Duncan Salkeld – författare

Stratford made the man, but London made the phenomenon that is Shakespeare. This volume takes an historical approach to Shakespeare''s connections with London. It explores Stratford''s various links with the capital, significant locations for Shakespeare''s work, people with whom he associated, his resistance to pressure from the City authorities, and the cultural diversity of early modern London. Among many aspects of his life in the City and its environs, it coversthe playhouses in Shoreditch, his associations with Bishopsgate, his brother Edmund''s residence on Bankside, and elements of London life that went into the making of Falstaff. Being ''forest born'', he was always an outsider and could never have been, or felt, accepted as a citizen. We find himrepeatedly a sojourner in the City, on the move. His home and family lay in Stratford. Despite his success in the capital, we might almost imagine him to have been a reluctant Londoner.Shakespeare and London draws on a range of documentary sources including City parish registers, county sessions records and the archives of London''s Bridewell Hospital. It sets out details about those who inhabited Shakespeare''s milieu, or played some part in shaping his writing and acting career. This volume is Ideal reading for undergraduates, graduates, and specialists of Shakespeare studies.

Stratford made the man, but London made the phenomenon that is Shakespeare. This volume takes an historical approach to Shakespeare's connections with London. It explores Stratford's various links with the capital, significant locations for Shakespeare's work, people with whom he associated, his resistance to pressure from the City authorities, and the cultural diversity of early modern London. Among many aspects of his life in the City and its environs, it covers the playhouses in Shoreditch, his associations with Bishopsgate, his brother Edmund's residence on Bankside, and elements of London life that went into the making of Falstaff. Being 'forest born', he was always an outsider and could never have been, or felt, accepted as a citizen. We find him repeatedly a sojourner in the City, on the move. His home and family lay in Stratford. Despite his success in the capital, we might almost imagine him to have been a reluctant Londoner. Shakespeare and London draws on a range of documentary sources including City parish registers, county sessions records and the archives of London's Bridewell Hospital. It sets out details about those who inhabited Shakespeare's milieu, or played some part in shaping his writing and acting career. This volume is Ideal reading for undergraduates, graduates, and specialists of Shakespeare studies.

Stratford made the man, but London made the phenomenon that is Shakespeare. This volume takes an historical approach to Shakespeare's connections with London. It explores Stratford's various links with the capital, significant locations for Shakespeare's work, people with whom he associated, his resistance to pressure from the City authorities, and the cultural diversity of early modern London. Among many aspects of his life in the City and its environs, it covers the playhouses in Shoreditch, his associations with Bishopsgate, his brother Edmund's residence on Bankside, and elements of London life that went into the making of Falstaff. Being 'forest born', he was always an outsider and could never have been, or felt, accepted as a citizen. We find him repeatedly a sojourner in the City, on the move. His home and family lay in Stratford. Despite his success in the capital, we might almost imagine him to have been a reluctant Londoner. Shakespeare and London draws on a range of documentary sources including City parish registers, county sessions records and the archives of London's Bridewell Hospital. It sets out details about those who inhabited Shakespeare's milieu, or played some part in shaping his writing and acting career. This volume is Ideal reading for undergraduates, graduates, and specialists of Shakespeare studies.

Courtesans - women who achieve wealth, status, or power through sexual transgression - have played both a central and contradictory role in literature: they have been admired, celebrated, feared, and vilified. This study of the courtesan in Renaissance English drama focuses not only on the moral ambivalence of these women, but with special attention to Anglo-Italian relations, illuminates little known aspects of their lives. It traces the courtesan from a wry comedic character in the plays of Terence and Plautus to its literary exhaustion in the seventeenth-century dramatic works of Dekker, Marston, Webster, Middleton, Shirley and Brome. The author focuses especially on the presentation of the courtesan in the sixteenth century - dramas by Shakespeare, Marlowe, and Lyly view the courtesan as a symbol of social disease and decay, transforming classical conventions into English prejudices. Renaissance Anglo-Italian cultural and sexual relations are also investigated through comparisons of travel narratives, original source materials, and analysis of Aretino's representations of celebrated Italian courtesans. Amid these fascinating tales of aspiration, desire and despair lingers the intriguing question of who was the 'dark lady' of Shakespeare's sonnets.

Courtesans - women who achieve wealth, status, or power through sexual transgression - have played both a central and contradictory role in literature: they have been admired, celebrated, feared, and vilified. This study of the courtesan in Renaissance English drama focuses not only on the moral ambivalence of these women, but with special attention to Anglo-Italian relations, illuminates little known aspects of their lives. It traces the courtesan from a wry comedic character in the plays of Terence and Plautus to its literary exhaustion in the seventeenth-century dramatic works of Dekker, Marston, Webster, Middleton, Shirley and Brome. The author focuses especially on the presentation of the courtesan in the sixteenth century - dramas by Shakespeare, Marlowe, and Lyly view the courtesan as a symbol of social disease and decay, transforming classical conventions into English prejudices. Renaissance Anglo-Italian cultural and sexual relations are also investigated through comparisons of travel narratives, original source materials, and analysis of Aretino's representations of celebrated Italian courtesans. Amid these fascinating tales of aspiration, desire and despair lingers the intriguing question of who was the 'dark lady' of Shakespeare's sonnets.

Courtesans - women who achieve wealth, status, or power through sexual transgression - have played both a central and contradictory role in literature: they have been admired, celebrated, feared, and vilified. This study of the courtesan in Renaissance English drama focuses not only on the moral ambivalence of these women, but with special attention to Anglo-Italian relations, illuminates little known aspects of their lives. It traces the courtesan from a wry comedic character in the plays of Terence and Plautus to its literary exhaustion in the seventeenth-century dramatic works of Dekker, Marston, Webster, Middleton, Shirley and Brome. The author focuses especially on the presentation of the courtesan in the sixteenth century - dramas by Shakespeare, Marlowe, and Lyly view the courtesan as a symbol of social disease and decay, transforming classical conventions into English prejudices. Renaissance Anglo-Italian cultural and sexual relations are also investigated through comparisons of travel narratives, original source materials, and analysis of Aretino''s representations of celebrated Italian courtesans. Amid these fascinating tales of aspiration, desire and despair lingers the intriguing question of who was the ''dark lady'' of Shakespeare''s sonnets.

Courtesans - women who achieve wealth, status, or power through sexual transgression - have played both a central and contradictory role in literature: they have been admired, celebrated, feared, and vilified. This study of the courtesan in Renaissance English drama focuses not only on the moral ambivalence of these women, but with special attention to Anglo-Italian relations, illuminates little known aspects of their lives. It traces the courtesan from a wry comedic character in the plays of Terence and Plautus to its literary exhaustion in the seventeenth-century dramatic works of Dekker, Marston, Webster, Middleton, Shirley and Brome. The author focuses especially on the presentation of the courtesan in the sixteenth century - dramas by Shakespeare, Marlowe, and Lyly view the courtesan as a symbol of social disease and decay, transforming classical conventions into English prejudices. Renaissance Anglo-Italian cultural and sexual relations are also investigated through comparisons of travel narratives, original source materials, and analysis of Aretino''s representations of celebrated Italian courtesans. Amid these fascinating tales of aspiration, desire and despair lingers the intriguing question of who was the ''dark lady'' of Shakespeare''s sonnets.

One of the earliest domestic tragedies, Arden of Faversham is a powerful Elizabethan drama based on the real-life murder of Thomas Arden. This Critical Reader presents the first collection of essays specifically focused upon Arden of Faversham. It highlights the way in which this important play from the early 1590s stands at several different critical intersections. Focused research chapters propose new directions for exploring the play in the light of ecocriticism, genre studies, critical race studies and narratives of dispossession. It also looks forward to Arden of Faversham’s role and status in a less author-centred critical climate. Chapters explore how this anonymous and canonically marginal play has been approached in the past by scholars and theatre-makers and the frameworks that have offered productive insight into its unique features. The volume includes chapters covering a wide range of critical discourses and resources available for its study, as well as offering practical approaches to the play in the classroom.

One of the earliest domestic tragedies, Arden of Faversham is a powerful Elizabethan drama based on the real-life murder of Thomas Arden. This Critical Reader presents the first collection of essays specifically focused upon Arden of Faversham. It highlights the way in which this important play from the early 1590s stands at several different critical intersections. Focused research chapters propose new directions for exploring the play in the light of ecocriticism, genre studies, critical race studies and narratives of dispossession. It also looks forward to Arden of Faversham''s role and status in a less author-centred critical climate. Chapters explore how this anonymous and canonically marginal play has been approached in the past by scholars and theatre-makers and the frameworks that have offered productive insight into its unique features. The volume includes chapters covering a wide range of critical discourses and resources available for its study, as well as offering practical approaches to the play in the classroom.

One of the earliest domestic tragedies, Arden of Faversham is a powerful Elizabethan drama based on the real-life murder of Thomas Arden. This Critical Reader presents the first collection of essays specifically focused upon Arden of Faversham. It highlights the way in which this important play from the early 1590s stands at several different critical intersections. Focused research chapters propose new directions for exploring the play in the light of ecocriticism, genre studies, critical race studies and narratives of dispossession. It also looks forward to Arden of Faversham''s role and status in a less author-centred critical climate. Chapters explore how this anonymous and canonically marginal play has been approached in the past by scholars and theatre-makers and the frameworks that have offered productive insight into its unique features. The volume includes chapters covering a wide range of critical discourses and resources available for its study, as well as offering practical approaches to the play in the classroom.