The Invention of Suspicion argues that the English justice system underwent changes in the sixteenth century that, because of the system's participatory nature, had a widespread effect and a decisive impact on the development of English Renaissance drama. These changes gradually made evidence evaluation a popular skill: justices of peace and juries were increasingly required to weigh up the probabilities of competing narratives of facts. At precisely the same time, English dramatists were absorbing, from Latin legal rhetoric and from Latin comedy, poetic strategies that enabled them to make their plays more persuasively realistic, more 'probable'. The result of this enormously rich conjunction of popular legal culture and ancient forensic rhetoric was a drama in which dramatis personae habitually gather evidence and 'invent' arguments of suspicion and conjecture about one another, thus prompting us, as readers and audience, to reconstruct this 'evidence' as stories of characters' private histories and inner lives. In this drama, people act in uncertainty, inferring one another's motives and testing evidence for their conclusions. As well as offering an overarching account of how changes in juridical epistemology relate to post-Reformation drama, this book examines comic dramatic writing associated with the Inns of Court in the overlooked decades of the 1560s and 70s. It argues that these experiments constituted an influential sub-genre, assimilating the structures of Roman comedy to current civic and political concerns with the administration of justice. This sub-genre's impact may be seen in Shakespeare's early experiments in revenge tragedy, history play and romance comedy, in Titus Andronicus, Henry VI and The Comedy of Errors, as well as Jonson's Every Man in his Humour, Bartholomew Fair and The Alchemist. The book ranges from mid-fifteenth century drama, through sixteenth century interludes to the drama of the 1590s and 1600s. It draws on recent research by legal historians, and on a range of legal-historical sources in print and manuscript.

Tom and his companions are searching for Malvel in the strange land of Seraph. The fate of all Avantia is at stake, and if Tom fails to overcome Minos the Demon Bull, all the world will fall under Malvel's evil thrall!

Following Trent, a new mode of confession makes its appearance, a baroque discourse in which "the heart speaks to the heart." Senior argues that Corneille similarly creates a new kind of hero who distinguishes himself as much by the confessional trial of self-statement as by his military exploits. In the work of Racine, Senior notes, Minos appears again, tormenting the conscience of Phedre.

“Imaginative and intuitive . . . [Josh] Conviser mines and mints a nonstop stream of visual images.”—Chris Carter, creator of The X-Files In the time it takes to read this sentence, Echelon will intercept more than 70,000 phone calls, e-mails, and faxes. Operated by the National Security Agency, Echelon is the most pervasive global eavesdropping network in history. Today, Echelon will capture three billion electronic communications. Imagine what it will do tomorrow. In the near future, war is unknown, conflict has vanished, and life is picture-perfect. Or so it seems. Once merely a surveillance net, Echelon has severed its ties with the United States to become the covert power shaping world affairs. It manipulates the data flow at will, snuffs out dissent, and controls information–and thus the world–with an iron fist. But after years of silent dominance, Echelon stands on the brink of collapse. Honed, armed, and bioengineered to the hilt, Ryan Laing, a veteran Echelon operator, is thrust into a dark conspiracy to overthrow Echelon and draw the world into new violence and chaos. With his handler, Sarah Peters, a neo-punk hacker out of Scotland, Laing embarks on a desperate race through the halls of power and across the globe–from the flooded beachfront of Venice, California, to a murderous jungle in Southeast Asia–to find out who in Echelon is playing God . . . and what greater hell will soon be unleashed.

What is the nature of power in Racinian tragedy? This study looks beyond the conventional pageant of political power in the plays by exploring tensions inherent in the very concept of power, with each chapter elucidating how Racine's power relationships are concentrated in the question of language.

"The posthumous confessions of the half-man, half-bull of Crete, as offered to an audience of recently-deceased, 21st century fellow souls in Hades' domain"--Back cover.