Fairies, unruly women, and vestigial Catholicism constituted a frequently invoked triad in late sixteenth- and early seventeenth-century drama which has seldom been critically examined and therefore constitutes a significant lacuna in scholarly treatments of early modern theater, including the work of Shakespeare. Fairy tradition has lost out in scholarly critical convention to the more masculine mythologies of Christianity and classical Greece and Rome, in which female deities either serve masculine gods or are themselves masculinized (i.e., Diana as a buckskinned warrior). However, the fairy tradition is every bit as significant in our critical attempts to situate early modern texts in their historical contexts as the references to classical texts and struggles associated with state-mandated religious beliefs are widely agreed to be. fairy, rebellious woman, quasi-Catholic trio repeatedly stages resistance to early modern conceptions of appropriate class and gender conduct and state-mandated religion in A Midsummer Night's Dream, The Merry Wives of Windsor, Cymbeline, All's Well That Ends Well, and Ben Jonson's The Alchemist.

This is a comprehensive reference guide examining the language employed by Shakespeare to represent women in the full range of his poetry and plays. Including over 350 entries, Alison Findlay shows the role of women within Shakespearean drama, their representations on the Shakespearean stage, and their place in Shakespeare's personal and professional lives.

This book sets the notorious European witch trials in the widest and deepest possible perspective and traces the major historiographical developments of witchcraft

A bold and field-defining exploration of the cultural and religious origins of Britain's small gods, fairies and other supernatural beings.

Money, magic and the theatre were powerful forces in early modern England. Money was acquiring an independent, efficacious agency, as the growth of usury allowed financial signs to reproduce without human intervention. Magic was coming to seem Satanic, as the manipulation of magical signs to performative purposes was criminalized in the great 'witch craze.' And the commercial, public theatre was emerging – to great controversy – as the perfect medium to display, analyse and evaluate the newly autonomous power of representation in its financial, magical and aesthetic forms. Money and Magic in Early Modern Drama is especially timely in the current era of financial deregulation and derivatives, which are just as mysterious and occult in their operations as the germinal finance of 16th-century London. Chapters examine the convergence of money and magic in a wide range of early modern drama, from the anonymous Mankind through Christopher Marlowe to Ben Jonson, concentrating on such plays as The Alchemist, The New Inn and The Staple of News. Several focus on Shakespeare, whose analysis of the relations between finance, witchcraft and theatricality is particularly acute in Timon of Athens, The Comedy of Errors, Antony and Cleopatra and The Winter's Tale.

Current scholarship continues to emphasise both the importance and the sheer diversity of religious beliefs within early modern societies. Furthermore, it continues to show that, despite the wishes of secular and religious leaders, confessional uniformity was in many cases impossible to enforce. As the essays in this collection make clear, many people in Reformation Europe were forced to confront the reality of divided religious loyalties, and this raised issues such as the means of accommodating religious minorities who refused to conform and the methods of living in communion with those of different faiths. Drawing together a number of case studies from diverse parts of Europe, Living with Religious Diversity in Early Modern Europe explores the processes involved when groups of differing confessions had to live in close proximity - sometimes grudgingly, but often with a benign pragmatism that stood in opposition to the will of their rulers. By focussing on these themes, the volume bridges the gap between our understanding of the confessional developments as they were conceived as normative visions and religious culture at the level of implementation. The contributions thus measure the religious policies articulated by secular and ecclesiastical elites against the 'lived experience' of people going about their daily business. In doing this, the collection shows how people perceived and experienced the religious upheavals of the confessional age and how they were able to assimilate these changes within the framework of their lives.

A Midsummer Night's Dream is one of Shakespeare's most widely studied comedies. This guide offers students an introduction to its critical and performance history, including notable stage productions, TV, and film versions as well as opera and ballet. It includes a keynote chapter outlining major areas of current research on the play and four new critical essays. Finally, a guide to critical, web-based and production-related resources and an annotated bibliography provide a basis for further individual research.

In early modern England, the practice of ritual or ceremonial magic - the attempted communication with angels and demons - both reinforced and subverted existing concepts of gender. The majority of male magicians acted from a position of control and command commensurate with their social position in a patriarchal society; other men, however, used the notion of magic to subvert gender ideals while still aiming to attain hegemony. Whilst women who claimed to perform magic were usually more submissive in their attempted dealings with the spirit world, some female practitioners employed magic to undermine the patriarchal culture and further their own agenda. Frances Timbers studies the practice of ritual magic in the sixteenth and seventeenth centuries focusing especially on gender and sexual perspectives. Using the examples of well-known individuals who set themselves up as magicians (including John Dee, Simon Forman and William Lilly), as well as unpublished diaries and journals, literature and legal records, this book provides a unique analysis of early modern ceremonial magic from a gender perspective.

Scholars and Poets Talk About Queens is a lively and erudite collection, unusual in an especially appealing way. This collection of essays shows how queens were represented in the Middle Ages and Renaissance through primary accounts, chronicles, and literary representations. The book also contains modern poetry and short plays about these same queens, allowing readers to understand and appreciate them both intellectually and emotionally. Contributors study a wide range of queens including such famous and fascinating women as Queen Elizabeth I, Cleopatra, Hecuba, the Empress Matilda, Mary Stuart, Margaret of Anjou, Catherine of Aragon, and the pirate queen Grace O'Malley. By pairing scholarly essays with contemporary poems about them, the collection demonstrates the continued relevance and immediacy of these powerful and fascinating women.

Is postdramatic theatre political and if so how? How does it relate to Brecht's ideas of political theatre, for example? How can we account for the relationship between aesthetics and politics in new forms of theatre, playwriting, and performance? The chapters in this book discuss crucial aspects of the issues raised by the postdramatic turn in theatre in the late twentieth and early twenty-first century: the status of the audience and modes of spectatorship in postdramatic theatre; the political claims of postdramatic theatre; postdramatic theatre's ongoing relationship with the dramatic tradition; its dialectical qualities, or its eschewing of the dialectic; questions of representation and the real in theatre; the role of bodies, perception, appearance and theatricality in postdramatic theatre; as well as subjectivity and agency in postdramatic theatre, dance and performance. Offering analyses of a wide range of international performance examples, scholars in this volume engage with Hans-Thies Lehmann's theoretical positions both affirmatively and critically, relating them to other approaches by thinkers ranging from early theorists such as Brecht, Adorno and Benjamin, to contemporary thinkers such as Fischer-Lichte, Rancière and others