Chris Laoutaris – författare

‘A lively picture of multiple operators scrambling to steal a march on the competition . . . Lavishly detailed’FINANCIAL TIMES ‘This is Shakespearean scholarship at its best, brilliantly researched yet compulsively readable. It's a book for our times, enduringly fascinating and appealing to both enthusiasts and the general reader. Highly recommended!’ ALISON WEIR FINANCIAL TIMES BOOK OF THE SUMMER A BBC HISTORY MAGAZINE BOOK OF THE YEAR 2023 A BBC RADIO 4 FRONT ROW NON-FICTION BOOK OF THE YEAR 2023 AN AUSTRALIAN BOOK REVIEW BOOK OF THE YEAR 2023 The year 2023 marks the 400th anniversary of Mr William Shakespeare’s Comedies, Histories, & Tragedies, known today simply as the First Folio. It is difficult to imagine a world without The Tempest, Twelfth Night, Antony and Cleopatra, The Winter’s Tale and Macbeth, but these are just some of the plays that were only preserved thanks to the astounding labour of love that went into creating the first collection.Shakespeare’s Book: The Intertwined Lives Behind the First Folio charts, for the first time, the manufacture of the First Folio against a turbulent backdrop of seismic political events and international tensions that intersected with the lives of its creators. Shakespeare scholar Dr Chris Laoutaris uncovers the friendships, bonds, social ties and professional networks that facilitated the production of Shakespeare ’ s book, as well as the personal challenges, tragedies and dangers that threatened its completion. And he considers how Shakespeare himself, before his death, may have influenced the ways in which his own public identity would come to be enshrined in the First Folio, shaping the transmission of his legacy to future generations and determining how the world would remember him ‘not of an age, but for all time’. ‘Beautifully written and utterly compelling… comprises all the drama, intrigue and surprises of a Shakespeare play' Tracy Borman

‘A lively picture of multiple operators scrambling to steal a march on the competition . . . Lavishly detailed’FINANCIAL TIMES ‘This is Shakespearean scholarship at its best, brilliantly researched yet compulsively readable. It's a book for our times, enduringly fascinating and appealing to both enthusiasts and the general reader. Highly recommended!’ ALISON WEIR FINANCIAL TIMES BOOK OF THE SUMMER A BBC HISTORY MAGAZINE BOOK OF THE YEAR 2023 A BBC RADIO 4 FRONT ROW NON-FICTION BOOK OF THE YEAR 2023 AN AUSTRALIAN BOOK REVIEW BOOK OF THE YEAR 2023 The year 2023 marks the 400th anniversary of Mr William Shakespeare’s Comedies, Histories, & Tragedies, known today simply as the First Folio. It is difficult to imagine a world without The Tempest, Twelfth Night, Antony and Cleopatra, The Winter’s Tale and Macbeth, but these are just some of the plays that were only preserved thanks to the astounding labour of love that went into creating the first collection.Shakespeare’s Book: The Intertwined Lives Behind the First Folio charts, for the first time, the manufacture of the First Folio against a turbulent backdrop of seismic political events and international tensions that intersected with the lives of its creators. Shakespeare scholar Dr Chris Laoutaris uncovers the friendships, bonds, social ties and professional networks that facilitated the production of Shakespeare ’ s book, as well as the personal challenges, tragedies and dangers that threatened its completion. And he considers how Shakespeare himself, before his death, may have influenced the ways in which his own public identity would come to be enshrined in the First Folio, shaping the transmission of his legacy to future generations and determining how the world would remember him ‘not of an age, but for all time’. ‘Beautifully written and utterly compelling… comprises all the drama, intrigue and surprises of a Shakespeare play' Tracy Borman

‘A lively picture of multiple operators scrambling to steal a march on the competition . . . Lavishly detailed’FINANCIAL TIMES‘This is Shakespearean scholarship at its best, brilliantly researched yet compulsively readable. It''s a book for our times, enduringly fascinating and appealing to both enthusiasts and the general reader. Highly recommended!’ ALISON WEIRFINANCIAL TIMES BOOK OF THE SUMMERA BBC HISTORY MAGAZINE BOOK OF THE YEAR 2023A BBC RADIO 4 FRONT ROW NON-FICTION BOOK OF THE YEAR 2023AN AUSTRALIAN BOOK REVIEW BOOK OF THE YEAR 2023The year 2023 marks the 400th anniversary of Mr William Shakespeare’s Comedies, Histories, & Tragedies, known today simply as the First Folio. It is difficult to imagine a world without The Tempest, Twelfth Night, Antony and Cleopatra, The Winter’s Tale and Macbeth, but these are just some of the plays that were only preserved thanks to the astounding labour of love that went into creating the first collection.Shakespeare’s Book: The Intertwined Lives Behind the First Folio charts, for the first time, the manufacture of the First Folio against a turbulent backdrop of seismic political events and international tensions that intersected with the lives of its creators. Shakespeare scholar Dr Chris Laoutaris uncovers the friendships, bonds, social ties and professional networks that facilitated the production of Shakespeare ’ s book, as well as the personal challenges, tragedies and dangers that threatened its completion. And he considers how Shakespeare himself, before his death, may have influenced the ways in which his own public identity would come to be enshrined in the First Folio, shaping the transmission of his legacy to future generations and determining how the world would remember him ‘not of an age, but for all time’.‘Beautifully written and utterly compelling… comprises all the drama, intrigue and surprises of a Shakespeare play'' Tracy Borman

‘A lively picture of multiple operators scrambling to steal a march on the competition . . . Lavishly detailed’FINANCIAL TIMES ‘This is Shakespearean scholarship at its best, brilliantly researched yet compulsively readable. It's a book for our times, enduringly fascinating and appealing to both enthusiasts and the general reader. Highly recommended!’ ALISON WEIR FINANCIAL TIMES BOOK OF THE SUMMER A BBC HISTORY MAGAZINE BOOK OF THE YEAR 2023 A BBC RADIO 4 FRONT ROW NON-FICTION BOOK OF THE YEAR 2023 AN AUSTRALIAN BOOK REVIEW BOOK OF THE YEAR 2023 The year 2023 marks the 400th anniversary of Mr William Shakespeare’s Comedies, Histories, & Tragedies, known today simply as the First Folio. It is difficult to imagine a world without The Tempest, Twelfth Night, Antony and Cleopatra, The Winter’s Tale and Macbeth, but these are just some of the plays that were only preserved thanks to the astounding labour of love that went into creating the first collection.Shakespeare’s Book: The Intertwined Lives Behind the First Folio charts, for the first time, the manufacture of the First Folio against a turbulent backdrop of seismic political events and international tensions that intersected with the lives of its creators. Shakespeare scholar Dr Chris Laoutaris uncovers the friendships, bonds, social ties and professional networks that facilitated the production of Shakespeare ’ s book, as well as the personal challenges, tragedies and dangers that threatened its completion. And he considers how Shakespeare himself, before his death, may have influenced the ways in which his own public identity would come to be enshrined in the First Folio, shaping the transmission of his legacy to future generations and determining how the world would remember him ‘not of an age, but for all time’. ‘Beautifully written and utterly compelling… comprises all the drama, intrigue and surprises of a Shakespeare play' Tracy Borman

Shortlisted for the Tony Lothian PrizeOne of the Telegraph's 'Best Books of 2014''A gripping tale that enables us to see Shakespeare in a new light...I could not recommend it highly enough.' Alison WeirIn November 1596 a woman signed a document which would nearly destroy the career of William Shakespeare . . . Who was the woman who played such an instrumental, yet little known, role in Shakespeare's life? Never far from controversy when she was alive - she sparked numerous riots and indulged in acts of bribery, breaking-and-entering, and kidnapping - Elizabeth Russell has been edited out of public memory, yet the chain of events she set in motion would be the making of Shakespeare as we all know him today. Providing new pieces to the puzzle, Chris Laoutaris's thrilling biography reveals for the first time the life of this extraordinary woman, and why she decided to wage her battle against Shakespeare.'A splendid and original book' Sunday Telegraph'A work of historical and literary detection which takes us straight to the heart of religious politics in Elizabethan England.' Frances Wilson, New Statesman 'I'm in love with the brilliant research on display in Shakespeare and the Countess by Christopher Laoutaris and how it brings to light Lady Elizabeth Russell, a force to be reckoned with and a trailblazing early feminist.' Amma Asante, Observer (Books of the Year)

This study explores maternity in the ‘disciplines’ of early modern England. Placing the reproductive female body centre-stage in Shakespeare’s theatre, Laoutaris ranges beyond the domestic sphere in which the rituals of childbirth, midwifery and wet-nursing were performed in order to recuperate the wider intellectual, epistemological, and archaeological significance of maternity to the Renaissance imagination. Focusing on ‘anatomy’ in Hamlet, ‘natural history’ in The Tempest, ‘demonology’ in Macbeth, and ‘heraldry’ in Antony and Cleopatra, this book reveals the ways in which the maternal body was figured in, and in turn contributed towards the re-conceptualisation of, bodies of knowledge. The relevance of the maternal to early pedagogical, aesthetic, and scientific disciplines, Laoutaris argues, makes itself felt when crises overturn the desired outcomes of birth and nurture. Instances of tragic intervention - such as disease, bewitchment, monstrosity, and death - expose the potentially destabilising power of maternity, dismantling the epistemological certainties with which the maternal body had been invested in the interests of masculine legitimation. Shakespeare resists a monolithic concept of motherhood, presenting instead a range of contested ‘maternities’ which challenge the distinctive ‘ways of knowing’ these early disciplines worked to impose on the order of created nature. Key Features*Provides a new interpretation of a subject which is becoming increasingly popular among Shakespeare scholars, cultural and medical historians, and feminist critics*Focuses on four of Shakespeare's best-loved plays *Presents striking visual material which forms a central component of the book's critical methodology, including anatomical plates, cabinets of curiosity, early modern follies and grottoes, archaeological discoveries, artefacts of witchcraft and superstition, early natural historical specimens, Renaissance ‘monsters’, ceramics, portraiture, funerary monume

Were Renaissance women merely passive and voiceless subjects in the cultures of portraiture through which they were represented? Did they have the opportunity to challenge the prevailing visual tropes that reproduced gender stereotypes? Did they create iconographical programmes for their own social and political ends? This collection of interdisciplinary essays examines the representation of women at the intersection between portraiture, literature, drama, heritage and material culture in Renaissance Britain. It explores how power, politics and patronage manifested across text, cultural inscription and ‘portraiture’ – defined in its broadest sense as a cultural artefact expressive of the female image and identity. Contributors cover (self-)portraits, miniatures, engravings, sculptures, embroideries, murals, emblems, illuminated manuscripts, jewellery, coins, curated collections, theatrical props, calligraphy and other decorative and architectural features. Bringing together art historians, curators, heritage specialists and scholars of early modern history and literature, this volume situates women as the active subjects and creators of ‘cultures of portraiture’. It reveals how female power was negotiated through the royal icon; how women used patronage, pedagogy and encryption to forge female networks and navigate the dangerous worlds of religious and courtly factionalism; and how art, drama and literature reflected anxieties around women’s creative agency. It demonstrates that these practices were not purely localised, but that women’s portraiture connected England – conceptually, materially and ideologically – to Scotland, Wales, Ireland, France, Spain, Rome, the Netherlands, Africa, Persia and the Islamic world; that women employed an ‘activist intermediality’ to re-define their ‘portraits’ as tools for public identity-building, political commentary, social disruption and cross-national dialogue.

Were Renaissance women merely passive and voiceless subjects in the cultures of portraiture through which they were represented? Did they have the opportunity to challenge the prevailing visual tropes that reproduced gender stereotypes? Did they create iconographical programmes for their own social and political ends? This collection of interdisciplinary essays examines the representation of women at the intersection between portraiture, literature, drama, heritage and material culture in Renaissance Britain. It explores how power, politics and patronage manifested across text, cultural inscription and 'portraiture' defined in its broadest sense as a cultural artefact expressive of the female image and identity. Contributors cover (self-)portraits, miniatures, engravings, sculptures, embroideries, murals, emblems, illuminated manuscripts, jewellery, coins, curated collections, theatrical props, calligraphy and other decorative and architectural features. Bringing together art historians, curators, heritage specialists and scholars of early modern history and literature, this volume situates women as the active subjects and creators of 'cultures of portraiture'. It reveals how female power was negotiated through the royal icon; how women used patronage, pedagogy and encryption to forge female networks and navigate the dangerous worlds of religious and courtly factionalism; and how art, drama and literature reflected anxieties around women's creative agency. It demonstrates that these practices were not purely localised, but that women's portraiture connected England conceptually, materially and ideologically to Scotland, Wales, Ireland, France, Spain, Rome, the Netherlands, Africa, Persia and the Islamic world; that women employed an 'activist intermediality' to re-define their 'portraits' as tools for public identity-building, political commentary, social disruption and cross-national dialogue.

Were Renaissance women merely passive and voiceless subjects in the cultures of portraiture through which they were represented? Did they have the opportunity to challenge the prevailing visual tropes that reproduced gender stereotypes? Did they create iconographical programmes for their own social and political ends? This collection of interdisciplinary essays examines the representation of women at the intersection between portraiture, literature, drama, heritage and material culture in Renaissance Britain. It explores how power, politics and patronage manifested across text, cultural inscription and 'portraiture' defined in its broadest sense as a cultural artefact expressive of the female image and identity. Contributors cover (self-)portraits, miniatures, engravings, sculptures, embroideries, murals, emblems, illuminated manuscripts, jewellery, coins, curated collections, theatrical props, calligraphy and other decorative and architectural features. Bringing together art historians, curators, heritage specialists and scholars of early modern history and literature, this volume situates women as the active subjects and creators of 'cultures of portraiture'. It reveals how female power was negotiated through the royal icon; how women used patronage, pedagogy and encryption to forge female networks and navigate the dangerous worlds of religious and courtly factionalism; and how art, drama and literature reflected anxieties around women's creative agency. It demonstrates that these practices were not purely localised, but that women's portraiture connected England conceptually, materially and ideologically to Scotland, Wales, Ireland, France, Spain, Rome, the Netherlands, Africa, Persia and the Islamic world; that women employed an 'activist intermediality' to re-define their 'portraits' as tools for public identity-building, political commentary, social disruption and cross-national dialogue.