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David Lindley re-examines the murder trials of Frances Howard and the historical representations of her as `wife, a witch, a murderess and a whore', challenging the assumptions that have constructed her as a model of female villainy.
David Lindley re-examines the murder trials of Frances Howard and the historical representations of her as `wife, a witch, a murderess and a whore', challenging the assumptions that have constructed her as a model of female villainy.
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Marriage, Performance, and Politics at the Jacobean Court constitutes the first full-length study of Jacobean nuptial performance. Scripted for high-profile weddings by such writers as Jonson, Campion, Chapman, and Beaumont, these entertainments were mounted for some of the most significant political events of King James's English reign and played a key role in the development of a specifically Jacobean form of national identity.
According to family lore, the author was descended from a Lord Sherborne in England. For years, the author tried to find information about the Lords of Sherborne to no avail, the family was apparently extinct. However, using the internet, the author uncovered the Sherborne secret and proved his family's relationship to the Lords of Sherborne. The author surprisingly finds himself descended over 100 times from the Kings of England and from other notables, including the Howard family, Earls of Suffolk & Berkshire. Most surprising genealogical discovery: that he is a 6th cousin, once-removed, of the former Princess Diana of Wales, and 7th cousin to Princes William and Harry Windsor. So take a genealogical walk back in time to the days when the sons of the blood royal were forbidden to marry the daughters of common men, when class distinctions mattered more than true love, when a toddler was wrenched away from a father that might have loved him but for the customs of the day...and discover Lord Sherborne!
Brief family histories of people who lived in Tennessee in the 18th and 19th centuries.
During the late sixteenth century 'fashion' first took on the sense of restless change in contrast to the older sense of fashioning or making. As fashionings, clothes were perceived as material forms of personal and social identity which made the man or woman. In Renaissance Clothing and the Materials of Memory Jones and Stallybrass argue that the making and transmission of fabrics and clothing were central to the making of Renaissance culture. Their examination explores the role of clothes as forms of memory transmitted from master to servant, from friend to friend, from lover to lover. This 2001 book offers a close reading of literary texts, paintings, textiles, theatrical documents, and ephemera to reveal how clothing and textiles were crucial to the making and unmaking of concepts of status, gender, sexuality, and religion in the Renaissance. The book is illustrated with a wide range of images from portraits to embroidery.