playwrights of all time and anywhere, including obviously Shakespeare but also Marlowe and Shaw. And they wrote some of the finest plays ever, which are known around the world. So there is plenty for this book to cover, just with the playwrights, plays and actors, but it also has information on stagecraft and theatres, as well as the historical and political background. This book has over 1,183 entries in the dictionary section, these being mainly on playwrights and plays, but others as well including managers and critics, and also on specific theatres, legislative acts and some technical jargon. Then there are entries on the different genres, from comedy to tragedy and everything in between. Inevitably, the chronology is quite long as it has a long period to cover and the introduction provides the necessary overview. The Historical Dictionary of Early British Theatre concludes with a pretty massive bibliography. That will be of use to particularly assiduous researchers, but this book itself is a good place to start any research since it covers periods that are far less well-known and documented, and ordinary theatre-goers will also find useful information.

Darryll Grantley has created a comprehensive guide to the interlude: the extant non-cycle drama in English from the late fourteenth century up to the period in which the London commercial theatre began. As precursors of seventeenth-century drama, not only do these interludes shed important light on the technical and literary development of Shakespearean theatre, but many are also works of considerable theatrical or cultural interest in themselves. This accessible reference guide provides an entry for each of the extant interludes and fragments (c.100) typically containing an account of early editions or manuscripts; authorship and sources; modern editions; plot summary and dramatis personae; list of social issues present in the plays; verbal and dramaturgical features; songs and music; allusions and place names; stage directions and comments on staging; and modern productions, among other valuable and informative details. There are full bibliographies, indexes of characters and songs, and appendices.

Darryll Grantley has created a guide to that genre of entertainment, known as the Interlude. Starting in the fourteenth century, Interludes included a variety of works not considered part of cycle plays. This easy-to-use reference guide to each of the extant Interludes and fragments (c. 100) includes: account of early editions or manuscripts; authors or sources; modern editions; plot summary and dramatis personae; social issues in the plays; verbal and dramaturgical features; and staging directions, among other valuable details. A bibliography and appendices are also included.