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After 500 years Henry VIII still retains a public fascination
unmatched by any monarch before or since. Whilst his popular image
is firmly associated with his appetites - sexual and gastronomic -
scholars have long recognized that his reign also ushered in
profound changes to English society and culture, the legacy of
which endure to this day. To help take stock of such a multifaceted
and contested history, this volume presents a collection of 17
essays that showcase the very latest thinking and research on Henry
and his court. Divided into seven parts, the book highlights how
the political, religious and cultural aspects of Henry's reign came
together to create a one of the most significant and transformative
periods of English history. The volume is genuinely
interdisciplinary, drawing on literature, art history, architecture
and drama to enrich our knowledge. The first part is a powerful and
personal account by Professor George W. Bernard of his experience
of writing about Henry and his reign. The next parts - Material
Culture and Images - reflect a historical concern with
non-documentary evidence, exploring how objects, collections,
paintings and buildings can provide unrivalled insight into the
world of the Tudor court. The parts on Court Culture and
Performance explore the literary and theatrical world and the
performative aspects of court life, looking at how the Tudor court
attempted to present itself to the world, as well as how it was
represented by others. The part on Reactions focuses upon the
political and religious currents stirred up by Henry's policies,
and how they in turn came to influence his actions. Through this
wide-ranging, yet thematically coherent approach, a fascinating
window is opened into the world of Henry VIII and his court. In
particular, building on research undertaken over the last ten
years, a number of contributors focus on topics that have been
neglected by traditional historical writing, for example gender,
graffiti and clothing. With contributions from many of the leading
scholars of Tudor England, the collection offers not only a
snapshot of the latest historical thinking, but also provides a
starting point for future research into the world of this
colourful, but often misrepresented monarch.
Henry VIII remains the most iconic and controversial of all English
Kings. For over four-hundred years he has been lauded, reviled and
mocked, but rarely ignored. In his many guises - model Renaissance
prince, Defender of the Faith, rapacious plunderer of the Church,
obese Bluebeard-- he has featured in numerous works of fact and
faction, in books, magazines, paintings, theatre, film and
television. Yet despite this perennial fascination with Henry the
man and monarch, there has been little comprehensive exploration of
his historiographic legacy. Therefore scholars will welcome this
collection, which provides a systematic survey of Henry's
reputation from his own age through to the present. Divided into
three sections, the volume begins with an examination of Henry's
reputation in the period between his death and the outbreak of the
English Civil War, a time that was to create many of the tropes
that would dominate his historical legacy. The second section deals
with the further evolution of his reputation, from the Restoration
to Edwardian era, a time when Catholic commentators and women
writers began moving into the mainstream of English print culture.
The final section covers the twentieth and twenty-first centuries,
which witnessed an explosion of representations of Henry, both in
print and on screen. Taken together these studies, by a
distinguished group of international scholars, offer a lively and
engaging overview of how Henry's reputation has been used, abused
and manipulated in both academia and popular culture since the
sixteenth century. They provide intriguing insights into how he has
been reinvented at different times to reflect the cultural,
political and religious demands of the moment; sometimes as hero,
sometimes as villain, but always as an unmistakable and iconic
figure in the historical landscape.
Henry VIII remains the most iconic and controversial of all English
Kings. For over four-hundred years he has been lauded, reviled and
mocked, but rarely ignored. In his many guises - model Renaissance
prince, Defender of the Faith, rapacious plunderer of the Church,
obese Bluebeard-- he has featured in numerous works of fact and
faction, in books, magazines, paintings, theatre, film and
television. Yet despite this perennial fascination with Henry the
man and monarch, there has been little comprehensive exploration of
his historiographic legacy. Therefore scholars will welcome this
collection, which provides a systematic survey of Henry's
reputation from his own age through to the present. Divided into
three sections, the volume begins with an examination of Henry's
reputation in the period between his death and the outbreak of the
English Civil War, a time that was to create many of the tropes
that would dominate his historical legacy. The second section deals
with the further evolution of his reputation, from the Restoration
to Edwardian era, a time when Catholic commentators and women
writers began moving into the mainstream of English print culture.
The final section covers the twentieth and twenty-first centuries,
which witnessed an explosion of representations of Henry, both in
print and on screen. Taken together these studies, by a
distinguished group of international scholars, offer a lively and
engaging overview of how Henry's reputation has been used, abused
and manipulated in both academia and popular culture since the
sixteenth century. They provide intriguing insights into how he has
been reinvented at different times to reflect the cultural,
political and religious demands of the moment; sometimes as hero,
sometimes as villain, but always as an unmistakable and iconic
figure in the historical landscape.
Early modern Europe was obsessed with borders and travel. It found,
imagined and manufactured new borders for its travellers to cross.
It celebrated and feared borders as places or states where meanings
were charged and changed. In early modern Europe crossing a border
could take many forms; sailing to the Americas, visiting a hospital
or taking a trip through London's sewage system. Borders were
places that people lived on, through and against. Some were
temporary, like illness, while others claimed to be absolute, like
that between the civilized world and the savage, but, as the
chapters in this volume show, to cross any of them was an exciting,
anxious and often a potentially dangerous act. Providing a
trans-European interdisciplinary approach, the collection focuses
on three particular aspects of travel and borders: change, status
and function. To travel was to change, not only humans but texts,
words, goods and money were all in motion at this time, having a
profound influence on cultures, societies and individuals within
Europe and beyond. Likewise, status was not a fixed commodity and
the meaning and appearance of borders varied and could
simultaneously be regarded as hostile and welcoming, restrictive
and opportunistic, according to one's personal viewpoint. The
volume also emphasizes the fact that borders always serve multiple
functions, empowering and oppressing, protecting and threatening in
equal measure. By using these three concepts as measures by which
to explore a variety of subjects, Borders and Travellers in Early
Modern Europe provides a fascinating new perspective from which to
re-assess the way in which early modern Europeans viewed
themselves, their neighbours and the wider world with which they
were increasingly interacting.
This book examines the Tudor histories of the English Reformation
written in the period 1530-83. All the reforming mid-Tudor regimes
used historical discourses to support the religious changes they
introduced. Indeed the English Reformation as a historical event
was written, and rewritten, by Henrician, Edwardian, Marian and
Elizabethan historians to provide legitimation for the religious
policies of the government of the day. Starting with John Bale's
King Johan, this book examines these histories of the English
Reformations. It addresses the issues behind Bale's editions of the
Examinations of Anne Askewe, discusses in detail the almost wholly
neglected history writing of Mary Tudor's reign and concludes with
a discussion of John Foxe's Acts and Monuments. In the process of
working chronologically through the Reformation historiography of
the period 1530-1583 this book explores the ideological conflicts
that mid-Tudor historians of the English Reformations addressed and
the differences, but also the similarities often cutting across
doctrinal differences, that existed between their texts.
Thomas More is a complex and controversial figure who has been
regarded as both saint and persecutor, leading humanist and a
representative of late medieval culture. His religious writings,
with their stark and at times violent attacks on what More regarded
as heresy, have been hotly debated. In Writing Faith and Telling
Tales, Thomas Betteridge sets More's writings in a broad cultural
and chronological context, compares them to important works of late
fourteenth- and fifteenth-century vernacular theology, and makes a
compelling argument for the revision of existing histories of
Thomas More and his legacy. Betteridge focuses on four areas of
More's writings: politics, philosophy, theology, and devotion. He
examines More's History of King Richard III as a work of both
history and political theory. He discusses Utopia and the ways in
which its treatment of reason reflects More's Christian humanism.
By exploring three of More's lesser known works, The Supplication
of Souls, The Confutation, and The Apology, Betteridge demonstrates
that More positioned his understanding of heresy within and against
a long tradition of English anti-heretical writing, as represented
in the works of Hoccleve, Lydgate, and Love. Finally, Betteridge
focuses on two key concepts for understanding More's late
devotional works: prayer and the book of Christ. In both cases,
Betteridge claims, More seeks to develop a distinctive position
that combines late medieval devotionalism with an Augustinian
emphasis on the ethics of writing and reading. Writing Faith and
Telling Tales poses important questions concerning periodization
and confessionalization and will influence future work on the
English Reformation and humanist writing in England.
The Oxford Handbook to Tudor Drama is the authoritative secondary
text on Tudor drama. It both integrates recent important research
across different disciplines and periods and sets a new agenda for
the future study of Tudor drama, questioning a number of the
central assumptions of previous studies. Balancing the interests
and concerns of scholars in theatre history, drama, and literary
studies, its scope reflects the broad reach of Tudor drama as a
subject, inviting readers to see the Tudor century as a whole,
rather than made up of artificial and misleading divisions between
'medieval' and 'renaissance', religious and secular, pre- and
post-Shakespeare. The contributors, both the established leaders in
their fields and the brightest young scholars, attend to the
contexts, intellectual, theatrical and historical within which
drama was written, produced and staged in this period, and ask us
to consider afresh this most vital and complex of periods in
theatre history. The book is divided into four sections: Religious
Drama; Interludes and Comedies, Entertainments, Masques, and Royal
Entries; and Histories and political dramas.
The Oxford Handbook to Tudor Drama is the authoritative secondary
text on Tudor drama. It both integrates recent important research
across different disciplines and periods and sets a new agenda for
the future study of Tudor drama, questioning a number of the
central assumptions of previous studies. Balancing the interests
and concerns of scholars in theatre history, drama, and literary
studies, its scope reflects the broad reach of Tudor drama as a
subject, inviting readers to see the Tudor century as a whole,
rather than made up of artificial and misleading divisions between
'medieval' and 'renaissance', religious and secular, pre- and
post-Shakespeare. The contributors, both the established leaders in
their fields and the brightest young scholars, attend to the
contexts, intellectual, theatrical and historical within which
drama was written, produced and staged in this period, and ask us
to consider afresh this most vital and complex of periods in
theatre history. The book is divided into four sections: Religious
Drama; Interludes and Comedies, Entertainments, Masques, and Royal
Entries; and Histories and political dramas.
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