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On Sunday 1 or Sunday 8 April 1649 – it is difficult, as the editors note, to establish the date with certainty (vol. 1, p. 28) – five people went to St. George’s Hill in the parish of Walton-on-Thames, Surrey and began digging the earth. They sowed the unfertile ground with parsnips, carrots and beans, returning the next day in increased numbers.
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This collection has its origins in a conference on ‘The Consumption of Books During the Tudor Era: Printers, Publishers and Readers’, held at the Huntington Library in 2006. Its contents, however, only partially reflect that event, since a significant proportion of the essays (four out of the ten) have been written or co-written by scholars who did not attend the conference.
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‘There is no salvation without preaching’ declared Thomas Cartwright, at the height of the Admonition controversy (p. 32). Nehemiah Wallington agreed – and he couldn’t get enough of it. One week he managed to squeeze in 19 sermons, a remarkable achievement, though his average of 30 a month may not have been so unusual.
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Chocolate, writes Emma Robertson in the introduction to her monograph, ‘has been invested with specific cultural meanings which are in part connected to … conditions of production’ (p. 3). At the heart of this study is a challenge to existing histories:
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Over the past 35 years, the Toronto-based Records of Early English Drama (REED) project has revolutionized the study of drama and other performing arts in the British Isles before 1642.
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The scholarship on the intellectual, religious and political history of early modern England presents a large use of terms such as ‘orthodox’, ‘deist’, ‘atheist’, ‘radical’, and their respective ‘isms’.
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When a late-medieval or Tudor historian is asked to compare and contrast a historical novel with a scholarly book that both take as their subject Thomas Cromwell, and the latter work has been written by the late G R Elton, the inevitable disclaimer becomes compulsory unless that historian has spent several decades inhabiting a historiographically-isolated cave during the rise and fall of t
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Sir Walter Scott, masquerading both as ‘The Author’, as well as his pompous alter-ego, the historian ‘Dr Jonas Dryasdust’, inserted the following dialogue into the beginning of his historical novel of the Restoration period, Peveril of the Peak (1823):
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This volume collects and revises a series of articles by Patrick Collinson, which were first published between 1994 and 2009. It therefore systematically assembles a number of previously independent arguments, in order to provide a coherent vision of the way 16th-century Englishmen – and most of Collinson’s subjects are men – imagined their nation.
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Over the last twenty years Richard Bentley’s star has, if not exactly risen, then at least been mapped.