Bewnans Ke is a recently discovered Middle Cornish play, which centres around a dispute between St Kea, and Teudar, a local tyrant. In addition a long section relates to King Arthur, Queen Guinevere's adultery with Mordred, and Arthur's battle with him. It is an important contribution to the lexicon and literature of Middle Cornish.

The links between Cornwall, a county frequently considered remote and separate in the Middle Ages, and the wider realm of England are newly discussed. Winner of The Federation of Old Cornwall Societies (FOCS) Holyer an Gof Cup for non-fiction, 2020. Stretching out into the wild Atlantic, fourteenth-century Cornwall was a land at the very ends of the earth. Within itsboundaries many believed that King Arthur was a real-life historical Cornishman and that their natal shire had once been the home of mighty giants. Yet, if the county was both unusual and remarkable, it still held an integral place in the wider realm of England. Drawing on a wide range of published and archival material, this book seeks to show how Cornwall remained strikingly distinctive while still forming part of the kingdom. It argues that myths, saints, government, and lordship all endowed the name and notion of Cornwall with authority in the minds of its inhabitants, forging these people into a commonalty. At the same time, the earldom-duchy and the Crown together helped to link the county into the politics of England at large. With thousands of Cornishmen and women drawn east of the Tamar by the needs of the Crown, warfare, lordship, commerce, the law, the Church, and maritime interests, connectivity with the wider realm emerges as a potent integrative force. Supported by a cast of characters ranging from vicious pirates and gentlemen-criminals through to the Black Prince, the volume sets Cornwall in the latest debates about centralisation, devolution, and collective identity, about the nature of Cornishness and Englishness themselves. S.J. DRAKE is a Research Associate at the Institute of Historical Research. He was born and brought up in Cornwall.

When we speak of theatre, we think we know what a stage direction is: we tend to think of it as an authorial requirement, devised to be complementary to the spoken text and directed at those who put on a play as to what, when, where, how or why a moment, action or its staging should be completed. This is the general understanding to condition a theatrical convention known as the 'stage direction'. As such, we recognise that the stage direction is directed towards actors, directors, designers, and any others who have a part to play in the practical realisation of the play. And perhaps we think that this has always been the case. However, the term 'stage direction' is not a medieval one, nor does an English medieval equivalent term exist to codify the functions contained in extraneous manuscript notes, requirements, directions or records. The medieval English stage direction does not generally function in this way: it mainly exists as an observed record of earlier performance. There are examples of other functions, but even they are not directed at players or those involved in creating performance. More than 2000 stage directions from 40 or so plays and cycles have been included in the catalogue of the volume, and over 400 of those have been selected for analysis throughout the work. The purpose of this research is to examine the theatrical functions of medieval English stage directions as records of earlier performance. Examples of such functions are largely taken from outdoor scriptural plays. This book will be of great interest to students and scholars in theatre, medieval history and literature.

The most important poetry reference for more than four decades—now fully updated for the twenty-first century Through three editions over more than four decades, The Princeton Encyclopedia of Poetry and Poetics has built an unrivaled reputation as the most comprehensive and authoritative reference for students, scholars, and poets on all aspects of its subject: history, movements, genres, prosody, rhetorical devices, critical terms, and more. Now this landmark work has been thoroughly revised and updated for the twenty-first century. Compiled by an entirely new team of editors, the fourth edition—the first new edition in almost twenty years—reflects recent changes in literary and cultural studies, providing up-to-date coverage and giving greater attention to the international aspects of poetry, all while preserving the best of the previous volumes. At well over a million words and more than 1,000 entries, the Encyclopedia has unparalleled breadth and depth. Entries range in length from brief paragraphs to major essays of 15,000 words, offering a more thorough treatment—including expert synthesis and indispensable bibliographies—than conventional handbooks or dictionaries. This is a book that no reader or writer of poetry will want to be without. Thoroughly revised and updated by a new editorial team for twenty-first-century students, scholars, and poets More than 250 new entries cover recent terms, movements, and related topics Broader international coverage includes articles on the poetries of more than 110 nations, regions, and languages Expanded coverage of poetries of the non-Western and developing worlds Updated bibliographies and cross-references New, easier-to-use page design Fully indexed for the first time

Medievalists are increasingly grappling with spatial studies. This timely book argues that geography is a crucial element in Sir Thomas Malory's M orte Darthur and contributors shine a light on questions of politics and genre to help readers better understand Malory's world.

The Oxford Handbook of Children's Musical Cultures is a compendium of perspectives on children and their musical engagements as singers, dancers, players, and avid listeners. Over the course of 35 chapters, contributors from around the world provide an interdisciplinary enquiry into the musical lives of children in a variety of cultures, and their role as both preservers and innovators of music. Drawing on a wide array of fields from ethnomusicology and folklore to education and developmental psychology, the chapters presented in this handbook provide windows into the musical enculturation, education, and training of children, and the ways in which they learn, express, invent, and preserve music. Offering an understanding of the nature, structures, and styles of music preferred and used by children from toddlerhood through childhood and into adolescence, The Oxford Handbook of Children's Musical Cultures is an important step forward in the study of children and music.

Language policy issues are imbued with a powerful symbolism that is often linked to questions of identity, with the suppression or failure to recognise and support a given endangered variety representing a refusal to grant a 'voice' to the corresponding ethno-cultural community. This wide-ranging volume, which explores linguistic scenarios from across five continents, seeks to ignite the debate as to how and whether the interface between people, politics and language can affect the fortunes of endangered varieties. With chapters written by academics working in the field of language endangerment and members of indigenous communities on the frontline of language support and maintenance, Policy and Planning for Endangered Languages is essential reading for researchers and students of language death, sociolinguistics and applied linguistics, as well as community members involved in native language maintenance.