Titlebook: Gender and Power in Shrew-Taming Narratives, 1500-1700; David Wootton (Anniversary Professor of History),G Book 2010 Palgrave Macmillan, a

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Unknown Shrews: Three Transformations of ,ion between theatrical cultures has been systematically downplayed, a tendency which is perhaps best illustrated by the depreciating term ‘strolling player’ itself. Scholars who have painstakingly reconstructed the players’ routes and the repertoire that was brought from London to various cities and

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,‘Ye sid ha taken my Counsel sir’: Restoration Satire and Theatrical Authority,title of the poem recalls the events surrounding the monarch’s discovery of another satire — Wilmot’s infamous, vulgar ‘On King Charles,’ which led to Rochester’s banishment when, in a state of drunken confusion, he showed it to the king. Despite the fact that . attributes the ‘Satyr’ to Rochester,

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,‘Darkenes was before light’: Hierarchy and Duality in ,, Kate’s final speech of submission. In ., the speech is an essay on order, hierarchy and subjection reminiscent of the 1570 ... In . the speech has nothing to say about the state, the commonwealth, rulers and magistrates, the body politic. It is not political and contemporary, but visionary and the

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