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Unquestionably the chief interest of this volume will centre in the three recently recovered "lost" Tudor Plays: Wealth andHealth, Impatient Poverty, and John the Evangelist. It was, in truth, a unique and notable "find"—one that gladdened the world's scholarship. In June 1906 it was announced that no fewer than seventeen of the rarest pre-Shakespearean interludes, including three "lost" plays and four apparently unknown or unrecorded editions, had been unearthed in an Irish country house. Yet the owner of this quarto volume of old plays, the hammer value of which ultimately proved to be over £2600, thought so little, or knew so little, of its value that it was sent over to the London auctioneers without a cover! It is a matter of surmise, perhaps idle enough, how these old plays got so far afield from the usual centres of early dramatic interest and effort. Still it shows that we need not despair of further "recoveries"; in the most unlikely quarters and when least expected other lost plays of the Tudor period may turn up; and, it must be confessed, if only a tithe of known plays not now traceable are restored, the gain to scholarship will be invaluable. Public interest in this recent recovery was at once aroused; and the contest for possession, when brought to the hammer, was of the keenest. Mr. Bernard Quaritch secured every one. It is, however, a matter of profound satisfaction to know that the rarest and best items of the collection, the "lost" plays and unrecorded editions, were bought for the nation.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Often viewed as theologically conservative, many theatrical works of late medieval and early Tudor England nevertheless exploited the performative nature of drama to flirt with unsanctioned expressions of desire, allowing queer identities and themes to emerge. Early plays faced vexing challenges in depicting sexuality, but modes of queerness, including queer scopophilia, queer dialogue, queer characters, and queer performances, fractured prevailing restraints. Many of these plays were produced within male homosocial environments, and thus homosociality served as a narrative precondition of their storylines. Building from these foundations, On the Queerness of Early English Drama investigates occluded depictions of sexuality in late medieval and early Tudor dramas. Tison Pugh explores a range of topics, including the unstable genders of the York Corpus Christi Plays, the morally instructive humour of excremental allegory in Mankind, the confused relationship of sodomy and chastity in John Bale’s historical interludes, and the camp artifice and queer carnival of Sir David Lyndsay’s Ane Satyre of the Thrie Estaitis. Pugh concludes with Terrence McNally’s Corpus Christi, pondering the afterlife of medieval drama and its continued utility in probing cultural constructions of gender and sexuality
Porter offers this groundbreaking new biography of Mary Tudor, a queen best remembered for burning hundreds of Protestant heretics at the stake, but whose passion, will, and sophistication have for centuries been overlooked. 16-page b&w photo insert.
This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1954.