How was statecraft performed five centuries ago? Louise Fradenburg explores the evolution of arts of rule in Scotland under the reigns of James III and James IV, revealing the broad spectacle of a late medieval court on the brink of the Renaissance.

Originally published in 2005. While several recent studies have investigated the political dimensions of sixteenth-century English drama, until now there has not been a monograph that tells the story of how and why royal marital selection was examined. By linking court interludes, neoclassical university tragedies, and popular plays by late Elizabethan dramatists Christopher Marlowe, John Lyly, Thomas Kyd, and William Shakespeare to the inflammatory topic of Tudor marriage, Michael Winkelman demonstrates their cultural centrality. This new work interrogates the symbolic, allusive, and mimetic aspects of marital relationships in such plays. Winkelman argues that they were crucial battlegrounds for a series of consequential debates about the future of the monarchy, especially during the reigns of the oft-married King Henry VIII and his unmarried daughter, the Virgin Queen Elizabeth I. Marriage, as a critically important political metaphor as well as a pressing realpolitik quandary, was the subject of major debate in the drama and government of Tudor England. Royal conduct in the domestic sphere had a tremendous impact on the entire English social order, and in an age before widespread freedom of speech, court drama was often the only venue where the voicing of criticism was tolerated. The fascinating soap-opera story of Tudor marriage thus provides the author with a reference point for an interdisciplinary study of sixteenth-century theatre and politics. Drawing on evidence from playbooks and historical chronicles as well as contemporary work in gender studies, audience-response theory, and anthropology, this book explores how during a time of anxiety-inducing change, playwrights discussed controversies and propounded remedies; theatre played a pivotal role in shaping society.

The lifestyle of a Renaissance prince and his court was a work of art in itself: a dazzling spectacle which propagated the power, dignity and fame of the monarch. The domestic routine of the royal household with its palatial surroundings, restless itinerary and occasional public pageants, provided the framework for cultural activity in its widest possible sense. Fine art, architecture, scholarship, literature, music and piety jostled for attention alongside hunting, feasting, jousting, politics, diplomacy and war. Emerging defiantly from a long and turbulent minority, the adult James V managed to create for Scotland an exuberant and cosmopolitan court, which imitated in miniature those of France, England and the Netherlands, and which carried important political messages. His ambitious programme of royal patronage combined humanist scholarship, neo-classical and imperial imagery, the cult of chivalry and medieval traditions in a blend which sought to galvanise Scottish national identity and enhance the status of the House of Stewart. For many years the reputation of James V has been overshadowed by the tragic glamour of his father, James IV, killed at Flodden, and his daughter, Mary, Queen of Scots. Princelie Majestie reveals that he was an energetic and innovative patron, who in a brief fourteen years created a court culture of remarkable quality and diversity. Princelie Majestie was originally published by Tuckwell Press.

Birth Passages offers a provocative and eloquent challenge to the nostalgia for the maternal, sometimes influenced by classic Freudian theory, which pervades many discourses. Theresa M. Krier suggests an alternative to the common characterizations of "the maternal" as a force inspiring both desire and dread, a force that must be repressed if subjectivity and culture are to be established. Instead, drawing on the work of Melanie Klein, D. W. Winnicott, and Luce Irigaray, Krier seeks to establish a new model of the relationship between mother and infant, one in which birth is seen not as the tragic ending to the prenatal union but rather as the child's claiming both distance from and proximity to this parent. Krier's insightful readings of poetic works from antiquity, the Middle Ages, and the Renaissance show these texts in opposition to their cultures' insistent nostalgia for the maternal. Their authors, she maintains, recognize such longing as a symptom of a glamorous but false and disabling fantasy. In her analysis of the Song of Songs, Lucretius's De rerum natura, Chaucer's Parlement of Foules, Spenser's Amoretti and Faerie Queene, and Shakespeare's Love's Labor's Lost and The Winter's Tale, Krier details how the writings represent the intersubjective nature of birth.

Presenting essays exploring Chaucer's identity as a London poet, and the urban context for his writings, this volume addresses the centrality of the city in Chaucer's work, and the importance of Chaucer to a literature and a language of the city.

The Later Medieval City, 1300-1500, the second part of David Nicholas's ambitious two-volume study of cities and city life in the Middle Ages, fully lives up to its splendid precursor, The Growth of the Medieval City. (Like that volume it is fully self-sufficient, though many readers will want to use the two as a continuum.) This book covers a much shorter period than the first. That traced the rise of the medieval European city system from late Antiquity to the early fourteenth century; this offers a portrait of the fully developed late medieval city in all its richness and complexity. David Nicholas begins with the economic and demographic realignments of the last two medieval centuries. These fostered urban growth, raising living standards and increasing demand for a growing range of urban manufactures. The hunger for imports and a shortage of coin led to sophisticated credit mechanisms that could only function through large cities. But, if these changes brought new opportunities to the wealthy, they also created a growing problem of urban poverty: violence became endemic in the later medieval city. Moreover, although more rebellions were sparked by taxes than by class conflict, class divisions were deepening. Most cities came to be governed by councils chosen from guild-members, and most guilds were dominated by merchants. The landowning elite that had dominated the early medieval cities of the first volume still retained its prestige, but its wealth was outstripped by the richer merchants; while craftsmen, who had little political influence, were further disadvantaged as access to the guilds became more restricted. The later medieval cities developed permanent bureaucracies providing a huge range of public services, and they were paid for by sophisticated systems of taxation and public borrowing. The survival of their fuller, richer records allow us not only to apply a more statistical approach, but also to get much closer, to the splendours and squalors of everyday city-life than was possible in the earlier volume. The book concludes with a set of vibrant chapters on women and children and religious minorities in the city, on education and culture, and on the tenor of ordinary urban existence. Like its predecessor, this book is massively, and vividly, documented. Its approach is interdisciplinary and comparative, and its examples and case studies are drawn from across Europe: from France, England, Germany, the Low Countries, Iberia and Italy, with briefer reviews of the urban experience elsewhere from Baltic to Balkans. The result is the most wide-ranging and up-to-date study of its multifaceted subject. It is a formidable achievement.

The fourteen essays that comprise this volume concentrate on festival iconography, the visual and written languages, including ephemeral and permanent structures, costume, dramatic performance, inscriptions and published festival books that ’voiced’ the social, political and cultural messages incorporated in processional entries in the countries of early modern Europe. The volume also includes a transcript of the newly-discovered Register of Lionardo di Zanobi Bartholini, a Florentine merchant, which sets out in detail the expenses for each worker for the possesso (or Entry) of Pope Leo X to Rome in April 1513.