This book investigates how the sexual element in Shakespeare's works is complicated and compromised by the impact of print. Whether the issue is one of censorship and evasion or sexual redefinition, the fact that Shakespeare wrote in the first century of popular print is crucial. Out of the newly-accessible classical canon he creates a reconstituted idea of the sexual temptress; and out of the Counter-Reformation propaganda he fashions his own complex thinking about the prostitute. Shakespeare's theatrical scripts, meeting-ground fro the spoken and written word, contribute powerfully to those socio-sexual debates which had been re-energized by print.

This book examines the important themes of sexuality, gender, love, and marriage in stage, literary, and film treatments of Shakespeare's plays. The theme of sexuality is often integral to Shakespeare's works and therefore merits a thorough exploration. Sexuality in the Age of Shakespeare begins with descriptions of sexuality in ancient Greece and Rome, medieval England, and early-modern Europe and England, then segues into examinations of the role of sexuality in Shakespeare's plays and poetry, and also in film and stage productions of his plays. The author employs various theoretical approaches to establish detailed interpretations of Shakespeare's plays and provides excerpts from several early-modern marriage manuals to illustrate the typical gender roles of the time. The book concludes with bibliographies that students of Shakespeare will find invaluable for further study.

Paul Hammond explores how sexual relationships between men were represented in English literature during the seventeenth century. Figuring Sex between Men from Shakespeare to Rochester is built around two principal themes: firstly the literary strategies through which writers created imaginedspaces for the expression of homosexual desire; and secondly the ways in which such texts were subsequently edited and adapted to remove these references to sex between men. The author begins with a wide-ranging analysis of the forms in which both homosexual desire and homophobic hatred wereexpressed in the period, focusing on the problems of defining male relationships, the erotic dimension to male friendships, and the uses of classical settings. Subsequent chapters offer four case studies. The first focuses on how Shakespeare adapted his sources to introduce the possibility of sexualrelations between male characters, with special attention to Twelfth Night, The Merchant of Venice, and the Sonnets, and shows how these elements were removed in later adaptations of his plays and poems. Subsequent chapters chart the often satirical representation of homosexual rulers from James Ito William III; the ambiguous sexuality figured in the poetry of Andrew Marvell; and the libertine homoeroticism of the poetry of the Earl of Rochester. Paul Hammond draws on a wide range of poems, plays, letters, and pamphlets, and discusses a substantial amount of previously unknown material fromboth printed and manuscript sources.

How does Shakespeare's treatment of human sexuality relate to the sexual conventions and language of his times? Pre-eminent Shakespearean critic Stanley Wells draws on historical and anecdotal sources to present an illuminating account of sexual behaviour in Shakespeare's time, particularly in Stratford-upon-Avon and London. He demonstrates what we know or can deduce of the sex lives of Shakespeare and members of his family. He also provides a fascinating account of depictions of sexuality in the poetry of the period and suggests that at the time Shakespeare was writing most of his non-dramatic verse a group of poets catered especially for readers with homoerotic tastes. The second part of Shakespeare, Sex, - and Love focuses on the variety of ways in which Shakespeare treats sexuality in his plays and at how he relates sexuality to love. Wells shows that Shakespeare's attitude to sex developed over the course of his writing career, and devotes whole chapters to 'The Fun of Sex' - to how he raises laughter out of the matter of sex in both the language and the plotting of some of his comedies; portrayals of sexual desire; to Romeo and Juliet as the play in which Shakespeare focuses most centrally on issues relating to sex, love, and the relationship between them; to sexual jealousy, traced through four major plays; 'Sexual Experience'; and 'Whores and Saints'. A final chapter, 'Just Good Friends' examines Shakespeare's rendering of same-gender relationships.

Shakespeare Survey is a yearbook of Shakespeare studies and production. Since 1948 Survey has published the best international scholarship in English and many of its essays have become classics of Shakespeare criticism. Each volume is devoted to a theme, or play, or group of plays; each also contains a section of reviews of the previous year's textual and critical studies and of major British performances. The books are illustrated with a variety of Shakespearean images and production photographs. The current editor of Survey is Peter Holland. The first eighteen volumes were edited by Allardyce Nicoll, numbers 19-33 by Kenneth Muir and numbers 34-52 by Stanley Wells. The virtues of accessible scholarship and a keen interest in performance, from Shakespeare's time to our own, have characterised the journal from the start. For the first time, numbers 1-50 are being reissued in paperback, available separately and as a set.

Shakespeare's 'Whores' studies each use of the word 'whore' in Shakespeare's canon, focusing especially on the positive personal and social effects of female sexuality, as represented in several major female characters, from the goddess Venus, to the queen Cleopatra, to the cross-dressing Rosalind, and many others.

To many people the idea that 'the body' has its own history might sound faintly ridiculous. The body and its experiences are usually seen as something that we share with people from the past. Like 'human nature', it represents the unchanging in a changing world. Bodies just are... But the body does have a history. The way that it moves, feels, breathes, and engages with the world has been viewed very differently across times and cultures. For centuries, 'we' were believed to be composed of souls that were part of the body and inseparable from it. Now we exist in our heads, and our bodies have become the vessels for that uncertain and elusive thing we call our 'true selves'. The way we understand the material structure of the body has also changed radically over the centuries. From the bones to the skin, from the senses to the organs of sexual reproduction, every part of the body has an ever-changing history, dependent on time, culture, and place. This Mortal Coil is an exploration of that history. Peeling away our assumptions about the unchanging nature of the human body, Fay Bound Alberti takes it apart in order to put it back anew, telling the cultural history of our key organs and systems from the inside out, from blood to guts, brains to sex organs. The understanding of the 'modern body' she reveals in the process is far removed from the 'eternal' or timeless object of common assumption. In fact, she argues, its roots go back no further than the sixteenth century at the earliest - and it has only truly existed in its current form since the nineteenth century.