Gathered for the first time in this unique volume are plays and documents suggesting that, contrary to traditional thinking, women participated in the theatrical culture of the English Renaissance--as authors, translators, performers, spectators, and even as part-owners of theaters. "Renaissance Drama by Women" includes 4 full length plays--"Love's Victory, The Concealed Fancies, The Tragedy of Marion, " and "The Tragedy of Antonie"--along with a fragment of a translation from Seneca by Queen Elizabeth I, an occasional masque written for performance by a ladies' school before Queen Anne, and a collection of historical documents illustration many fascinating ways that women participated in a range of theatrical activity between the 1570s and 1660.

Over the last twenty five years, scholarship on Early Modern women writers has produced editions and criticisms, both on various groups and individual authors. The work on Mary Wroth has been particularly impressive at integrating her poetry, prose and drama into the canon. This in turn has led to comparative studies that link Wroth to a number of male and female writers, including of course, William Shakespeare. At the same time no single volume has attempted a comprehensive comparative analysis. This book sets out to explore the ways in which Wroth negotiated the discourses that are embedded in the Shakespearean canon in order to develop an understanding of her oeuvre based, not on influence and imitation, but on difference, originality and innovation.

Marion Wynne-Davies' detailed feminist reading of "The Wife of Bath's Prologue and Tale" and "The Clerk's Prologue and Tale" is the first edition to address the social and cultural context of these poems' production. Her analysis of the original manuscripts of the tales, and of the questions raised about gender and cultural history, is accessible and illuminating. With glosses on the page and a bibliography to assist with further reading, this edition may be an essential study aid for all students of Chaucer, whether familiar with the poems or coming to them for the first time.

Over the last twenty five years, scholarship on Early Modern women writers has produced editions and criticisms, both on various groups and individual authors. The work on Mary Wroth has been particularly impressive at integrating her poetry, prose and drama into the canon. This in turn has led to comparative studies that link Wroth to a number of male and female writers, including of course, William Shakespeare. At the same time no single volume has attempted a comprehensive comparative analysis. This book sets out to explore the ways in which Wroth negotiated the discourses that are embedded in the Shakespearean canon in order to develop an understanding of her oeuvre based, not on influence and imitation, but on difference, originality and innovation.

This title was first published in 2003. Few would deny that the Bible is an overwhelmingly patriarchal book that, over the centuries, has exercised considerable influence on the way in which women are perceived in society. From the opening chapters of Genesis, where woman is created to serve as man's "helper", to the pronouncements of Paul concerning the submission of wives to their husbands and the silencing of women in communal worship, the primary emphasis of the Bible is on woman's subordinate status. Feminist biblical critics raise the obvious question: how should women in communities of faith respond to the Bible's largely negative appraisal of women and oppressive patriarchal emphasis? Eryl Davies introduces the wide range of feminist approaches to the Hebrew Bible: from critics who recover neglected perspectives in the biblical tradition and argue that the Bible is not oppressively patriarchal, to others who reject biblical traditions, arguing that they are so immersed in a patriarchal culture that no parts are worth redeeming.

Readings in Renaissance Women's Drama is the most complete sourcebook for the study of this growing area of inquiry. It brings together, for the first time, a collection of the key critical commentaries and historical essays - both classic and contemporary - on Renaissance women's drama. Specifically designed to provide a comprehensive overview for students, teachers and scholars, this collection combines:
* this century's key critical essays on drama by early modern women by early critics such as Virginia Woolf and T.S. Eliot
* specially-commissioned new essays by some of today's important feminist critics
* a preface and introduction explaining this selection and contexts of the materials
* a bibliography of secondary sources
Playwrights covered include Joanna Lumley, Elizabeth Cary, Mary Sidney, Mary Wroth and the Cavendish sisters.

The first feminist edition of these two tales. Wynne-Davies addresses the social and cultural context of the poems' production in a critical commentary to the texts. Also includes a line by line gloss and a historical introduction.

Renaissance Drama By Women is a unique volume of plays and documents. For the first time, it demonstrates the wide range of theatrical activity in which women were involved during the Renaissance period. It includes full-length plays, a translated fragment by Elizabeth I, a masque, and a substantial number of historical documents. With full and up-to-date accompanying critical material, this collection of texts is an exciting and invaluable resource for use in both the classroom and research.
Special features introduced by the editors include:
* introductory material to each play
* modernized spellings
* extensive notes and annotations
* biographical essays on each playwright
* a complete bibliography
Methodically and authoritatively edited by S.P. Cerasano and Marion Wynne-Davies, Renaissance Theatre by Women is a true breakthrough for the study of women's literature and performance.

This book explores the development of familial discourse within a chronological frame, commencing with the More family and concluding with the Cavendish group. It explores the way in which the support of family groups enabled women to participate in literary production, whilst closeting them within a form of writing that encompassed style or theme.

Through an exploration of key women writers of the early modern period, Marion Wynne-Davies demonstrates the ways in which female authors were both enabled and constrained by the writing traditions and influences within their families. The engagement with and participation in the construction of individual familial discourses is explained via an analysis of six Renaissance families: the Mores, Lumleys, Sidneys/Herberts, Carys and Cavendishes. While the book addresses the writings of male authors from these family groups, such as Sir Thomas More, John Donne, Philip Sidney, Lucius Cary and William Cavendish, its primary focus is on Margaret More/Roper, Gertrude More, Jane Lumley, Mary Wroth, Elizabeth Cary and Jane, Elizabeth and Margaret Cavendish.

Providing a useful overview of the current state of black British writing and pointing towards future developments in the field, this edited collection examines the formation of a black British Canon including writers, dramatists, filmmakers and artists. The essays included discuss the textual, political and cultural history of black British and the term "black British" itself.

This much-needed collection examines the formation of a black British canon including writers, dramatists, film-makers and artists. Contributors including John McLeod, Michael McMillan, Mike Phillips and Alison Donnell discuss the textual, political and cultural history of black British and the term 'black British' itself.

This study of women in Arthurian literature covers writings from the medieval period, the Renaissance, the Victorian age and in contemporary fiction. Examining the key Arthurian texts, such as Chaucer's "Wife of Bath's Tale", "Sir Gawain and the Green Knight", Malory's "Morte D'arthur", Spenser's "The Faerie Queene" and Tennyson's "Idylls", it also investigates the less well-known works by women: Lady Charlotte Guest's "Mabinogion", Julia Margaret Cameron's illustration to Tennyson's works, and the Arthurian women writers of the 20th century.

This is the first full-length study of the role of women in Arthurian literature. It covers writing from the medieval period, the Renaissance, the Victorian age and in contemporary fiction. Covering the key Arthurian texts, such as Chaucer's Wife of Bath's Tale, Sir Gawain and the Green Knight, Malory's Morte D'arthur, Spenser's The Faerie Queene and Tennyson's Idylls, it also investigates the less well-known works by women: Lady Charlotte Guest's Mabinogion, Julia Margaret Cameron's illustration to Tennyson's works and, finally, the Arthurian women writers of the twentieth century.

In "Sixty Years of Welsh Champions," breed expert Dr Wynne Davies presents a complete record of equine champions from the Royal Welsh Show, 1947-2007. Arranged chronologically, each year lists the female and male champions from each of the four Sections, displaying their pedigree charts (going back to the great-great-grandparents), and records details of the breeder and exhibitor. Each entry is accompanied by a photograph, some of which have never before appeared in print. In addition, the introduction to the book offers a brief history of the show, detailing the changes in the Section classes and the story behind the fluctuation in the number of entries. Both a beautifully presented book with numerous stunning photos, and an exhaustive record of the event at the heart of the Welsh breeders calendar, this is a must have for every Welsh Pony and Cob enthusiast.

This book traces the chronological development of Atwood’s global reputation from Canadian nationhood to world-wide politics and from the role of women to gender identity. Chapters offer a comprehensive overview of her poetry, novels, shorter fiction, children’s books, criticism and experimental multi-genre work. There are more detailed analyses of Atwood’s most influential writing, from her first novels such as Surfacing and The Edible Woman, through the works that ensured her international reputation such as The Handmaid’s Tale, Cat’s Eye and The Robber Bride, to her most recent work, Alias Grace and Oryx and Crake. Wynne-Davies presents these works through an overall understanding of Atwood’s intelligence, humour, linguistic dexterity, breadth of vision and ethical integrity.