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NEW BROOMS BY ROBERT J. SHORES 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. NEW BROOMS BY ROBERT J. SHORES
Much Ado About Nothing presents a world of glittering surfaces and exquisite social performances. The language of the play sparkles with a fireworks of wit and dazzling bouts of repartee, most memorably in the "merry war" of words between the reluctant lovers, Benedick and Beatrice. A closer look at the language of the play, however, reveals it to be laced with violence and charged with the desire to humiliate others. Wit is deployed as a weapon to ridicule one's opponent; much of the humour circulates incessantly around the theme of cuckoldry, a major source of male anxiety in the period. The most drastic use of language is to slander Hero by accusing her of a lack of chastity - an accusation that spelt social death for a woman in the early modern age. The death that Hero feigns mirrors accurately the devastating effects of the assassination of her character by the smart set of young noblemen in the play. This study guide focuses on examining the array of the uses of language that the play displays, and probes into the ideas about language that it explores. The book looks at key film versions of the play by Kenneth Branagh and Joss Whedon which are often used on courses, whilst also offering practical questions and tips to help students develop their own critical writing skills and deepen their understanding of the play.
In this highly innovative study, Ian Green examines the complete array of Protestant titles published in England from the 1530s to the 1720s. These range from the large specialist volumes at the top to cheap tracts at the bottom, from radical on one wing to conservative on the other, and from instructive and devotional manuals to edifying-cum-entertaining works such as religious verse and cautionary tales. Wherever possible the author adopts a statistical approach to permit a focus on those works which sold most copies over a number of years, and in an annotated Appendix provides a brief description of over seven hundred best selling or steady selling religious titles of the period. A close study of these texts and the forms in which they were offered to the public suggests a rapid diversification of both the types of work published and of the readerships at which they were targeted. It also demonstrates shrewd publishers' frequent attempts to plug gaps in a rapidly expanding market. Where previous studies of print have tended to focus on the polemical and the sensational, this one highlights the didactic, devotional, and consensual elements found in most steady selling works. It is also suggested that in these works there were at least three Protestantisms on offer an orthodox, clerical version, a moralistic, rational version favoured by the educated laity, and a popular version that was barely Protestant at all and that the impact of these probably varied both within and between different readerships. These conclusions shed much light not only on the means by which English Protestantism was disseminated, but also on the doctrinally and culturally diffused nature of English Protestantism by the end of the Stuart period. Both the text and the appendix should prove invaluable to anyone interested in the history of the Reformation or in printing as a medium of education and communication in early modern England.