‘Nonsence is Rebellion’: John Taylor’s ‘Nonsence upon Sence, or Sence, upon Nonsence’ (1651-1654) and the English Civil War

You may know that we've moved to a rolling release format and have just published the first article for the volume. The piece is by Emily Cock (University of Adelaide) and examines the political content of John Taylor’s Nonsence upon Sence, or Sence Upon Nonsence: Chuse you either, or neither (1651–1654), challenging the customary dismissal... Continue Reading →

Performing the Past: Text and Act in Eighteenth-Century Music

In an article for our inaugural issue, Hannah Lane (Australian National University) examined how emotions of tenderness and pain were performed and expressed on the single-action harp. Introduced to France in the mid-eighteenth century, the single-action harp reached the zenith of its popularity in pre-revolutionary Paris. Now, in this guest post, Hannah recounts her attraction to... Continue Reading →

Screening the Past: Historical Fiction and The White Queen

In our inaugural issue, Laura Saxton (Australian Catholic University) examined the characterisation of the Plantagenet queen, Elizabeth Woodville, in Philippa Gregory’s popular historical fiction novel, The White Queen. In this guest post, Laura considers the trials and tribulations of representing the past on screen in the context of novel's television adaptation. I presented an earlier... Continue Reading →

More and Melancholy: The Problem of Biography

In our inaugural issue, David Thorley (University of Durham) writes about seventeenth-century English philosopher Henry More's approach to melancholy and his personal experience of the disease. In this guest post, David considers the problem of biography in history, and the challenge it presented while researching More. During my doctoral research into seventeenth-century descriptions of personal... Continue Reading →

Laughter in Early Modern Plays

For our inaugural issue, Sarah Hill Antinora (University of California) wrote about the oft-criticized and baffling laughter elicited by Beatrice’s ‘Kill Claudio’ in Shakespeare’s Much Ado about Nothing. In this guest post, Sarah talks about emotional play in early modern drama and the questions that prompted her paper. My favorite early modern plays always have... Continue Reading →

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