MUP

The Malleus Maleficarum is one of the best-known treatises dealing with the problem of what to do with witches. It was written in 1487 by a Dominican inquisitor, Heinrich Institoris, following his failure to prosecute a number of women for witchcraft, it is in many ways a highly personal document, full of frustration at official complacency in the face of a spiritual threat, as well as being a practical guide for law-officers who have to deal with a cunning, dangerous enemy. Combining theological discussion, illustrative anecdotes, and useful advice for those involved in suppressing witchcraft, its influence on witchcraft studies has been extensive.

The only previous translation into English, that by Montague Summers produced in 1928, is full of inaccuracies. It is written in a style almost unreadable nowadays, and is unfortunately coloured by his personal agenda. This new edited translation, with an introductory essay setting witchcraft, Institoris, and the Malleus into clear, readable English, corrects Summers’ mistakes and offers a lean, unvarnished version of what Institoris actually wrote. It will undoubtedly become the standard translation of this important and controversial late-medieval text.

This book provides a selection from the abundant source material generated by the Normans and the peoples they conquered. As this study demonstrates, few other medieval peoples generated historical writing of such quantity and quality. Van Houts takes a wide European perspective on the Normans, assessing and explaining their origin, the Norman expansion and their political and social organisation in the period between c. 900 to c. 1150.

The Normans in Europe explores such areas as: the process of assimilation between Scandinavians and Franks and the emergence of Normandy; the internal organisation of the prinicpality with a variety of source materials from chronicles, miracle stories and charters; the roles of women and children in Norman society; the main chronicle sources for the history of the Norman invasion and settlement in Britain; the contacts between the Norman dukes and the territorial princes of France, and the progress of the Normans amongst the settlers in Southern Italy and elsewhere in the Mediterranean.

The eleventh-century papal reform transformed western European Church and society and permanently altered the relations of Church and State in the west. The reform was inaugurated by Pope Leo IX (1048-54) and given a controversial change of direction by Pope Gregory VII (1073-85).

This book contains the earliest biographies of both popes, presented here for the first time in English translation with detailed commentaries. The biographers of Leo IX were inspired by his universally acknowledged sanctity, whereas the biographers of Gregory VII wrote to defend his reputation against the hostility generated by his reforming methods and his conflict with King Henry IV. Also included is a translation of Book to a Friend, written by Bishop Bonizo of Sutri soon after the death of Gregory VII, as well as an extract from the violently anti-Gregorian polemic of Bishop Benzo of Alba (1085) and the short biography of Leo IX composed in the papal curia in the 1090s by Bishop Bruno of Segni.

These fascinating narrative sources bear witness to the startling impact of the papal reform and of the 'Investiture Contest', the conflict of empire and papacy that was one of its consequences. An essential collection of translated texts for students of medieval history.

This play depicts a morally corrupt world where the desire for justice is contaminated by the obsession for revenge. The characters take pleasure in watching adultery, incest and murder. The play's chief moral spokesman, Vindice, is at the same time enamoured of and disgusted by, the luxury of the court.

Locating the play in relation to the best recent criticism, and exploring its complexities with a contemporary eye, furthers the reputation of these comprehensive student editions.

Philip Massinger’s tragedy The Roman Actor, was first performed in 1626, as King James I’s reign came to an end and his son Charles I acceded to the throne. Three years later, when the play was published, relations between the king and many in parliament and the country had worsened. The Roman Actor – until recently neglected in the theatre but regarded by many critics, and Massinger himself, as his finest play – explores the balance between private and public moralities, effectively condemns tyranny, and defends plays, anatomising both the theatre of power and the power of theatre.

This new Revels Plays volume provides a modernised text, with a thorough introduction that sets out Massinger’s intervention in the political tensions of his own time and examines his clear-eyed portrayal of the pleasures and perils of performance. It also includes a detailed commentary on the play designed to be of value to students, specialist readers and performers, and an appendix discussing the play’s textual history. The edition focuses on the play’s theatrical life in its own time and ours and, in addition to a detailed stage history, includes an interview with Sir Antony Sher, who played the role of the tyrannical Roman emperor, Domitian, in the Royal Shakespeare Company’s acclaimed production in 2002.

Exploring Irish-Scottish connections in the period 1603–60, this book brings important new perspectives to the study of the early Stuart state. Acknowledging the pivotal role of the Hiberno-Scottish world, it identifies some of the limits of England’s Anglicising influence in the northern and western ‘British Isles’ and the often slight basis on which the Stuart pursuit of a new ‘British’ consciousness operated.

Regarding the Anglo-Scottish relationship, it was chiefly in Ireland that the English and Scots intermingled after 1603, with a variety of consequences, often destabilising. The importance of the Gaelic sphere in Irish-Scottish connections also receives much greater attention here than in previous accounts. This Gaedhealtacht played a central role in the transmission of religious radicalism, both Catholic and Protestant, in Ireland and Scotland, ultimately leading to political crisis and revolution within the British Isles.

Thomas Dekker's The Shoemaker's Holiday is one of the most popular of Elizabethan plays, entertaining, racy and vivid in its characterisation. Revealing a vital portrait of Elizabethan London and the interaction of social classes within the city, its social commentary is on the whole optimistic, though darker tones are discernible. The play has the whole optimistic, though darker tones are discernible. The play has had a lively history of performance on both the professional and amateur stage; the roles of Simon and Madgy Eyre in particular have proved worthy vehicles for the talents of such performers as Sir Donald Wolfit and Dame Edith Evans, and a notable production was directed by Orson Wells.

The editors offer a study of the text; a historical and critical introduction, which includes a study of the play's relationship with contemporary life and drama and of its place in Dekker's work; a stage history' a detailed commentary and a reprint of source materials.

Sir Thomas Stukeley, the notorious English courtier, pirate, adventurer and soldier, died at the Battle of Alcazar in Morocco in 1578, while serving in the army of King Sebastian of Portugal. This volume comprises the first modern-spelling, annotated edition of two plays in which he is a major character: George Peele's 'The Battle of Alcazar' (c.1588), and the anonymous 'Famous History of the Life and Death of Captain Thomas Stukeley' (c.1596).

In his extensive introduction and commentary, Charles Edelman discusses the plays' authorship, their many textual problems, and what they reveal about Elizabethan performance practices. He also challenges most of the traditional assumptions about them. This edition shows that both works, long held to be unperformable, are instead fascinating and worthwhile representatives of the most exciting age in the history of the theatre.

The Tempest, the last play Shakespeare wrote without a collaborator and the first included in the 1623 First Folio, occupies a unique place in cultural history. Probably no play of Shakespeare’s has been so subject to appropriations and adaptations, many of which have had a tremendous impact upon the play’s subsequent performance history.

From John Dryden and William Davenant’s Restoration adaptation to Julie Taymor’s 2010 film version, The Tempest has served as vehicle for each generation’s exploration of a range of questions: what is the relationship between nature and nurture? What are the roles played by art and education in the formation of human values? What are appropriate uses of personal and political power? Can we find a balance between our contradictory longings for revenge and reconciliation? And, perhaps the most difficult question, what makes us human?

Now available in paperback, this study traces this complex dynamic through the play’s 400-year history, drawing from promptbooks, reviews, playbills, actors’ memoirs, as well as interviews with contemporary actors and directors, to examine The Tempest’s role as a cultural mediator from its inception to the present.

Forker's critical edition fills the need for a fully annotated, historically contextualised and modernised text of the most important Elizabethan chronicle play apart from Shakespeare and Marlowe's Edward II.

Now attributed definitely to George Peele, this drama helped to establish a major theatrical genre, raising contemporary political and religious issues through the dramatisation of medieval history in a compelling and popular fashion. A major source for Shakespeare, it throws new light on the bard's adaptation of earlier drama and helps to illustrate his working methods.

With the full introduction and generous notes this Revels Plays edition will be the first port of call for students and enthusiasts of Elizabethan and early modern drama.

In this study of sexual and political intrigue, a fascinating but dangerous woman consents to the murder of her ineffectual husband. Her defence against the charge of adultery transforms the lurid tale of crime into high tragedy.

A compellingly dangerous and fascinating play with a comprehensive set of notes and criticism.

His last known work and the only one to be written primarily in verse, The Woman in the Moon is among Lyly’s most entertaining plays. Turning upon the construction of the female character, it has been read as highly misogynistic, and as a sixteenth-century feminist manifesto. The biblical version of the creation of woman is overturned in the first scene when the play’s supreme deity, Nature, presents her ultimate creation, Pandora (memorably played in 1928 by Katharine Hepburn), to a group of Utopian shepherds, who compete for her love. Their amatory pursuit is complicated by the seven planets, whose attributes have been bestowed by Nature on her new creation, and who decide to take revenge by subjecting Pandora to their influence. The action rapidly develops into a dazzling comedy of intrigue, resulting in both an explanation for the female disposition and the creation of an ‘alternative’ version of the myth of the man in the moon.

Newly edited from the first edition (1597), The Woman in the Moon will be of interest to all students of sixteenth-century drama. It is complemented by generous notes and commentary, as well as a full introduction and stage history.

The Annals of Fulda are the principal narrative source written from a perspective east of the Rhine for the period in which the Carolingian Empire gave way to a number of successor kingdoms, including the one which was to become Germany. Timothy Reuter's translation of the Annals and his accompanying commentary is now back in print, making accessible in English the history of this east Frankish kingdom, which due to the paucity of available written material and the scarcity of secondary writings has been a relatively neglected area.

The text covers the period from the last years of unitary Frankish rule under Louis the Pious up to the end of effective Carolingian rule in east Francia with the accession of Louis the Child in 900. It does not confine itself to high politics, but also includes much material of interest for social and ecclesiastical history. Drawing on the latest scholarship, Dr Reuter places The Annals of Fulda in their full historical context, pointing to those things the authors of the Annals chose not to record or could not know about, as well as exploring the fascinating insights that are offered by the material.

This is a translation of the eleventh-century Latin Annals of Lampert, monk of Hersfeld, with detailed commentary and introduction. No translation has hitherto been published in English, despite the fact that it is one of the best known of all the narrative sources of the Middle Ages, constantly mentioned in the English secondary literature.

Lampert produced the most detailed account of the events of 1056–77 (the minority of Henry IV of Germany and the first decade of his personal rule), a period of crisis and rebellion culminating in the conflict between the king and Pope Gregory VII. He is widely regarded as 'the unrivalled master among medieval historians' and 'a superb story-teller', noted for his vivid characterisation and narrative. An English translation of this work is of the greatest value to teachers and students of medieval history and also of interest to the general reader of European literature.

The Annals of St-Bertin, covering the years 830 to 882, are the main narrative source for the Carolingian world in the ninth century. This richly-annotated translation by a leading British specialist makes these Carolingian histories accessible in English for the first time, encouraging readers to reassess and evaluate a crucially formative period of European history.

Produced in the 830s in the imperial palace of Louis the Pious, The Annals of St-Bertin were continued away from the Court, first by Bishop Prudentius of Troyes, then by the great scholar-politician Archbishop Hinemar of Rheims. The authors' distinctive voices and interests give the work a personal tone rarely found in medieval annals. They also contain uniquely detailed information on Carolingian politics, especially the reign of the West Frankish king, Charles the Bald (840-877). No other source offers so much evidence on the Continental activities of the Vikings.

Janet L. Nelson offers in this volume both an entrée to a crucial Carolingian source and an introduction to the historical setting of teh Annals and possible ways of reading the evidence.

The Annals of St-Bertin will be valuable reading for academics, research students and undergraduates in medieval history, archaeology and medieval languages. It will also fascinate any general reader with an interest in the development of European culture and society.

The cinema of Lucrecia Martel provides a comprehensive analysis of the work of the acclaimed Argentine director, whose elusive and elliptical feature films have garnered worldwide recognition since her 2001 debut La ciénaga.

This volume considers existing critical work on Martel's oeuvre, and proposes new ways of understanding it, in particular through desire, the use of the child's perspective, and through the senses and perception. Martin also offers an analysis of the politics of Martel's films, showing how they can be understood as sites of transformation and possibility, develops queer approaches to Martel's films, and shows how they offer new forms of cinematic pleasure. The cinema of Lucrecia Martel combines traditional plot and gaze analysis with an understanding of film as a material object, to explore the films' sensory experiments and their challenges to dominant cinematic forms.

Álex de la Iglesia, initially championed by Pedro Almodóvar, and at one time the enfant terrible of Spanish film, still makes film critics nervous. The director of some of the most important films of the Post-Franco era – Acción mutante, El día de la bestia, Muertos de risa – receives here the first full length study of his work. Breaking away from the pious tradition of acclaiming art-house auteurs, The cinema of Álex de la Iglesia tackles a new sort of beast: the popular auteur, who brings the provocation of the avant-garde to popular genres such as horror and comedy.

This book brings together Anglo-American film theory, an exploration of the legal and economic history of Spanish audio-visual culture, a comprehensive knowledge of Spanish cultural forms and traditions (esperpento, sainete costumbrista) with a detailed textual analysis of all of Álex de la Iglesia’s seven feature films.

This book is the first in-depth study of the way in which historians have dealt with the coming of the American Revolution and the formation of the US Constitution. The approach is thematic, examining how historians in different periods interpreted these events and their causes and, more contentiously, their meaning.

Making accessible to modern readers the work of often-neglected early historians, this book examines how the emergence of history as a professional discipline led to new and competing versions of the history of the Revolution. It spans the entire period from the first generation of writers, whose ideas about history were shaped by the Enlightenment, to those of the twenty-first century who drew on the rich legacy provided by black studies, gender and women’s studies, cultural studies and ethnohistory.

This book will be an invaluable resource for all students and scholars of the American Revolution.

This book deals with the various types of revolutionary history and the numerous schools of historical thought concerned with the French Revolution. By the time of the Bicentenary celebrations in 1989, the historiographical field had been opened up so much that it was impossible to speak with certainty about any kind of new 'orthodoxy' at all. The fact that the decade and a half following the Bicentenary offered up its own hotchpotch of theorising merely confirmed this.

The survey of writings presents a cross-section of historians of the Revolution from the early nineteenth century right up to the present day. From liberals to conservatives and from Marxists to revisionists, it focuses on those individuals who are generally perceived to be the 'major' or 'pre-eminent' figures within revolutionary historiography.

A ‘history of the histories’, this book will be an ideal starting point for those students seeking to better-understand the French Revolution and its history.

In the mid-ninth century, Francia was rocked by the first royal divorce scandal of the Middle Ages: the attempt by King Lothar II of Lotharingia to rid himself of his queen, Theutberga and remarry. Even 'women in their weaving sheds' were allegedly gossiping about the lurid accusations made. Kings and bishops from neighbouring kingdoms, and several popes, were gradually drawn into a crisis affecting the fate of an entire kingdom.

This is the first professionally published translation of a key source for this extraordinary episode: Archbishop Hincmar of Rheims's De divortio Lotharii regis et Theutbergae reginae. This text offers eye-opening insight both on the political wrangling of the time and on early medieval attitudes towards magic, penance, gender, the ordeal, marriage, sodomy, the role of bishops, and kingship.The translation includes a substantial introduction and annotations, putting the case into its early medieval context and explaining Hincmar's sometimes-dubious methods of argument.

Francisco Gómez de Sandoval, Duke of Lerma (1553-1625) is the last major unknown statesman in modern European history. Patrick Williams brings him dramatically to life and challenges the assumptions that historians have made about him and about Spanish history at a time of profound crisis, inviting a re-evaluation of the phenomenon of government by favourites in this seminal period of European history.

Lerma served Philip III as his favourite and first minister between 1598 and 1618. His power dazzled contemporaries; one petitioner telling Philip that he had come to see him ‘because I could not get an appointment with the Duke of Lerma’. Within a decade of assuming office Lerma had raised his family from humiliating poverty to great riches and was the greatest patron of the arts in Europe. His use of power provoked intense debate about the nature of corruption in government. Yet Lerma remained deeply ambivalent about his position. Determined to follow family tradition and retire into religious life to secure the salvation of his soul, he secured a cardinalate in 1617, ending his life as a prince of the Church.

Now available in paperback, this is the first academic book dedicated to the filmmaking of the three-best known Mexican-born directors, Guillermo del Toro, Alejandro González Iñárritu and Alfonso Cuarón.

Deborah Shaw examines the career trajectories of the directors and presents a detailed analysis of their most significant films with a focus on both the texts and the production contexts in which they were made. These include studies on del Toro’s Cronos/Chronos, El laberinto del fauno/Pan’s Labyrinth, and Hellboy II: The Golden Army; Iñárritu’s Amores Perros, 21 Grams and Babel; and Cuarón’s Sólo con tu pareja/Love in the Time of Hysteria, Y tu mamá también, and Children of Men.

The Three Amigos will be of interest to all those who study Hispanic and Spanish cinema in particular, and world and contemporary cinema in general.

The towns of Italy in the later middle ages presents over one hundred fascinating documents, carefully selected and coordinated from the richest, most innovative and most documented society of the European Middle Ages.

No other English language sourcebook has the same geographical or chronological range. This collection is carefully structured around the crisis of the fourteenth century and arranged in contrasting groups of texts. By connecting documents in translation to recent scholarship and debates, it addresses five key areas of medieval urban history: the physical environment, civic religion, economy, society and politics.

Offers students well-translated and effectively contextualised documents along with some guidance to the secondary work of Italian scholars which is largely inaccessible to undergraduate students.

The heart of this book is its fully annotated, critical editions of the surviving work of Richard Edwards, one of the most influential poets and dramatists writing in England before Shakespeare. Ros King's extensive introduction, identifying the holes in the documentary evidence that might accommodate this important but now little known writer, rewrites the history of pre-Shakespearean drama, illustrates new approaches to sixteenth-century prosody and to the modernisation of dramatic poetry, and re-evaluates the public role of theatre and poetry during a particularly turbulent period in English history.

While it will be essential reading for specialist scholars, it will also be of much wider interest. The introduction is highly accessible which makes it an appropriate text-book for students in a field where few textbooks are available. It will appeal to the current appetite among the reading public for biography, while the play, poems and songs are themselves very appealing.

The Malleus is an important text and is frequently quoted by authors across a wide range of scholarly disciplines. Yet it also presents serious difficulties: it is difficult to understand out of context, and is not generally representative of late medieval learned thinking. This, the first book-length study of the original text in English, provides students and scholars with an introduction to this controversial work and to the conceptual word of its authors.

Like all witch-theorists, Institoris and Sprenger constructed their witch out of a constellation of pre-existing popular beliefs and learned traditions. Therefore, to understand the Malleus, one must also understand the contemporary and subsequent debates over the reality and nature of witches. This book argues that although the Malleus was a highly idiosyncratic text, its arguments were powerfully compelling and therefore remained influential long after alternatives were forgotten. Consequently, although focused on a single text, this study has important implications for fifteenth-century witchcraft theory.

This is a fascinating work on the Malleus Maleficarum and will be essential to students and academics of late medieval and early modern history, religion and witchcraft studies.

An electronic edition of this book is freely available under a Creative Commons (CC BY-NC-ND) licence.

This important collection of essays focuses on the place of Roman Catholicism in early modern England, bringing new perspectives to bear on whether Shakespeare himself was Catholic.

In the Introduction, Richard Wilson reviews the history of the debate over Shakespeare's religion, while Arthur Marotti and Peter Milward offer current perspectives on the subject. Eamon Duffy offers a historian's view of the nature of Elizabethan Catholicism, complemented by Frank Brownlow's study of Elizabeth's most brutal enforcer of religious policy, Richard Topcliffe. Two key Catholic controversialists are addressed by Donna Hamilton (Richard Vestegan) and Jean-Christophe Mayer (Robert Parsons). Robert Miola opens up the neglected field of Jesuit drama in the period, whilst Sonia Fielitz specifically proposes a new, Jesuit source-text for Timon of Athens. Carol Enos (As You Like It), Margaret Jones-Davies (Cymbeline), Gerard Kilroy (Hamlet) and Randall Martin (Henry VI 3) read individual plays in the light of these questions, while Gary Taylor's essay fittingly investigates the possible influence of religious conflicts on the publication of the Shakespeare First Folio.

Theatre and religion: Lancastrian Shakespeare as a whole represents a major intervention in this fiercely contested current debate.

This anonymous manuscript play has long been the subject of scholarly dispute regarding its relationship with Shakespeare’s Richard II. This edition, which thoroughly re-examines the text, situates the play within its historical and political context, relating it to the genre of chronicle drama to which it belongs. The manuscript is of particular interest in that it appears to have been used in the playhouse over a considerable period of time and contains what seems to be evidence of the theatre practice of the time. The play is also of special interest for its skilful and original handling of source material which may well have influenced Shakespeare’s Richard II. The extensive appendices drawn from Holinshed, Grafton and Stow provide the reader with the opportunity to investigate the manner in which the dramatist has shaped the material.

The editors argue for the play’s stage-worthiness and dramatic complexity, suggesting that its range both of dramatic tone and social inclusiveness indicate the work of a dramatist of considerable skill and subtlety, equal or superior to the Shakespeare of the Henry VI plays.

This book provides for the first time modern-spelling, fully annotated editions of three important Elizabethan and Jacobean 'usury plays' – The Three Ladies of London, Englishmen for My Money, and The Hog Hath Lost His Pearl. The edition includes an extensive scholarly introduction to the attitudes toward money-lending in early modern England, and to the authors, texts and historical contexts of these dramas.

The plays included in this edition also represent examples of 'city plays' and 'alien plays', thus making them widely relevant to scholars and teachers in many areas of early modern studies. They are also gaining new appreciation in their own right.

As befits a volume in the RPCL series, the edition is academically advanced to cater for specialised scholars. However, the introduction, editing and annotation remain accessible for undergraduates and theatregoers.

This is a ground-breaking edition of three seventeenth-century plays that all engage in diverse and exciting ways with questions of gender and performance. The collection, edited by three pioneering scholars of elite female culture and early modern drama, makes the texts of three much-discussed plays – John Fletcher's The Wild-Goose Chase, James Shirley's The Bird in a Cage and Margaret Cavendish's The Convent of Pleasure – available together in a full scholarly edition for the first time.

The Wild Goose Chase (1621) and The Bird in a Cage (1633) were both performed in the commercial London theatres in the Jacobean and Caroline periods respectively. The Convent of Pleasure (1668) is a so-called 'closet' drama, designed primarily for reading but drawing on a tradition of aristocratic theatricals. In a wide-ranging co-authored introduction to the volume, the editors explore the concerns of these playtexts in relation to contemporary debates surrounding popular festivity and anti-theatricalism, as well as the agency of elite female culture in the Stuart period and the emergence of the professional female actor in the Restoration.

The volume will be an invaluable teaching and research tool for students and scholars of early modern drama, women's writing and performance studies more generally, as well as providing a rich sourcebook for the reader interested in seventeenth-century theatrical culture.

Early modern dietaries are prose texts recommending the best way to maintain physical and psychological well-being. Three sixteenth-century dietaries contains Thomas Elyot's Castle of Health, Andrew Boorde's Compendious Regiment and William Bullein's Government of Health, all popular and influential works that were typical of a genre advising the reader on how best to maintain physical and psychological health. They are here introduced, contextualized and edited for the first time in a modern spelling edition.

Introductory material explores the dietary genre, its relationship to humanism, humoral theory, and the wide range of authorities with which the dietary authors engaged. The volume includes an examination of the bibliographical and publication history of each work, comprehensive explanatory notes and appendices that provide prefaces to earlier editions, a glossary, and a list of authorities and works cited or alluded to in the dietaries.

In 1857, a group of young people who had participated in an orgy in a private mansion was sentenced for contempt of public decency (outrage public à la pudeur) because a voyeur was able to watch them through a keyhole. For Marcela Iacub, the crux of such cases hinges on where the public ends and the private begins, and what one can reveal, and what one ought to hide.

Today, the term pudeur has disappeared from the French penal code to be replaced by Sex. But, far from being an epic story of hard-won freedom, Iacub demonstrates that the transformation techniques used by the State in the last two centuries have rendered sexuality into a spectacle and have conditioned our spaces, our clothes, our comportment and even some of our mental illnesses. In so doing, Iacub offers us a politico-legal history of the gaze.

Tony Garnett is the first book-length study of one of the most respected and prolific producers working in British television. From ground-breaking dramas from the 1960s such as Up the Junction and Cathy Come Home to the 'must see' series in the 1990s and 2000s such as This Life and The Cops, Garnett has produced some of the most important and influential British television drama.

This book charts Garnett's career from his early days as an actor to his position as executive producer and head of World Productions. Drawing on personal interviews, archival research, contextual analysis and selected case studies, Tony Garnett examines the ways in which Garnett has helped to define the role of the producer in British television drama. Arguing that Garnett was both a key creative and political influence on the work he produced and an enabler of the work of others, the book traces his often combative relationships with broadcasting institutions (especially the BBC). Additionally, the study discusses the films he made for the cinema and considers some of the ways in which Garnett's experiments in film technology – 16 mm in the 1960s, digital video in the 1990s – have shaped his creative output.

Tony Garnett will be of interest to all levels of researchers and students of British television drama, media and film.

This is the first collection of translated sources on towns in medieval England. It draws on the great variety of written evidence for this significant and dynamic period of urban development, and invites students to consider for themselves the challenges and opportunities presented by a wide range of primary written sources.

The introduction and editorial commentary situate the extracts within the larger context of European urban history, against a longer chronological backdrop and in relation to the most up-to-date research. Suggestions for further reading enable the student to engage critically with the materials and encourage new work in the field. Collectively, the texts and commentary provide an overview of English medieval urban history, while the emphasis throughout is on the particular character and potential of each type of written evidence, from legal and administrative records to inventories of shops, and from letters and poetry to legendary civic histories.

Trevor Griffiths has been a critical force in British television writing for over three decades. His successes have included the series Bill Brand (1976), his adaptations of Sons and Lovers and The Cherry Orchard (1981) and his television plays, The Comedians (1979), Hope in the Year Two (1994) and Food for Ravens (1997). During his creative life he has negotiated the issues of genre, politics, identity, class, history, memory and televisual form with a sustained creativity and integrity second to none. And he has parallelled this career with one as equally as eminent in the theatre, as well as the slightly more problematic forays into film-writing for Warren Beatty's Reds and Ken Loach's Fatherland.

John Tulloch's incisive and wide-ranging volume is a perfect entry point not only for students of Griffiths' oeuvre, but also for anyone entering the discourses of television, media and cultural studies.

This is the first full-length study of the screenwriter Troy Kennedy Martin, whose work for film and television includes Z Cars, The Italian Job, Kelly’s Heroes, The Sweeney, Reilly – Ace of Spies and Edge of Darkness. With a career spanning six decades Troy Kennedy Martin has seen the rise and fall of the television dramatist, making his debut in the era of studio-based television drama in the late 1950s prior to the transition to filmed drama (for which he argued in a famous manifesto) as the television play was gradually replaced by popular series and serials, for which Kennedy Martin did some of his best work.

Drawing on original interviews with Kennedy Martin and his collaborators, the book provides a comprehensive analysis of the film and television career of one of Britain’s leading screenwriters. Also included is a chapter examining Kennedy Martin’s significant contribution to innovative and experimental television drama - his 1964 ‘Nats Go Home’ polemic and the six-part serial, Diary of a Young Man, plus his 1986 MacTaggart Lecture which anticipated recent developments in television style and technology.

Written in an easily accessible style, this book will appeal to anyone with an interest in television drama, screenwriting, and the history of British television over the last fifty years.

This edited volume provides new readings of the life and career of iconic actress Vivien Leigh (1913–67). Written by experts in theatre and film studies and curators from the Victoria and Albert Museum, it uses newly accessible family archives to explore the intensely complex relationship between Leigh’s approach to the craft of acting for stage and screen and how she shaped, developed and projected her public persona as one of the most talked about and photographed actresses of her era.

Featuring key contributors from the UK, France and the US, the chapters range from analyses of Leigh's work on stage and screen to her collaborations with designers and photographers, an analysis of her fan base, her interior designs and the ‘public ownership’ of Leigh’s celebrity status during her lifetime and beyond.

This ground-breaking biography of Bishop Francis Hutchinson (1669–1739) provides a detailed and rare portrait of an early eighteenth century Irish bishop and witchcraft theorist. Drawing upon a wealth of printed primary source material, the book aims to increase our understanding of the eighteenth-century established clergy, both in England and Ireland. It illustrates how one of the main sceptical texts of the seventeenth and eighteenth centuries, the Historical essay concerning witchcraft (1718), was constructed and how it fitted into the wider intellectual and literary context of the time, examining Hutchinson’s views on contemporary debates concerning modern prophecy and miracles, demonic and Satanic intervention, the nature of Angels and hell, and astrology.

This book will be of particular interest to academics and students of history of witchcraft, and the religious, political and social history of Britain and Ireland in the late seventeenth and early eighteenth centuries.

Women Beware Women is among the most powerful and adroitly plotted of Jacobean tragedies. Written by Thomas Middleton, a later contemporary of Shakespeare, the play deals with topics of enduring fascination such as sexual and financial greed, the sexual exploitation of women by a manipulative older woman, murderous revenge and the sexual predatoriness of a man in a position of power. The storyline is based on the most public of Medici scandals in late sixteenth-century Florence, with the Grand Duke Francesco seducing and then marrying a beautiful Venetian runaway, after arranging the murder of her Florentine lower-class husband. The tragedy ends with a spectacular masque involving misdirected poison, flaming gold, poisoned arrows, poisoned smoke, physical mishaps and numerous deaths.
This edition is designed for the classroom and for the reader interested in the best in Renaissance drama.

This collection of sources demonstrates the variety of evidence that survives of English women in all walks of life from the time of Edward I to the eve of the Reformation. The sources are introduced by a substantial overview of current thinking about English medieval women below the level of the greater aristocracy. In addition, Goldberg explores many of the methodological problems and strengths of particular sources. Individual chapters explore the life-cycle themes of childhood, adolescence, married life, widowhood and old age. The study then moves on to examine such topics as work in town and country, prostitution, the law, recreation and devotion. In every case the reader is exposed to a range of sources, but particular attention is paid to those sources that reflect actual experience or provide insights into the lives of ordinary women rather than the prescriptive or purely literary texts. A particular feature of this collection is the extensive use of church court depositions that allow the voices of peasant women, servant girls, bourgeois wives, or poor widows to be heard across the centuries.

The sources are presented in a form designed to be accessible to undergraduates, but of interest to teachers and researchers alike.

You’re nicked is the first comprehensive study of television police series in the UK. It reveals how British television’s most popular genre has developed stylistically, politically and philosophically from 1955 to the present.

Each chapter focuses on a particular decade, investigating how the most-watched series represent the inner workings of the police station, the civilian life of criminals and the private lives of police officers. This new approach unearths the complex ideology underpinning each series and discerns the key insights the genre can provide into the breakdown of the post-war settlement.

Offering insightful readings of police series from Dixon of Dock Green to Happy Valley via The Sweeney, The Bill and Cracker, the book is a must-read for crime-drama enthusiasts worldwide. This new paperback edition features an extensive epilogue on Line of Duty and other Jed Mercurio creations.