Catherine Richardson – författare

This is the fifth volume of a detailed play-by-play catalogue of drama written by English, Welsh, Irish, and Scottish authors during the 110 years between the English Reformation to the English Revolution, covering every known play, extant and lost, including some which have never before been identified. It is based on a complete, systematic survey of the whole of this body of work, presented in chronological order. Each entry contains comprehensive information about a single play: its various titles, authorship, and date; a summary of its plot, list of its roles, and details of the human and geographical world in which the fictional action takes place; a list of its sources, narrative and verbal, and a summary of its formal characteristics; details of its staging requirements; and an account of its early stage and textual history. The years covered in this volume saw the consolidation of the Burbage and Shakespeare company as the King's Men, and the emergence of the Jacobean court masque.

This is the seventh volume of a detailed play-by-play catalogue of drama written by English, Welsh, Irish, and Scottish authors during the 110 years between the English Reformation to the English Revolution, covering every known play, extant and lost, including some which have never before been identified. It is based on a complete, systematic survey of the whole of this body of work, presented in chronological order. Each entry contains comprehensive information about a single play: its various titles, authorship, and date; a summary of its plot, list of its roles, and details of the human and geographical world in which the fictional action takes place; a list of its sources, narrative and verbal, and a summary of its formal characteristics; details of its staging requirements; and an account of its early stage and textual history.

This is the ninth volume of a detailed play-by-play catalogue of drama written by English, Welsh, Irish, and Scottish authors during the 110 years between the English Reformation to the English Revolution, covering every known play, extant and lost, including some which have never before been identified. It is based on a complete, systematic survey of the whole of this body of work, presented in chronological order. Each entry contains comprehensive information about a single play: its various titles, authorship, and date; a summary of its plot, list of its roles, and details of the human and geographical world in which the fictional action takes place; a list of its sources, narrative and verbal, and a summary of its formal characteristics; details of its staging requirements; and an account of its early stage and textual history. The years covered in this volume saw the 'High Caroline' period of English drama and the popularity of pastoral.

This is the first volume of a detailed play-by-play catalogue of drama written by English, Welsh, Irish, and Scottish authors during the 110 years between the English Reformation and the English Revolution, covering every known play, extant and lost, including some of which have never before been identified. It is based on a new, complete, and systematic survey of the whole of this body of work, presented in chronological order. Each entry contains comprehensive information about a single play: its various titles, authorship, and date; a summary of the plot, a list of roles, and details of the human and geographical world in which the fictional action takes place; a list of sources, narrative and verbal, and a summary of the formal characteristics; details of the staging requirements; and an account of the early stage and textual history.

This is the second volume of a detailed play-by-play catalogue of drama written by English, Welsh, Irish, and Scottish authors during the 110 years between the English Reformation to the English Revolution, covering every known play, extant and lost, including some which have never before been identified. It is based on a complete, systematic survey of the whole of this body of work, presented in chronological order. Each entry contains comprehensive information about a single play: its various titles, authorship, and date; a summary of its plot, list of its roles, and details of the human and geographical world in which the fictional action takes place; a list of its sources, narrative and verbal, and a summary of its formal characteristics; details of its staging requirements; and an account of its early stage and textual history. This volume covers the years when the London commercial theatres came into existence and the dominant mode of English drama changed from the morality play to the heroic tragedies of Christopher Marlowe and his contemporaries.

This is the third volume of a detailed play-by-play catalogue of drama written by English, Welsh, Irish, and Scottish authors during the 110 years between the English Reformation to the English Revolution. The catalogue covers every known play, extant and lost, including some which have never before been identified. It is based on a new, complete, and systematic survey of the whole of this body of work, and is presented in chronological order. Each entry contains comprehensive information about a single play: its various titles, authorship, and date; a summary of its plot, a list of roles, and details of the human and geographical world in which the fictional action takes place; a list of sources, narrative and verbal, and a summary of its formal characteristics; details of its staging requirements; and an account of its early stage and textual history. Volume III covers the years 1590-1597 and sees the start of Shakespeare's career as a dramatist.

This is the fourth volume of a detailed play-by-play catalogue of drama written by English, Welsh, Irish, and Scottish authors during the 110 years between the English Reformation to the English Revolution, covering every known play, extant and lost, including some which have never before been identified. It is based on a complete, systematic survey of the whole of this body of work, presented in chronological order. Each entry contains comprehensive information about a single play: its various titles, authorship, and date; a summary of its plot, list of its roles, and details of the human and geographical world in which the fictional action takes place; a list of its sources, narrative and verbal, and a summary of its formal characteristics; details of its staging requirements; and an account of its early stage and textual history. Volume IV covers the period during which dramatic satire emerged, as well as the opening of the original Globe theatre in London.

OXFORD SHAKESPEARE TOPICS General Editors: Peter Holland and Stanley Wells Oxford Shakespeare Topics provide students and teachers with short books on important aspects of Shakespeare criticism and scholarship. Each book is written by an authority in its field, and combines accessible style with original discussion of its subject.What is the significance of Shylock's ring in The Merchant of Venice? How does Shakespeare create Gertrude's closet in Hamlet? How and why does Ariel prepare a banquet in The Tempest? In order to answer these and other questions, Shakespeare and Material Culture explores performance from the perspective of the material conditions of staging. In a period just starting to be touched by the allure of consumer culture, in which objects were central to the way gender and social status were experienced but also the subject of a palpable moral outrage, this book argues that material culture has a particularly complex and resonant role to play in Shakespeare's employment of his audience's imagination.Chapters address how props and costumes work within the drama's dense webs of language - how objects are invested with importance and how their worth is constructed through the narratives which surround them. They analyse how Shakespeare constructs rooms on the stage from the interrelation of props, the description of interior spaces and the dynamics between characters, and investigate the different kinds of early modern practices which could be staged - how the materiality of celebration, for instance, brings into play notions of hospitality and reciprocity. Shakespeare and Material Culture ends with a discussion of the way characters create unique languages by talking about things - languages of faerie, of madness, or of comedy - bringing into play objects and spaces which cannot be staged. Exploring things both seen and unseen, this book shows how the sheer variety of material cultures which Shakespeare brings onto the stage can shed fresh light on the relationship between the dynamics of drama and its reception and comprehension.

This collection is the first to historicise the term ephemera and its meanings for early modern England and considers its relationship to time, matter, and place. It asks: how do we conceive of ephemera in a period before it was routinely employed (from the eighteenth century) to describe ostensibly disposable print? In the sixteenth and seventeenth centuries—when objects and texts were rapidly proliferating—the term began to acquire its modern association with transitoriness. But contributors to this volume show how ephemera was also integrally related to wider social and cultural ecosystems. Chapters explore those ecosystems and think about the papers and artefacts that shaped homes, streets, and cities or towns and their attendant preservation, loss, or transformation. The studies here therefore look beyond static records to think about moments of process and transmutation and accordingly get closer to early modern experiences, identities, and practices.

In a theatre which self-consciously cultivated its audiences’ imagination, how and what did playgoers ‘see’ on the stage? This book reconstructs one aspect of that imaginative process. It considers a range of printed and documentary evidence - the majority previously unpublished - for the way ordinary individuals thought about their houses and households. It then explores how writers of domestic tragedies engaged those attitudes to shape their representations of domesticity. It therefore offers a new method for understanding theatrical representations, based around a truly interdisciplinary study of the interaction between literary and historical methods. The plays she cites include Arden of Faversham, Two Lamentable Tragedies, A Woman Killed With Kindness, and A Yorkshire Tragedy.

Addressing the subject of clothing in relation to such fundamental issues as national identity, social distinction, gender, the body, religion and politics, Clothing Culture, 1350-1650 provides a springboard into one of the most fascinating yet least understood aspects of social and cultural history. Nowhere in medieval and early modern European society was its hierarchical and social divisions more obviously reflected than in the sphere of clothing. Indeed, one of the few constant themes of writers, chroniclers, diarists and commentators from Chaucer to Pepys was the subject of fashion and clothes. Whether it was lauding the magnificence of court, warning against the vanity of fashion, describing the latest modes, or decrying the habit of the lower orders to ape the dress of their social superiors, people throughout history have been fascinated by the symbolism, power and messages that clothes can project. Yet despite this contemporary interest, clothing as a subject of historical enquiry has been a largely neglected field of academic study. Whilst it has been discussed in relation to various disciplines, it has not in many cases found a place as a central topic of analysis in its own right. The essays presented in this volume form part of a growing recent trend to put fashion and clothing back into the centre ground of historical research. From Russia to Rome, Ireland to France, this volume contains a wealth of examples of the numerous ways clothing was shaped by, and helped to shape, medieval and early modern European society. Furthermore, it demonstrates how the study of clothing can illuminate other facets of life and why it deserves to be treated as a central, rather than peripheral, facet of European history.

This book is about the objects people owned and how they used them. Twenty-three specially written essays investigate the type of things that might have been considered 'everyday objects' in the medieval and early modern periods, and how they help us to understand the daily lives of those individuals for whom few other types of evidence survive - for instance people of lower status and women of all status groups. Everyday Objects presents new research by specialists from a range of disciplines to assess what the study of material culture can contribute to our understanding of medieval and early modern societies. Extending and developing key debates in the study of the everyday, the chapters provide analysis of such things as ceramics, illustrated manuscripts, pins, handbells, carved chimneypieces, clothing, drinking vessels, bagpipes, paintings, shoes, religious icons and the built fabric of domestic houses and guild halls. These things are examined in relation to central themes of pre-modern history; for instance gender, identity, space, morality, skill, value, ritual, use, belief, public and private behaviour, continental influence, materiality, emotion, technical innovation, status, competition and social mobility. This book offers both a collection of new research by a diverse range of specialists and a source book of current methodological approaches for the study of pre-modern material culture. The multi-disciplinary analysis of these 'everyday objects' by archaeologists, art historians, literary scholars, historians, conservators and museum practitioners provides a snapshot of current methodological approaches within the humanities. Although analysis of material culture has become an increasingly important aspect of the study of the past, previous research in this area has often remained confined to subject-specific boundaries. This book will therefore be an invaluable resource for researchers and students interested in learning about important new work which demonstrates the potential of material culture study to cut across traditional historiographies and disciplinary boundaries and access the lived experience of individuals in the past.

The Routledge Handbook of Material Culture in Early Modern Europe marks the arrival of early modern material culture studies as a vibrant, fully-established field of multi-disciplinary research.The volume provides a rounded, accessible collection of work on the nature and significance of materiality in early modern Europe – a term that embraces a vast range of objects as well as addressing a wide variety of human interactions with their physical environments. This stimulating view of materiality is distinctive in asking questions about the whole material world as a context for lived experience, and the book considers material interactions at all social levels.There are 27 chapters by leading experts as well as 13 feature object studies to highlight specific items that have survived from this period (defined broadly as c.1500–c.1800). These contributions explore the things people acquired, owned, treasured, displayed and discarded, the spaces in which people used and thought about things, the social relationships which cluster around goods – between producers, vendors and consumers of various kinds – and the way knowledge travels around those circuits of connection. The content also engages with wider issues such as the relationship between public and private life, the changing connections between the sacred and the profane, or the effects of gender and social status upon lived experience.Constructed as an accessible, wide-ranging guide to research practice, the book describes and represents the methods which have been developed within various disciplines for analysing pre-modern material culture. It comprises four sections which open up the approaches of various disciplines to non-specialists: ‘Definitions, disciplines, new directions’, ‘Contexts and categories’, ‘Object studies’ and ‘Material culture in action’.This volume addresses the need for sustained, coherent comment on the state, breadth and potential of this lively new field, including the work of historians, art historians, museum curators, archaeologists, social scientists and literary scholars. It consolidates and communicates recent developments and considers how we might take forward a multi-disciplinary research agenda for the study of material culture in periods before the mass production of goods.

This book is about the objects people owned and how they used them. Twenty-three specially written essays investigate the type of things that might have been considered 'everyday objects' in the medieval and early modern periods, and how they help us to understand the daily lives of those individuals for whom few other types of evidence survive - for instance people of lower status and women of all status groups. Everyday Objects presents new research by specialists from a range of disciplines to assess what the study of material culture can contribute to our understanding of medieval and early modern societies. Extending and developing key debates in the study of the everyday, the chapters provide analysis of such things as ceramics, illustrated manuscripts, pins, handbells, carved chimneypieces, clothing, drinking vessels, bagpipes, paintings, shoes, religious icons and the built fabric of domestic houses and guild halls. These things are examined in relation to central themes of pre-modern history; for instance gender, identity, space, morality, skill, value, ritual, use, belief, public and private behaviour, continental influence, materiality, emotion, technical innovation, status, competition and social mobility. This book offers both a collection of new research by a diverse range of specialists and a source book of current methodological approaches for the study of pre-modern material culture. The multi-disciplinary analysis of these 'everyday objects' by archaeologists, art historians, literary scholars, historians, conservators and museum practitioners provides a snapshot of current methodological approaches within the humanities. Although analysis of material culture has become an increasingly important aspect of the study of the past, previous research in this area has often remained confined to subject-specific boundaries. This book will therefore be an invaluable resource for researchers and students interested in learning about important new work which demonstrates the potential of material culture study to cut across traditional historiographies and disciplinary boundaries and access the lived experience of individuals in the past.

This collection is the first to historicise the term ephemera and its meanings for early modern England and considers its relationship to time, matter, and place. It asks: how do we conceive of ephemera in a period before it was routinely employed (from the eighteenth century) to describe ostensibly disposable print? In the sixteenth and seventeenth centuries—when objects and texts were rapidly proliferating—the term began to acquire its modern association with transitoriness. But contributors to this volume show how ephemera was also integrally related to wider social and cultural ecosystems. Chapters explore those ecosystems and think about the papers and artefacts that shaped homes, streets, and cities or towns and their attendant preservation, loss, or transformation. The studies here therefore look beyond static records to think about moments of process and transmutation and accordingly get closer to early modern experiences, identities, and practices.

Addressing the subject of clothing in relation to such fundamental issues as national identity, social distinction, gender, the body, religion and politics, Clothing Culture, 1350-1650 provides a springboard into one of the most fascinating yet least understood aspects of social and cultural history. Nowhere in medieval and early modern European society was its hierarchical and social divisions more obviously reflected than in the sphere of clothing. Indeed, one of the few constant themes of writers, chroniclers, diarists and commentators from Chaucer to Pepys was the subject of fashion and clothes. Whether it was lauding the magnificence of court, warning against the vanity of fashion, describing the latest modes, or decrying the habit of the lower orders to ape the dress of their social superiors, people throughout history have been fascinated by the symbolism, power and messages that clothes can project. Yet despite this contemporary interest, clothing as a subject of historical enquiry has been a largely neglected field of academic study. Whilst it has been discussed in relation to various disciplines, it has not in many cases found a place as a central topic of analysis in its own right. The essays presented in this volume form part of a growing recent trend to put fashion and clothing back into the centre ground of historical research. From Russia to Rome, Ireland to France, this volume contains a wealth of examples of the numerous ways clothing was shaped by, and helped to shape, medieval and early modern European society. Furthermore, it demonstrates how the study of clothing can illuminate other facets of life and why it deserves to be treated as a central, rather than peripheral, facet of European history.

The world in which Shakespeare lived and wrote was a material one before it was a textual one – made up of people’s interactions with a wide variety of things. Shakespeare’s plays were first experienced as a rich mixture of objects, language, spaces and actors’ bodies. This accessible and fascinating book delves into the lives of 33 significant things through full-colour images and an easy-to-read analysis of their significance.Objects include beds and perfumes, doublets and torches, lutes, spurs, clocks and handkerchiefs, all explored in relation to social status, gender, race, economics and manufacture. Individually and together, they reveal the rich cultural and physical geography within which the playwright, his characters and audiences lived their lives. Shakespeare’s Objects asks who owned these things and how were they used? It considers the diverse reality of trade, exchange and conquest which meant some individuals in early modern England could encounter carpets from Turkey and China, dyes from the Americas and paper from Venice, alongside woods and fabrics from their local communities.Whether you are an actor thinking about how to use props, a student wanting to understand early modern drama, a theatrical designer considering a period setting, a museum professional wanting to understand the significance of objects in your care, or someone curious about objects from the past which are unfamiliar, you will find something useful in this essential guide to early modern things.

The world in which Shakespeare lived and wrote was a material one before it was a textual one – made up of people’s interactions with a wide variety of things. Shakespeare’s plays were first experienced as a rich mixture of objects, language, spaces and actors’ bodies. This accessible and fascinating book delves into the lives of 33 significant things through full-colour images and an easy-to-read analysis of their significance.Objects include beds and perfumes, doublets and torches, lutes, spurs, clocks and handkerchiefs, all explored in relation to social status, gender, race, economics and manufacture. Individually and together, they reveal the rich cultural and physical geography within which the playwright, his characters and audiences lived their lives. Shakespeare’s Objects asks who owned these things and how were they used? It considers the diverse reality of trade, exchange and conquest which meant some individuals in early modern England could encounter carpets from Turkey and China, dyes from the Americas and paper from Venice, alongside woods and fabrics from their local communities.Whether you are an actor thinking about how to use props, a student wanting to understand early modern drama, a theatrical designer considering a period setting, a museum professional wanting to understand the significance of objects in your care, or someone curious about objects from the past which are unfamiliar, you will find something useful in this essential guide to early modern things.

The recent discovery of two Latin books that once belonged to the Quiney family of Stratford-upon-Avon expands our understanding of Shakespeare’s grammar school education and of the social, material, and learned networks that operated in his hometown. One of these books, the Apophthegmata of Erasmus, belonged to Shakespeare’s friend and neighbour, Richard Quiney, while the other, a commentary on Aristotelian logic, was owned by a different Richard Quiney, who was Shakespeare’s grandson.Building from a simple account of these findings, Book Culture in Shakespeare’s Stratford: The Quiney Connections sheds new light on the use of Latin in the market town that produced the world’s most famous playwright. The story it tells weaves together analysis of letters, sermons, wills, public monuments and other printed books owned by local residents. Complementing these cultural explorations, biographical studies of Quiney family members and influential clergymen and teachers in Stratford evoke the impact of this learned culture on the lived experience of individual people. This study breaks new ground in our understanding of the rich educational environment that would enliven the plays and poems of William Shakespeare.

The Routledge Handbook of Material Culture in Early Modern Europe marks the arrival of early modern material culture studies as a vibrant, fully-established field of multi-disciplinary research.The volume provides a rounded, accessible collection of work on the nature and significance of materiality in early modern Europe – a term that embraces a vast range of objects as well as addressing a wide variety of human interactions with their physical environments. This stimulating view of materiality is distinctive in asking questions about the whole material world as a context for lived experience, and the book considers material interactions at all social levels.There are 27 chapters by leading experts as well as 13 feature object studies to highlight specific items that have survived from this period (defined broadly as c.1500–c.1800). These contributions explore the things people acquired, owned, treasured, displayed and discarded, the spaces in which people used and thought about things, the social relationships which cluster around goods – between producers, vendors and consumers of various kinds – and the way knowledge travels around those circuits of connection. The content also engages with wider issues such as the relationship between public and private life, the changing connections between the sacred and the profane, or the effects of gender and social status upon lived experience.Constructed as an accessible, wide-ranging guide to research practice, the book describes and represents the methods which have been developed within various disciplines for analysing pre-modern material culture. It comprises four sections which open up the approaches of various disciplines to non-specialists: ‘Definitions, disciplines, new directions’, ‘Contexts and categories’, ‘Object studies’ and ‘Material culture in action’.This volume addresses the need for sustained, coherent comment on the state, breadth and potential of this lively new field, including the work of historians, art historians, museum curators, archaeologists, social scientists and literary scholars. It consolidates and communicates recent developments and considers how we might take forward a multi-disciplinary research agenda for the study of material culture in periods before the mass production of goods.

Based on the true story of the murder of Thomas Arden by his wife, her lover and accomplices in 1551, Arden of Faversham is one of the earliest domestic tragedies and a play which has continued to thrill audiences since its first staging. This comprehensive edition situates the play in its social, cultural and political context while exploring its performance and critical history through a range of historical and contemporary productions, including William Poel’s Lilies That Fester (1897) and the Royal Shakespeare Company’s 2014 production. Throughout, the edition aims to reanimate the play’s engagement with the material culture of domestic life, using little-known evidence for the objects and spaces implicated in the murder. The introduction also accounts for recent new thinking about the play’s likely authorship, including claims that Shakespeare was a key co-author. The comprehensive, illustrated introduction combined with detailed on-page commentary notes and glosses make this an ideal edition for students and teachers.

A collection of graduate research by Indigenous social work scholarsStitching Our Stories Together showcases emerging scholars who, by centering their own nations, communities, and individual realities, demonstrate how Indigenous knowledges can challenge settler ideas and myths around pan-Indigeneity. This collection is bookended with reflections from the scholars’ thesis supervisors, who describe their philosophy of mentoring and supporting students through an Indigenous lens, and how their pedagogies embrace the significance of relationality in Indigenous worldviews. Stitching Our Stories Together points toward a future where Indigenous ways of knowing and being take their rightful place in spaces of higher learning and social work practice—a necessary intervention in a discipline that has historically been complicit in colonialist harm.

A collection of graduate research by Indigenous social work scholarsStitching Our Stories Together showcases emerging scholars who, by centering their own nations, communities, and individual realities, demonstrate how Indigenous knowledges can challenge settler ideas and myths around pan-Indigeneity. This collection is bookended with reflections from the scholars’ thesis supervisors, who describe their philosophy of mentoring and supporting students through an Indigenous lens, and how their pedagogies embrace the significance of relationality in Indigenous worldviews. Stitching Our Stories Together points toward a future where Indigenous ways of knowing and being take their rightful place in spaces of higher learning and social work practice—a necessary intervention in a discipline that has historically been complicit in colonialist harm.