Can a political leader be effective without being tyrannical? Most biographies tend to treat the tyrannical aspect of a great leader's career as a contradiction to be minimized. This book examines both the creative and tyrannical aspects as the anticipated consequences of the exercise of power. Biographical profiles of 52 major world leaders throughout history feature pro/con essays reflecting contemporary views of the creative and tyrannical aspects of their record. Coverage is global, from Indira Gandhi to Fidel Castro, and spans history from the Egyptian king Akhenaton to Mikhail Gorbachev. Among the leaders profiled are Otto von Bismarck, Oliver Cromwell, Charles de Gaulle, Elizabeth I, Ho Chi Minh, Lenin, Louis XIV, Mao Zedong, Napoleon I, Kwame Nkrumah, Juan Peron, and Tito. All biographies are written by subject specialists. This work encourages critical thinking and debate about the exercise of power. Coverage is global, from Indira Gandhi to Fidel Castro, and spans history from the Egyptian king Akhenaton to Mikhail Gorbachev. Among the leaders profiled are Otto von Bismarck, Oliver Cromwell, Charles de Gaulle, Elizabeth I, Ho Chi Minh, Lenin, Louis XIV, Mao Zedong, Napoleon I, Kwame Nkrumah, Juan Peron, and Tito. Each biography begins with full name, dates of the leader's lifetime, offices held, and a general introduction placing the leader in historical context. A full biographical essay follows. The editor then presents two essays, in debate format, contrasting the creative and tyrannical roles of the subject from a contemporary viewpoint. Each biography concludes with suggestions for additional reading about the subject. An important resource tool, students will use Great Leaders, Great Tyrants? for debate and critical examination of periods of world history and the exercise of power.

Eunuchs and Castrati examines the enduring fascination among historians, literary critics, musicologists, and other scholars around the figure of the castrate. Specifically, the book asks what influence such fascination had on the development and delineation of modern ideas around sexuality and physical impairment. Ranging from Greco-Roman times to the twenty-first century, Katherine Crawford brings together travel accounts, diplomatic records, and fictional sources, as well as existing scholarship, to demonstrate how early modern interlocutors reacted to and depicted castrates. She reveals how medicine and law operated to maintain the privileges of bodily integrity and created and extended prejudice against those without it. In consequence, castrates were constructed as gender deviant, disabled social subjects and demarcated as inferior. Early modern cultural loci then reinforced these perceptions, encouraging an othering of castrates in public contexts. These extensive, almost obsessive accounts of appearance, social propensities, and gender characteristics of castrated men reveal the historical lineages of sexual stigma and hostility towards gender non-normative and physically impaired persons. For Crawford, they are the roots of sexual and physical prejudices that remain embedded in the western experience today.

A knowledge of the history and evolution of the tales on which Shakespeare drew in the composition of his plays is essential for the understanding of his work. In re-telling a particular story, a Renaissance writer was not simply reshaping the structure of the narrative but participating in a species of debate with earlier writers and the meanings their tales had accrued. The stories upon which Shakespeare's plays are constructed did not descend to him as innocent collections of incidents, but brought with them considerable cultural baggage, substantially lost to the modern spectator but an essential component, for a contemporary audience, of the meaning of the work. Shakespeare's Alternative Tales explores this literary dialogue, focusing on those plays in which the expectations generated by an inherited story are in some way overthrown, setting up a tension for a Renaissance spectator between 'received' and 'alternative' readings of the text. Each chapter opens with a familiar story, supplying a context for the subsequent discussion, and exhibits the way in which the dramatist's reworking of a traditional motif interrogates the assumptions implicit in his source. While offering the twentieth-century reader a fresh perspective from which to view the plays, the approach also supplies an introduction to contemporary readings of the Shakespearean canon. The tales Leah Scragg considers may be seen as 'alternative' in more than one sense: they radically rework conventional situations, while lending themselves to analysis in terms of new critical methodologies. The text will be of interest to both students of Shakespeare and the general reader. In conjunction with the author's companion volume, Shakespeare's Mouldy Tales, it provides an ideal introduction to contemporary developments in source studies.

Elizabeth Cary's Tragedy of Mariam, the first original drama written in English by a woman, has been a touchstone for feminist scholarship in the period for several decades and is now one of the most anthologized works by a Renaissance woman writer. Her History of ... Edward II has provided fertile ground for questions about authorship and historical form. The essays included in this volume highlight the many evolving debates about Cary's works, from their complicated generic characteristics, to the social and political contexts they reflect, to the ways in which Cary's writing enters into dialogue with texts by male writers of her time. In its critical introduction, the volume offers a thorough analysis of where Cary criticism has been and where it might venture in the future.