This agenda-setting volume on travel and drama in early modern England provides new insights into Renaissance stage practice, performance history, and theatre's transnational exchanges. It advances our understanding of theatre history, drama's generic conventions, and what constitutes plays about travel at a time when the professional theatre was rapidly developing and England was attempting to announce its presence within a global economy. Recent critical studies have shown that the reach of early modern travel was global in scope, and its cultural consequences more important than narratives that are dominated by the Atlantic world suggest. This collection of essays by world-leading scholars redefines the field by expanding the canon of recognized plays concerned with travel. Re-assessing the parameters of the genre, the chapters offer fresh perspectives on how these plays communicated with their audiences and readers.

In Mixed Company explores taverns as colonial public space and how men and women of diverse backgrounds � Native and newcomer, privileged and labouring, white and non-white � negotiated a place for themselves within them. The stories that emerge unsettle comfortable certainties about who belonged where in colonial society. Colonial taverns were places where labourers enjoyed libations with wealthy Aboriginal traders like Captain Thomas, who also treated a Scotsman to a small bowl of punch; where white soldiers rubbed shoulders with black colonists out to celebrate Emancipation Day; where English ladies and their small children sought refuge for a night. The records of the past tell stories of time spent in mixed company but also of the myriad, unequal ways that colonists found room in taverns and a place in Upper Canadian culture and society. Reconstructed from tavern-keepers' accounts, court records, diaries, travelogues, and letters, In Mixed Company is essential reading for tavern aficionados and anyone interested in the history of gender, race, and culture in Canadian or colonial society.

Robertson Davies (1913–1995), one of Canada’s most distinguished authors of the twentieth century, was known for his work as a novelist, playwright, critic, journalist, and professor. This descriptive bibliography is dedicated to his writing career, covering all publications from his first venture into print at the age of nine to works published posthumously to 2011. Entries include each of Davies’ signed publications and those pseudonymous or anonymous writings he acknowledged having written. Included are his plays, novels, journalism, academic writing, translations, interviews, speeches, lectures, unsigned articles and editorials, films, audio recordings, and multimedia editions. Also listed is a generous sampling of unsigned articles and editorials. Using Davies’ archives and the archives of other authors, organizations, and publishers, Carl Spadoni and Judith Skelton Grant present A Bibliography of Robertson Davies to serve the research demands of Canadian literature and book history scholars.

This bibliography of more than three thousand entries, often extensively annotated, lists books and pamphlets that illuminate evolving British views on the United States during a period of great change on both sides of the Atlantic. Subjects addressed in various decades include slavery and abolitionism, women's rights, the Civil War, organized labor, economic, cultural, and social behavior, political and religious movements, and the "American" character in general.

A circus, a production of Shakespeare, an evening of song and ventriloquism, a performance by a ‘learned pig’ – all of these offered an evening’s entertainment to the citizens of early nineteenth-century Upper Canada. Although the population in 1800 was only 90,000, a wide range of entertainers performed in towns across the province: touring companies, variety and animal acts, and theatrical troupes, professional and amateur, some home-grown and based in the garrisons, others from Montreal, New York, and London. By the end of the century, some 250 touring groups were on the road across Ontario, from Ottawa to Rat Portage (now Kenora). The lively theatre tradition of that century would extend into the next, beyond the appointment in 1913 of Ontario’s first official censor, until the outbreak the following year of the First World War. This collection of essays covers a number of facets of the growth of theatre in Ontario. Ann Saddlemyer’s introduction provides an overview of the period, and historian J.M.S. Careless focuses on the cultural environment. Novelist Robertson Davies writes on the dramatic repertoire of the period. Architect Robert Fairfield explores the structures that housed performances, from the small community halls to the grand opera houses. Theatre scholar and professional actor and director Geralrd Lenton-Young discusses variety performances. Leslie O’Dell, scholar, actor, and playwright, writes on garrison theatre, while Mary M. Brown, a teacher, actress, and director, covers travelling troupes. A chronology and bibliography, both by the theatre scholar Richard Plant, complete the work. A second volume, scheduled for future publication, will look at the development of theatre in Ontario in the twentieth century. (Ontario Historical Studies Series)

‘Hurry’ is an intrinsic component of modernity. It exists not only in tandem with modern constructions of mobility, speed, rhythm, and time–space compression, but also with infrastructures, technologies, practices, and emotions associated with the experience of the ‘mobilizing modern’. ‘Hurry’ is not simply speed. It may result in congestion, slowing-down, or inaction in the face of over-stimulus. Speeding-up is often competitive: faster traffic on better roads made it harder for pedestrians to cross, or for horse-drawn vehicles and cyclists to share the carriageway with motorized vehicles. Focusing on the cultural and material manifestations of ‘hurry’, the book’s contributors analyse the complexities, tensions, and contradictions inherent in the impulse to higher rates of circulation in modernizing cities. The collection includes, but also goes beyond, accounts of new forms of mobility (bicycles, buses, underground trains) and infrastructure (street layouts and surfaces, business exchanges, and hotels) to show how modernity’s ‘architectures of hurry’ have been experienced, represented, and practised since the mid nineteenth century. Ten case studies explore different expressions of ‘hurry’ across cities and urban regions in Asia, Europe, and North and South America, and substantial introductory and concluding chapters situate ‘hurry’ in the wider context of modernity and mobility studies and reflect on the future of ‘hurry’ in an ever-accelerating world. This diverse collection will be relevant to researchers, scholars, and practitioners in the fields of planning, cultural and historical geography, urban history, and urban sociology.

Upending the portrait of the Victorian age as a time of stuffy morals and manners, How Different It Was reveals the chaotic years of early Canada. The lifestyles and daily struggles, the controversies and social values, the institutions and tensions in a tumultuous society of immigrants, aboriginals, farmers, workers, and officials.