Rachel Willie - Böcker

This edited collection examines the meeting points between travel, mobility, and conflict to uncover the experience of travel – whether real or imagined – in the early modern world. Until relatively recently, both domestic travel and voyages to the wider world remained dangerous undertakings. Physical travel, whether initiated by religious conversion and pilgrimage, diplomacy, trade, war, or the desire to encounter other cultures, inevitably heralded disruption: contact zones witnessed cultural encounters that were not always cordial, despite the knowledge acquisition and financial gain that could be reaped from travel. Vast compendia of travel such as Hakluyt’s Principla Navigations, Voyages and Discoveries, printed from the late sixteenth century, and Prévost's Histoire Générale des Voyages (1746-1759) underscored European exploration as a marker of European progress, and in so doing showed the tensions that can arise as a consequence of interaction with other cultures. In focusing upon language acquisition and translation, travel and religion, travel and politics, and imaginary travel, the essays in this collection tease out the ways in which travel was both obstructed and enriched by conflict.

This edited collection examines the meeting points between travel, mobility, and conflict to uncover the experience of travel – whether real or imagined – in the early modern world. Until relatively recently, both domestic travel and voyages to the wider world remained dangerous undertakings. Physical travel, whether initiated by religious conversion and pilgrimage, diplomacy, trade, war, or the desire to encounter other cultures, inevitably heralded disruption: contact zones witnessed cultural encounters that were not always cordial, despite the knowledge acquisition and financial gain that could be reaped from travel. Vast compendia of travel such as Hakluyt’s Principla Navigations, Voyages and Discoveries, printed from the late sixteenth century, and Prévost's Histoire Générale des Voyages (1746-1759) underscored European exploration as a marker of European progress, and in so doing showed the tensions that can arise as a consequence of interaction with other cultures. In focusing upon language acquisition and translation, travel and religion, travel and politics, and imaginary travel, the essays in this collection tease out the ways in which travel was both obstructed and enriched by conflict.

Staging the revolution offers a reappraisal of the weight and volume of theatrical output during the commonwealth and early Restoration, both in terms of live performances and performances on the paper stage. It argues that the often-cited notion that 1642 marked an end to theatrical production in England until the playhouses were reopened in 1660 is a product of post-Restoration re-writing of the English civil wars and the representations of royalists and parliamentarians that emerged in the 1640s and 1650s. These retellings of recent events in dramatic form mean that drama is central to civil-war discourse. Staging the revolution examines the ways in which drama was used to rewrite the civil war and commonwealth period and demonstrates that, far from marking a clear cultural demarcation from the theatrical output of the early seventeenth century, the Restoration is constantly reflecting back on the previous thirty years.

Staging the revolution offers a reappraisal of the weight and volume of theatrical output during the commonwealth and early Restoration, both in terms of live performances and performances on the paper stage. It argues that the often-cited notion that 1642 marked an end to theatrical production in England until the playhouses were reopened in 1660 is a product of post-Restoration re-writing of the English civil wars and the representations of royalists and parliamentarians that emerged in the 1640s and 1650s. These retellings of recent events in dramatic form mean that drama is central to civil-war discourse. Staging the revolution examines the ways in which drama was used to rewrite the civil war and commonwealth period and demonstrates that, far from marking a clear cultural demarcation from the theatrical output of the early seventeenth century, the Restoration is constantly reflecting back on the previous thirty years.

As an instigator of debate and a defender of tradition, a man of letters and a popular hack, a writer of erotica and a spokesman for bishops, an urbane metropolitan and a celebrant of local custom, the various textual performances of Thomas Nashe have elicited, and continue to provoke, a range of contradictory reactions. Nashe’s often incongruous authorial characteristics suggest that, as a ‘King of Pages’, he not only courted controversy but also deliberately cultivated a variety of public personae, acquiring a reputation more slippery than the herrings he celebrated in print. Collectively, the essays in this book illustrate how Nashe excelled at textual performance but his personae became a contested site as readers actively participated and engaged in the reception of Nashe’s public image and his works.