Subha Mukherji – författare

This examination of the relation between law and drama in Renaissance England establishes the diversity of their dialogue, encompassing critique and complicity, comment and analogy, but argues that the way in which drama addresses legal problems and dilemmas is nevertheless distinctive. As the resemblance between law and theatre concerns their formal structures rather than their methods and aims, an interdisciplinary approach must be alive to distinctions as well as affinities. Alert to issues of representation without losing sight of a lived culture of litigation, this study primarily focuses on early modern implications of the connection between legal and dramatic evidence, but expands to address a wider range of issues which stretch the representational capacities of both courtroom and theatre. The book does not shy away from drama's composite vision of legal realities but engages with the fictionality itself as significant, and negotiates the methodological challenges it posits.

This examination of the relation between law and drama in Renaissance England establishes the diversity of their dialogue, encompassing critique and complicity, comment and analogy, but argues that the way in which drama addresses legal problems and dilemmas is nevertheless distinctive. As the resemblance between law and theatre concerns their formal structures rather than their methods and aims, an interdisciplinary approach must be alive to distinctions as well as affinities. Alert to issues of representation without losing sight of a lived culture of litigation, this study primarily focuses on early modern implications of the connection between legal and dramatic evidence, but expands to address a wider range of issues which stretch the representational capacities of both courtroom and theatre. The book does not shy away from drama's composite vision of legal realities but engages with the fictionality itself as significant, and negotiates the methodological challenges it posits.

Why does the position of the threshold exert such a compelling hold on our imaginative lives? Why is it a resonant space? Why is it so urgently the place of writing – the place where one may remain, avoid speaking or naming, yet speak from? Through a combination of case studies and theoretical investigations, this book addresses these questions and speaks to the imaginative power of the threshold as a productive space in literature and art.

Why does the position of the threshold exert such a compelling hold on our imaginative lives? Why is it a resonant space? Why is it so urgently the place of writing – the place where one may remain, avoid speaking or naming, yet speak from? Through a combination of case studies and theoretical investigations, this book addresses these questions and speaks to the imaginative power of the threshold as a productive space in literature and art.

The primary aim of Knowing Faith is to uncover the intervention of literary texts and approaches in a wider conversation about religious knowledge: why we need it, how to get there, where to stop, and how to recognise it once it has been attained.

Placing ‘literature’ at the centre of Renaissance economic knowledge, this book offers a distinct intervention in the history of early modern epistemology.

Placing ‘literature’ at the centre of Renaissance economic knowledge, this book offers a distinct intervention in the history of early modern epistemology.

This book explores interconnections between the modes of knowing that we now associate with the rubrics ‘literature’ and ‘science’ at a formative point in their early development. Rather than simply tracing lines of influence, it focuses on how both literary texts and natural philosophy engage with materiality, language, affect, and form. Some essays are invested in how early modern science adopts and actively experiments with rhetorical and poetic modes and expression, while others emphasize a shared investment in natural philosophical topics—alchemy, chance, or astrology for example—that move among the period’s observational texts and its literature, highlighting the participation of literary texts in the production of experimental knowledge. Organised around the broad themes of creation and transformation, mediation and communication, and interpretation and imaginative speculation, the essays collectively probe the presumed dichotomy between science’s schematizing and taxonomic ambitions, and the fertile and volatile creative energies of literary texts.

This book explores interconnections between the modes of knowing that we now associate with the rubrics ‘literature’ and ‘science’ at a formative point in their early development. Rather than simply tracing lines of influence, it focuses on how both literary texts and natural philosophy engage with materiality, language, affect, and form. Some essays are invested in how early modern science adopts and actively experiments with rhetorical and poetic modes and expression, while others emphasize a shared investment in natural philosophical topics—alchemy, chance, or astrology for example—that move among the period’s observational texts and its literature, highlighting the participation of literary texts in the production of experimental knowledge. Organised around the broad themes of creation and transformation, mediation and communication, and interpretation and imaginative speculation, the essays collectively probe the presumed dichotomy between science’s schematizing and taxonomic ambitions, and the fertile and volatile creative energies of literary texts.

Tuning into the collective understanding of law as lived experience, Knowing Justice is a timely and distinctive intervention in the field of law and literature.

Tuning into the collective understanding of law as lived experience, Knowing Justice is a timely and distinctive intervention in the field of law and literature. It seeks to understand and inhabit the intersection between judicial procedure, legal thinking and imaginative practice, where epistemic processes that elude the formal discourses of law and legal history are generated and brought into view. But the law in early modern England – the focus of this book though not its horizon – was also an imaginative resource and a repository of structures of feeling. These are functions uniquely grasped through literary mediation because literature shares the representational modes and structures of law but not its methods or ends. Bringing together established and younger scholars from literary studies, legal history, theology and law, and employing a variety of approaches, this collection of essays eschews flat description in favour of layered analysis, cognisant of the plurality of concept, practice and representation. In using a literary lens, it treats apparent binaries or distinct registers as interlinked constituents of an ecology, and navigates the gap between abstract jurisprudence and the affective, composite, social event of justice or judgment. Its perception of ‘literature’, likewise, is capacious: including imaginative method, literary strategies used by law and its cognate disciplines, and hermeneutic and critical methods that are traditionally regarded as literary. Its notion of epistemology, meanwhile, encompasses not simply the condition of judicial knowledge but also its process, psychology and ethics: it attempts to know justice at the same time as it attends to what justice knows, fails to know, or resists knowing.