From the art deco factories of the 1920s through to the skyscraper boom of the twenty-first century, Modern London takes you on an illustrated tour of the capital’s ever-changing landscape. Shaped variously by war, economics, population growth and design trends, the city has been moulded by some of the greatest modern architects and to this day remains a centre of building design and experimentation. Through intricate graphic illustrations and accessible entertaining text, London’s streets, structures and transport systems of the last century are brought to life. Discover long lost treasures such as the Firestone Factory and marvel at modern–day masterpieces like the London Aquatics centre; delight in previously vilified social housing projects such as the Balfron Tower, and discover the drama behind bold, eccentric designs like the ‘Cheesegrater’. The city’s skyline can change in an instant; Modern London invites you to sit back and survey the scene so far.

This text offers a radical re-assessment of late 17th century architecture and a pioneering investigation of the beginnings of the modern middle class town houses.

Thomas Dekker (c.1572-1632) was a prolific playwright and pamphleteer chiefly remembered for his vivid and witty portrayals of everyday London life. This book uses Dekker’s prose pamphlets (published between 1613 and 1628) as a way in to a crucial and relatively neglected period of the history of pamphleteering. Under James I, after the aggressive Elizabethan exploitation of the new media, pamphleteers carved out a discursive space in which claims about truth and authority could be deconstructed. Avoiding the dangerous polemic employed by the Marprelate pamphleteers, they utilised playful, deliberately ambiguous language that drew readers’ attention to their own literary devices and games. Dekker shows pamphlets to be unstable and roguish, and the nakedly commercial imperatives of the book trade to be central to the world of Jacobean cheap print, as he introduces us to a world in which overlapping and competing discourses jostled for position in London’s streets, markets and pulpits. Contributing to the history of print and to the history of Jacobean London, this book also provides an appraisal of the often misunderstood prose works of an author who deserves more attention, especially from historians, than he has so far received. Critics are slowly becoming aware that Dekker was not the straightforward, simple hack writer of so many accounts; his works are complex and richly reward study in their own right as well as in the context of his more famous predecessors and contemporaries. As such this book will further contribute to a post-revisionist historiography of political consciousness and print cultures under the early Stuarts, as well as illuminate the career of a neglected writer.

The late seventeenth- and early eighteenth-century texts presented here describe female servants' experiences of work in early modern London. Domestics' court depositions offer qualitative evidence that female servants were an important support of emergent capitalism in the early modern metropolis. Exposed here are the contractual underpinnings of domestic service for women; the mobility that domestic servants enjoyed; and the concern that this mobility generated in the authorities. Paid domestic work has traditionally been regarded by historians simply as a pre-marital phase of women's lives. In fact, the depositions in this volume show that service was a prototypical form of female wage labour. While some women left service once they married, others relied on domestic positions as an avenue to generating income as life-long single women, as married women, and as widows. Even though they usually lived in poverty, labouring women who worked as servants in London had considerably more agency than has earlier been recognized. Female servants who deposed before London ecclesiastical and parish courts three centuries ago were mostly non-literate. Strikingly, their individual voices are clear and distinct as they present information about their working and personal circumstances.

"Between the mid-seventeenth and mid-eighteenth century more than 15,000 Londoners suffered sudden violent deaths. While this figure includes around 3,000 who were murdered or committed suicide, the vast majority of fatalities resulted from unexplained violent deaths or accidents. In the early modern period, accidental and "disorderly" deaths - from drowning, falls, stabbing, shooting, fires, explosions, suffocation, and animals and vehicles, among others - were a regular feature of urban life. This book is a critical study of the early modern accident. Drawing on the weekly London Bills of Mortality, parish burial registers, newspapers and other related documents, it examines accidents and other forms of violent death in the city with a view to understanding who among its residents encountered such events, how the bureaucracy recorded and elaborated their circumstances and why they did so, and what practical responses might follow. Additionally, the book explores the way in which these events were transformed to become a recurring cultural trope in oral, textual and visual narratives of metropolitan life and how sudden deaths were understood by early modern mentalities. By the mid-eighteenth century, providential explanations were giving way to a more "mechanically" rational view that saw accident events as threats to be managed rather than misfortunes to be explained."--

The literature of early modern London, and its contribution to the development of metropolitan culture.

With the publication of Brian Gibbons's Jacobean City Comedy thirty-five years ago, the urban satires by Ben Jonson, John Marston and Thomas Middleton attained their 'official status as a Renaissance subgenre' that was distinct, by its farcical humour and ironic tone, from 'citizen comedy' or 'London drama' more generally. This retrospective genre-building has proved immensely fruitful in the study of early modern English drama; and although city comedies may not yet rival Shakespeare's plays in the amount of editorial work and critical acclaim they receive, both the theatrical contexts and the dramatic complexity of the genre itself, and its interrelations with Shakespearean drama justly command an increasing level of attention. Looking at a broad range of plays written between the 1590s and the 1630s - master-pieces of the genre like Eastward Ho, A Trick to Catch the Old One, The Dutch Courtesan and The Devil is an Ass, blends of romance and satire like The Shoemaker's Holiday and The Knight of the Burning Pestle, and bourgeois oddities in the Shakespearean manner like The London Prodigal - the twelve essays in this volume re-examine city comedy in the light of recently foregrounded historical contexts such as early modern capitalism, urban culture, the Protestant Reformation, and playhouse politics. Further, they explore the interrelations between city comedy and Shakespearean comedy both from the perspective of author rivalry and in terms of modern adaptations: the twenty-first-century concept of 'popular Shakespeare' (above all in the movie sector) seems to realign the comparatively time- and placeless Shakespearean drama with the gritty, noisy and bustling urban scene that has been city comedy's traditional preserve.

London in the sixteenth and seventeenth centuries was a surprisingly diverse place, home not just to people from throughout the British Isles but to a significant population of French and Dutch immigrants, to travelers and refugees from beyond Europe's borderlands and, from the 1650s, to a growing Jewish community. Yet although we know much about the population of the capital of early modern England, we know little about how Londoners conceived of the many peoples of their own city. Diversity and Difference in Early Modern London seeks to rectify this, addressing the question of how the inhabitants of the metropolis ordered the heterogeneity around them. Rather than relying upon literary or theatrical representations, this study emphasizes day-to-day practice, drawing upon petitions, government records, guild minute books and taxation disputes along with plays and printed texts. It shows how the people of London defined belonging and exclusion in the course of their daily actions, through such prosaic activities as the making and selling of goods, the collection of taxes and the daily give and take of guild politics. This book demonstrates that encounters with heterogeneity predate either imperial expansion or post-colonial immigration. In doing so it offers a perspective of interest both to scholars of the early modern English metropolis and to historians of race, migration, imperialism and the wider Atlantic world. An empirical examination of civic economics, taxation and occupational politics that asks broader questions about multiculturalism and Englishness, this study speaks not just to the history of immigration in London itself, but to the wider debate about evolving notions of national identity in the sixteenth and seventeenth centuries.

This book surveys the lives and experiences of hundreds of thousands of eighteenth-century non-elite Londoners in the evolution of the modern world.

Early seventeenth-century London playwrights used actual locations in their comedies while simultaneously exploring London as an imagined, ephemeral, urban space. Producing Early Modern London examines this tension between representing place and producing urban space. In analyzing the theater’s use of city spaces and places, Kelly J. Stage shows how the satirical comedies of the early seventeenth century came to embody the city as the city embodied the plays. Stage focuses on city plays by George Chapman, Thomas Dekker, William Haughton, Ben Jonson, John Marston, Thomas Middleton, and John Webster. While the conventional labels of “city comedy” or “citizen comedy” have often been applied to these plays, she argues that London comedies defy these genre categorizations because the ruptures, expansions, conflicts, and imperfections of the expanding city became a part of their form. Rather than defining the “city comedy,” comedy in this period proved to be the genre of London. As the expansion of London’s social space exceeded the strict confines of the “square mile,” the city burgeoned into a new metropolis. The satiric comedies of this period became, in effect, playgrounds for urban experimentation. Early seventeenth-century playwrights seized the opportunity to explore the myriad ways in which London worked, taking the expected—a romance plot, a typical father-son conflict, a cross-dressing intrigue—and turning it into a multifaceted, complex story of interaction and proximity.