This examination of the relation between law and drama in Renaissance England establishes the diversity of their dialogue, encompassing critique and complicity, comment and analogy, but argues that the way in which drama addresses legal problems and dilemmas is nevertheless distinctive. As the resemblance between law and theatre concerns their formal structures rather than their methods and aims, an interdisciplinary approach must be alive to distinctions as well as affinities. Alert to issues of representation without losing sight of a lived culture of litigation, this study primarily focuses on early modern implications of the connection between legal and dramatic evidence, but expands to address a wider range of issues which stretch the representational capacities of both courtroom and theatre. The book does not shy away from drama's composite vision of legal realities but engages with the fictionality itself as significant, and negotiates the methodological challenges it posits.
Why does the position of the threshold exert such a compelling hold on our imaginative lives? Why is it a resonant space? Why is it so urgently the place of writing – the place where one may remain, a
Through a combination of case studies and theoretical investigations, the essays in this book address the imaginative power of the threshold as a productive space in literature and art.
Tragicomedy is one of the most important dramatic genres in Renaissance literature, and the essays collected here offer stimulating new perspectives and insights, as well as providing broad introducti
The primary aim of Knowing Faith is to uncover the intervention of literary texts and approaches in a wider conversation about religious knowledge: why we need it, how to get there, where to stop, and
Locating literature at the intersection of distinct areas of thinking on the nature, scope and methods of knowledge - philosophy, theology, science, and the law - this book engages with literary texts
