Suchergebnisse

There is a strong contemporary consensus that in early modem England there was not a widespread and intentionally repressive censorship or regulatory regime; rather, analysis of specific cases shows that interven­tions were often quite exceptional responses to particular crises. To use a military metaphor, this was 'smart' censorship, suppression precisely targeted in order to minimize collateral damage. One of the advantages of the 'suppression' model, Cyndia Clegg argues, is that it avoids the assumption that 'imaginative writer', 'Catholic apologist', and 'religious reformer' all wrote under the same constraints.1 All the same, such a model is not always useful when the 'imaginative writer' does not steer clear of the material of the 'religious reformer'. The Protestant history play of the late Elizabethan and early Jacobean era is, I will argue, an example of 'smart' suppression of religious writings (and, indeed, the larger campaigns against non-conformists of which they were part) inflicting a largely underestimated amount of collateral damage upon the stage. In tum, I will argue that one particular late-Elizabethan satirical project -the stage representation of the puritan - was itself enabled by this collateral damage. 1. Cyndia Susan Clegg, Press Censorship in Elizabethan England (Cambridge: Cambridge University Press, 1997), pp. 222-3.

A rich tradition of quantitative research, cutting across the various social science disciplines, has examined historical legacies in contemporary economic and political development. In recent years, a new stream of research, including work done by this author, has sought to explore similar legacies in modern ethnic conflict. Although much research has accumulated under these different streams, there is little in the way of methodological work that has spoken to the pitfalls of doing this kind of research and how to navigate those pitfalls. In this case study, I discuss two core issues that I have faced in designing my own research on historical legacies in modern ethnic conflict. The first issue is the scarcity of data on variables of interest. The second issue, which is also related to data availability concerns, is the problem of having to work with small samples. I then discuss strategies that I used to get around these pitfalls. These involved making important conceptual adjustments at the data collection stage and drawing upon research in disciplines that routinely deal with small samples to identify relevant estimation strategies. The analysis is based on an original colonial legacies dataset covering 177 ethnic groups in 33 former British colonies that was collated by the author from various archival as well as secondary sources.

This article discusses the use of performative techniques in prose accounts of the past written in early modern England. Building on scholarship that has located the source of early modern emotional engagement with the past in the history play, it shows that prose texts should be seen alongside history plays as forms that provided access to performance of historical characters. Chronicles, political texts, and other prose accounts of the past deployed invented speech, performative description, and interiorised characterisation at moments of heightened emotional and political intensity. Focusing as a case study on accounts of the reign of Edward II—which attracted substantial cross-genre attention, particularly from the second half of the sixteenth century onwards, owing to its paradigmatic status as an exemplum of overmighty favourites and deposition, and which was shaped by writers of all genres into an emotionally compelling de casibus narrative structure—this article shows that the use of performative techniques in these texts facilitated both emotional and political engagement with the past. Attention to these performative elements of historical prose thus prompts us to reassess the complexity, interiority and vividness of chronicles; to reimagine the place of history plays in early modern culture, as one among many forms which provided access to performance of historical characters; and to augment our understanding of the process by which history was made usable; to reconfigure our understanding of the nature of early modern people's relationship to the past, underlining the significance of the emotional dimension of that relationship alongside the utilitarian.

Building on the issue of genealogy of the history play I touched on in my previous article, this contribution examines how the characters in Christopher Marlowe's attempt at a proto-history play and of his preceding historical tragedies lead us both to the historical memory that a London Elizabethan theatregoer might have had, and to his imaginary polities where the plays were set — from the conventional Orient conquered by Tamburlaine, to England and France. The degree of detail and internal coherence of a polity could have had an impact of the traumatic effect of scenic violence. ; Продолжая начатую в предыдущей работе тему генеалогии английской хроники (history play), статья посвящена тому, как действия героев исторических пьес Марло и предшествовавших им трагедий на историческом материале связаны, с одной стороны, с исторической памятью, присущей лондонскому зрителю позднеелизаветинской эпохи, а с другой, с характеристиками воображаемых им политий, где происходит действие пьес — от условного «Востока», завоеванного Тамерланом, до Англии и Франции. Степень проработанности этой политии и связей внутри нее, вероятно, могла определять уровень «травматичности» показанного на сцене.

Introduction: Play -- Childhood and play in colonial America -- Domesticating children, 1800-1850 -- The arrival of toys, 1850-1900 -- The invasion of children's play culture, 1900-1950 -- The golden age, 1900-1950 -- The commercialization of children's play, 1950 to the present -- Children's play goes underground, 1950 to the present -- Conclusion

In this article we explore the history, culture and practice of the phenomenon known as 'puppy play'. Puppy play is a practice in which people take on the persona of a dog (or handler), with participants often wearing specialist gear to further enhance the experience of being a puppy. We argue that puppy play is best understood sociologically as a 'postmodern-subculture' (Greener and Hollands, 2006). Additionally, we use Irwin's (1973) model of scene evolution to explore the socio-history of the community. Whilst this practice appears to have its historical roots within the highly sexual gay Leatherman sub-culture, there is a division within this community between sexual and social play, with some participants eschewing the sexual entirely. We explore possible reasons for this split through an analysis using recent political theory concerning technologies of the self, sexual citizenship and BDSM. Through this analysis we contribute valuable empirical evidence to debates and discussion about the development of sexual sub-cultures and tensions therein concerning claims for rights and the 'politics of respectability' (Cruz, 2016 a, 2016b).

Three empirical case studies with an interest in character toys—Barbie dolls, Star Wars action figures, and Forest Families figurines—provide insight into the practices of prime players of contemporary toy cultures focusing on their activities as fans and historians of particular toy brands. Adult toy fans preserve and produce new play knowledge as they remember, recreate, and replay historical narratives of the objects of their fandom. Play knowledge, a relevant resource in current toy fandoms, helps describe the diverse ways fans act as historians through playful history management, thus contributing to existing research on fans' strategies to preserve play.

This essay examines a variety of popular engagements with history made possible by new technologies, namely the Internet and video games. We term these nondisciplinary appropriations of history parahistorical. Parahistory is an international phenomenon, but it is articulated differently in various national contexts. Russian parahistorical pursuits provide insight into both the phenomenon at large and the peculiarities of the Russian state's and population's attitudes toward history and historical memory. On the basis of a contextualized survey of Russian parahistory, we argue that historians cannot afford to ignore these uses of history beyond the academy which can teach us a great deal about the nature and broader implications of our discipline.

This paper is an exploration of two models, "Anthropologyland" and "Historyland," which exist in the practices and minds of anthropologists and historians. It is about how particular forms of knowledge are created, written and spoken about. It is about what historians and anthropologists do and say they do.