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".

Suspicious aims at providing teachers and students of history and related social sciences with ideas for critical thinking about past and present applied to documentation, images, and historical writing. Issues of perspective, bias, storytelling, patriotism and heroism, as well as interpretation are distributed among different chapters, along with guidance for making discussion provocative and involving, in light of principles for rethinking history.

'A first class book' Sunday Times We're all conspiracy theorists. Some of us just hide it better than others. Conspiracy theorists do not wear tin-foil hats (for the most part). They are not just a few kooks lurking on the paranoid fringes of society with bizarre ideas about shape-shifting reptilian aliens running society in secret. They walk among us. They are us. Everyone loves a good conspiracy. Yet conspiracy theories are not a recent invention. And they are not always a harmless curiosity. In Suspicious Minds, Rob Brotherton explores the history and consequences of conspiracism, and delves into the research that offers insights into why so many of us are drawn to implausible, unproven and unproveable conspiracy theories. They resonate with some of our brain's built-in quirks and foibles, and tap into some of our deepest desires, fears, and assumptions about the world. The fascinating and often surprising psychology of conspiracy theories tells us a lot – not just why we are drawn to theories about sinister schemes, but about how our minds are wired and, indeed, why we believe anything at all. Conspiracy theories are not some psychological aberration – they're a predictable product of how brains work. This book will tell you why, and what it means. Of course, just because your brain's biased doesn't always mean you're wrong. Sometimes conspiracies are real. Sometimes, paranoia is prudent.

A "lively and engaging" history of the Middle Ages (Dallas Morning News) from the acclaimed historian William Manchester, author of The Last Lion. From tales of chivalrous knights to the barbarity of trial by ordeal, no era has been a greater source of awe, horror, and wonder than the Middle Ages. In handsomely crafted prose, and with the grace and authority of his extraordinary gift for narrative history, William Manchester leads us from a civilization tottering on the brink of collapse to the grandeur of its rebirth: the dense explosion of energy that spawned some of history's greatest poets, philosophers, painters, adventurers, and reformers, as well as some of its most spectacular villains. "Manchester provides easy access to a fascinating age when our modern mentality was just being born." --Chicago Tribune

Shakespeare scholar James Shapiro explains when and why so many people began to question whether Shakespeare wrote his plays.