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.

The invention of literature, writes Florence Dupont, is recent, and its classical ancestry is not firm. Rather than representing solely the remains of a network of readers and writers, the odes, epics, tales, and dramas of Greece and Rome had a much more diversified background and purpose. Some works were intended to be read in groups; other works were not meant to be read at all. Resisting the traditional temptation to project current tastes and beliefs backward upon Greece and Rome. The Invention of Literature presents classical writings in all their differences. The labor of understanding a lyric or an epic as it was understood in its time requires a radical reconsideration of what reading is and what it means.

Poetry, scholarship, and love are entwined in Tom Stoppard's new play about A.E. Housman, which "Variety" has called "vintage Stoppard in its intelligence and wit". "Stoppard is at the top of form. . . . "The Invention of Love" does not just make you think, it also makes you feel".--"Daily Telegraph".

At the heart of 21st century discourses are questions of whose lives may matter more than others. While the debates themselves are not new, the #hashtags they are linked to and the media through which concerns around moralities of living together are expressed allow for debates to reach large numbers of people in accelerated, individualised and accessible ways. The new media have been powerful in (re)igniting debates and (re)activating demands for social change. Yet, the focus of ubiquitous #hashtags on binary positions may render it easy to neglect their nuances and facets. In recognition of grey-zones, contradictions and ambiguities, this ethnography focuses on a suburb of Cape Town, Observatory, and its recently revived Neighbourhood Watch as an urban renewal project and attempt to decrease notions of vulnerability to crime and violence. In Observatory considered to be liberal and bohemian by its inhabitants the framing of topics within the Neighbourhood Watch group often take on an abstract, intellectualised form. Nevertheless, the group with its rather clashing ideals is grounded in and fuelled by recycled crime stories as well as snapshots of suspected criminals that continue to reappear via various social media channels. Individual experiences, stories and inner conflicts of local Neighbourhood Watch members are at the centre of this exploratory engagement with how fear becomes embodied, everyday practice and the ways in which desires for relationality and spatial exclusivity become entangled in a place where every life matters only in principle.