This study of archaeoastronomy looks at more than 2,500 communal tombs and sanctuaries from around the Mediterranean. After a brief discussion of Hoskin's aims and the methodology for his fieldwork, individual chapters focus on evidence from particular regions: Malta, Gozo, the Balearics, Iberia, southern France, Corsica and Sardinia, Sicily and Pantelleria, Tunisia, Algeria and Morocco. The author concludes that in most of these regions the monuments faced sunrise, or more generally the sun when it was rising or climbing in the sky. Along the Mediterranean coast of France, however, there is a reverse sunset custom; in North Africa tombs faced downhill and in a Minoan cemetery on Crete all the tombs faced moonrise and look towards a mountain on whose peak was a sanctuary probably sacred to a lunar god. 264p, b/w figs and photos throughout, tables (Ocarina Books 2001) ` adorned with dozens of beautiful photographs, technical diagrams, and an extraordinary Corpus Mensurarum.....a living masterpiece in the field of archaeoastronomy ' - Juan Antonio Belmonte, Instituto de Astroficia de Canarias `

Shakespeare Without Women is a controversial study of female impersonation, and the connections between dramatic and political representation in Shakespeare's plays. In this original and challenging book, Callaghan argues that Shakespeare did not include women, and that his transvestite actors did not represent women, and were not, furthermore, meant to do so. All Shakespeare's actors were, of historical necessity, (white) males which meant that the portrayal of women and racial others posed unique problems for his theatre. What is important, Shakespeare Without Women claims, is not to bemoan the absence of women, Africans, or the Irish, but to determine what such absences meant in their historical context and why they matter today. Callaghan focuses in the implications of absence and exclusion in several of Shakespeare's works: * the exclusion of the female body fromTwelfth Night * the impersonation of the female voice in the original performances of the plays * racial impersonation in Othello * echoes of removal of the Gaelic Irish in The Tempest * the absence of women on stage and in public life as shown in A Midsummer Night's Dream.

Drawing evidence from legal documents, economic treatises, domestic manuals, marriage sermons, household inventories, and wills to explore the realities and dramatic representations of women's domestic roles, Natasha Korda departs from traditional accounts of the commodification of women, which maintain that throughout history women have been "trafficked" as passive objects of exchange between men."--BOOK JACKET.

This collection of original essays brings together some of the most prominent figures in new historicist and cultural materialist approaches to the early modern period, and offers a new focus on the literature and culture of the Renaissance. Traditionally, Renaissance studies have concentrated on the human subject. The essays collected here bring objects - purses, clothes, tapestries, houses, maps, feathers, communion wafers, tools, pages, skulls - back into view. As a result, the much-vaunted early modern subject ceases to look autonomous and sovereign, but is instead caught up in a vast and uneven world of objects which he and she makes, owns, values, imagines, and represents. This book puts things back into relation with people; in the process, it elicits new critical readings, and new cultural configurations.