Books published by Manchester University Press

An important interdisciplinary collaboration that contextualises how Brexit has changed citizens' rights and presents the experiences of Brexit in the UK, EU and beyond. The authors contributing to the project come from different disciplines, including sociology, law, anthropology and political sciences. The book analyses citizenship and migration policies and how Brexit has changed the rights of British, EU and third-country nationals. Further, it locates such policy changes within the longer histories of British and EU migration policies. This highlights how Brexit was not an isolated event, but rather has found place within wider trends of restriction of citizenship rights on both sides of the Channel. Through different ethnographic and cultural studies, the book presents the experiences of British and EU nationals in the UK, Belgium and Spain. It discusses issues of citizenship and naturalisation, belonging, conviviality and hostility, families, risk and political mobilisation, to show the wide-ranging consequences of Brexit. By triangulating different experiences and perspectives, it shows how Brexit involves a loss of formal rights (and attempts to contain them). At the same time, it shows how Brexit involves wider issues of transformation of British and EU societies, and questions of who and how is accepted in such societies. Taken together, the analyses of the book aim to put at the centre the citizens impact by Brexit and to show the long-term consequences of the Brexit process. A wide-ranging analysis that allows to understand the ramifications of Brexit in the future of the UK and the EU.

Relics, dreams, voyages conjures a new cultural map of the early-modern world. Its main theme is centre and periphery, and many exiles are celebrated here: Jacobites and recusant Catholics; wandering Gaelic scholars; mercenary soldiers in Moravia and Slovenia; art dealers in c18 Rome. This book also considers centres of baroque culture outside the mainstream: exiled English Catholic Colleges in Flanders and Spain; a remote symbolic garden in rural Scotland; architectural fantasies from an isolated circle at Birr in the midlands of Ireland. It meditates on cultural transmission from Asia and the Americas to Europe: one test case is the painter Rubens, his circle of Antwerp Jesuits, and what they learned from the New Worlds. Many of the essays consider the secretive cultures of exiled or persecuted British Roman Catholics, including the pseudo-relics constructed in Antwerp for the posthumous cult of Mary Queen of Scots, and the triumphal procession of a vandalised statue at the exiled English College in Valladolid. The visual arts are examined across a wide temporal and geographical span, and many subversive iconographies are decoded: at the French and English courts, in remote Scotland, in Nagasaki, in Valladolid. Drawing on original research in libraries, collections, and archives in five countries, and in as many languages, this book draws many astonishing, unfamiliar and beautiful texts, things and events, into a cartography of the subtle, sometimes secret patterns of baroque culture worldwide. This books offers a new, extraordinary cultural geography of the baroque world, opening doors to many rich and strange cultural artefacts, from "China to Peru."

John Polidori is the least regarded figure in the history of literary vampirism and yet his novella The Vampyre (1819) is perhaps 'the most influential horror story of all time' (Frayling). Polidori's story transformed the shambling, mindless monster of folklore into a sophisticated, seductive aristocrat that stalked London society rather than being confined to the hinterlands of Eastern Europe. Polidori's Lord Ruthven was thus the ancestor of the vampire as we know it. This collection is a first book-length critical study that explores the genesis of Polidori's vampire. It tracks his bloodsucking progeny across the centuries and maps his disquieting legacy from the melodramatic vampire theatricals in the 1820s, through further Gothic fictions and horror films, to twenty-first-century paranormal romance. It includes a critique of the fascinating and little-known The Black Vampyre (1819) - a text inspired by Polidori and the first Black vampire in fiction. Leading and emerging scholars of the vampire and Gothic provide innovative analyses of the variations on monstrosity and deadly allure spawned by Polidori's revenant. The collection advances from the ground-breaking research of Open Graves, Open Minds: Representations of Vampires and the Undead from the Enlightenment to the Present Day and the first special issue of Gothic Studies devoted to vampires. Appended is an annotated edition of the text of The Vampyre and supplementary material.Polidori died a suspected suicide aged 25; he has been sorely neglected. This stimulating collection makes a coherent case for the importance of John Polidori's tale and redeeming 'poor Polidori'.

Based on the findings of a 15-month research project led by the Centre for Cultural Value, this significant new book offers a comprehensive overview of the impacts of Covid-19 on the UK's cultural sector and highlights implications for its future direction.The book provides a summary of the local, regional and national policy responses to the crisis. It offers a rigorous statistical analysis of the impacts of these policy responses and of the pandemic itself on the cultural workforce across the UK and a mixed-methods analysis of audiences' responses to the pandemic. These insights are nuanced and illustrated via detailed case studies of a number of key sub-sectors of the cultural industries (theatre, museums and galleries, screen industries, libraries and festivals) and via an ecosystem analysis of the Greater Manchester city-region. The book identifies and critically reflects on the core, recurrent themes that have emerged from the research and highlights the implications for cultural practitioners, organisations, funders and policymakers as we move into the endemic stage of Covid-19. It advocates for a more equitable and regenerative cultural sector, where freelancers and marginalised cultural workers and audiences are valued and included, and for a more engaged and collaborative approach to cultural sector research to enable to sector to know itself better and adapt to rapid change.

Exhibiting Irishness traces constructions of Irish identity in national and international displays between the 1850s and 1960s. Exhibitions were a global phenomenon in the nineteenth and twentieth centuries. As sources of entertainment and education, they were enmeshed in the politics of nationalism, trade and tourism. The book explores how the politics of display influences the production of Irish identity according to a host of contexts. It considers how the practices of display were shaped by issues of funding, organisers' motives, and the larger purpose of the event itself. This in turn fed back into Irish understandings of themselves politically, economically, socially or culturally. The chapters examine exhibitions in Ireland, the British Empire and the United States. As a valuable contribution to scholarship, each exhibition is placed in the wider political, economic and cultural locale of its time. By thinking transnationally, the book explores how Irishness worked itself out through gender, capitalism and race in a larger network of empire and whiteness from the 1850s to the 1960s. A saleable Irishness emerged in historic exhibits and are now the product of a lucrative global phenomena of Irish culture. Tourism today offers the Irish landscape, the Irish people, and Irish products. Exhibiting Irishness tells the story of how an international Irish identity has always been about selling Irishness - an Irish identity always on sale.

Resisting Olympic evictions examines the mobilisation of space to resist removals in favelas in the run-up to the 2016 Olympic Games. The ethnographic account follows the resistance to evictions in Vila Autódromo focusing particularly on a series of events known as Occupy Vila Autódromo which sought to mobilise the space of the favela as a tool for resistance. In constructing the space as welcoming, friendly and safe, these events challenged the myth of marginality underpinning the attempts to evict the community. Beyond this, the liminal nature of the events crystalised this idea clearly for activists who participated in them, allowing this idea to spread around the world through both social and traditional media in the glare of the Olympic media spotlight. Ultimately, residents constructed an alternative vision of what a favela could be, memorialising this in a museum of evictions to serve as an example in the ongoing struggle for housing rights. In doing so, the book offers a significant contribution to debates around integrating informal communities with formal urban structures in a democratic, participatory way and the conflicts over urban space that this ignites, experienced in cities around the world.

Public Information Films were one of the responses by the British Government to the communication challenges of a mass electorate. This book explores its somewhat tortuous progress in the 1930s and 1940s by examining the Government's own attempts at filmmaking through the film units of the Empire Marketing Board, the General Post Office and, eventually the Ministry of Information's Crown Film Unit. These Units enabled many who regarded themselves as documentarists to develop their skills and techniques over the course of two decades. Whilst acknowledging that Grierson, Jennings and others made significant contributions to the Public Information Film this book takes a slightly different perspective. Its focus is upon the entire film catalogue produced by the Government Film Units from 1930 to 1952 rather than the personalities. From this perspective it is possible to identify significant themes in the films and consider whether they addressed the demands of their sponsors or reflected more widespread national concerns and anxieties. To achieve that the impact of these films is further explored by assessing their reception amongst contemporary audiences. The overall success of the film units was such that they developed a template for Public Information Film production which was used until the 1970s. The book makes a significant contribution to the understanding of Government communication by film and its responses to the issues facing the British public in the 1930s and 1940s.

This is the first English translation of Hariulf's History of St Riquier, which describes the history of an important monastic community in northern France from its foundation in the seventh century until the closing years of the eleventh century. Writing in a period of intense religious and political change, Hariulf presents the history of his house as he would like it remembered, as a source of social and political stability and a centre of monastic excellence. Under the protection of its founder and patron, Richer, whose miracles recur throughout the history, Hariulf portrays his brothers in religion at work and worship. He recounts the support the community received from the emperor Charlemagne in building the great monastic church and his work is important for the description of the treasures, both material and spiritual, accumulated by the monks. In his pages we see the creation of a great monastic estate, the problems of maintaining it and the complexities of its management as experienced by a succession of abbots. The seizure in the tenth century of the relics of the community's patron and their recovery during the many conflicts that took place as the Carolingian empire collapsed reveal the political as well as the religious importance of relics. Hariulf's is a long and sweeping narrative with a cast of many characters; this new translation offers the opportunity to consider the work as an exercise in the writing of history, the creation and representation of the past, and how a community's history might be presented to foster a communal identity in a changed and changing society.

Courteous Exchanges demonstrates the importance of courtesy as a discourse shaping reader and audience experiences in the English Renaissance. It focuses on significant correspondences between the works of Spenser and Shakespeare, but it also considers how Castiglione's Book of the Courtier provided these two authors with a rich mine of concepts and vocabulary and a predecessor in the art of encouraging reader engagement in these terms of analysis.Wareh analyses Love's Labour's Lost, Much Ado About Nothing, The Merchant of Venice, and The Winter's Tale in tandem with The Faerie Queene, examining how such topics as education, gender, religion, race, and aristocratic identity are offered up to reader and audience interpretation. She suggests that Renaissance audiences and readers, through the reflections and responses provoked by this process, were led into a recognition of their overlapping roles as judges of texts and people. The habits of thought they thus developed supported a critical evaluation of the cultural fiction of inherited gentility and the social performance of courtesy that supports it. The works of Spenser and Shakespeare contributed to the social construction of Renaissance aristocratic identity, but they also provided tools for its critique.

A neoliberal revolution? examines the Thatcher government's attempt to privatise and individualise Britain's pension system, thereby transforming workers into risk-taking savers with a stake in capitalism. The book explains why this revolution failed and charts the malign legacy left by the evolutionary reforms which ministers salvaged from it. -- .

What should we do with heritage damaged in conflict? Instead of succumbing to the tempting response of 'reconstruct it, just as it was!', British Iraqi archaeologist, Dr Zena Kamash, invites readers to think first and foremost about what might be most beneficial to the local communities of Syria and Iraq.Charting a path through the colonial histories of, and into the trauma of war in, Syria and Iraq, this book examines the projects and responses currently on offer and explores their flaws and limitations, including issues of digital colonialism, technological solutionism, geopolitical manoeuvring, media bias and community exclusion. By drawing on current research into the psychology and neuroscience of trauma and trauma recovery, as well as inspiration from artists and creative thinkers who challenge the status quo, readers are encouraged to reflect on how we might use heritage to promote healing and wellbeing for Syrian and Iraqi communities. In so doing, this book asks us to envisage gentler, ethically-driven ways to respond to heritage damaged in conflict that recentres people, and their hopes, dreams and needs, into the heart of these debates.

This book systematically explores how the politics of memory impacts peace in societies transitioning from a violent past. The book argues that the quality of peace is affected by the entanglement of memories. It develops an original theoretical framework that connects sites, agency, narratives, and events in memory politics. Memorials, monuments, and museums are sites that demonstrate the materiality of memory, agents drive memory politics, narratives of memory reflect the power of language, and commemorative events illustrate the importance of performativity. This framework is used to analyse mnemonic formations that function as 'diagnostic sites' in the study of peace. The empirical investigations demonstrate the strength with which memories of past violence affect the quality of peace in the present. The power of the past is evident from the comparative analysis of the mnemonic formations of nationalisms dividing the island of Cyprus, the lingering legacies of colonialism in South Africa, contestations regarding the use of human remains in Cambodia, the unsettled memory of the siege of Sarajevo in the Bosnian memoryscape, and on-going controversies around the role of internationals in the Rwandan genocide. The analysis shows that three elements of memory politics - inclusivity, pluralism, and dignity - play a key role in the construction of a just peace. The book generates original and important findings on how memory politics affects the quality of peace and contributes new and timely knowledge about societies that grapple with the painful legacies of the past.

Peace processes around the world are not sustainable unless they take young people-who have the most to lose from continued conflict-seriously. The recent global Youth, Peace, and Security Agenda (YPS) officially recognised the "positive" role that young people can play in peacebuilding processes, which means that the time is ripe to consider exactly how youth are or are not "inclusively represented", do and do not undertake "meaningful participation", and are recognized-or fail to be recognized-in the in the institutions and practices of global peacebuilding. The contributors to this volumeexplore the significance of YPS and use case studies from around the world-from South Sudan to the Asia-Pacific region, from Colombia to the USA-to assess the current state of young people's participation, inclusion and innovation in peacebuilding. They argue that states are often afraid of the potential revolutionary power of their young people, which lead them to systematically marginalise their youth. When formal "youth participation" becomes a way of safely invisibilizing young people in official peace processes, it falls far short of the contributions young people need to make to ensure that peace is sustainable. Youth often find more success working outside of official systems to create and nurture peace on their own terms.The contributors offer guidance for ways to bridge the disconnect that exists between institutional assumptions and expectations for youth as peacebuilders and the actual sustainable peace leadership of youth.

This book offers a new analytical framework for the multi-layered processes of politicising and gendering care for older people, understood as an inherently political and gendered condition of human existence. It brings together contributions that focus on different manifestations and interpretations of these processes in several European settings and at various societal and political levels. It investigates how care for older adults varies across time and place and aims to provide an in-depth comprehension of how it becomes an arena of political struggle and the object of public policy and political intervention. The book comprises multidisciplinary research stemming from gender studies, history, political science, public policy, social anthropology, social work, and sociology. These analyses examine the issue of care for older people as a political concern from many angles, such as problematising care needs, long-term care policies, home care services, institutional services and family care. The book's contributions reveal the diversity of situations in which the processes of politicising and gendering care for older adults overlap, contradict or reinforce each other while leading to increased gender (in)equalities on different levels - familial, professional, and societal. Both caring for older adults or being taken care of when becoming old(er) or frail are potentially a feature of any personal trajectory, which is always contextually situated. Therefore, this book is an invitation to reflect upon care for older people as an issue particularly significant at any time and relevant at any societal level or socio-political sphere.

Sexual politics in revolutionary England explores the sudden appearance of graphic sex-talk in polemical print during the English Revolution. This was a novel development, for prior to 1640, explicit sexual language in England was largely confined to subversive oral and scribal forms. Yet after the collapse of press licensing that accompanied the outbreak of civil war, it rapidly evolved into a vital component of mid-century public culture. By the Stuart Restoration, sexual politics had become a routine element of English political life.This book tells that story for the first time in a sweeping narrative account. Drawing on print and manuscript sources from dozens of archives, it traces the evolution of explicit sex-talk from its pre-war underground roots into a premier mode of public politicking during the 1640s and 1650s. In those years, contemporary ideas about sex and the body invaded crucial mid-century debates over religious toleration, sectarian radicalism, and patriarchal kingship to dramatic effect. In the process, the book shows, sex-talk became a key tool of partisan identity formation and military mobilization, as contemporaries repeatedly portrayed themselves as morally upright patriarchs and their enemies as promiscuous lechers. By 1660, twenty years of increasingly visible sexual politics had laid formative groundwork for the libertine antics of Charles II's courtiers as well as the caustic slanders levelled against the Restoration court by its godly critics. This book therefore offers an important new context for approaching the history of late Stuart sexual culture - and through it, that of Western sexuality more broadly.

This collection brings together a range of methodological approaches to analyse textual and visual representations of premodern royal and elite sexualities to push beyond what has in the past and in some instances continues to be a binarized approach to sexualities whether described as heterosexual or homosexual; licit or illicit; queer or straight and so on. The contributors to this collection present fresh theories and approaches to the consideration of premodern sexualities and aim to lay down durable foundations for further research and study. Being the richest source for the investigation of premodern sexualities and their representations, the primary source base for the collection rests upon chronicles, archival materials, artistic production, and literary texts. Building upon previous work in the field of royal and elite sexualities, it is anticipated that these primary sources will be signposts to further exploration in the fields of royal and monarchical studies while also advancing wider analyses and interdisciplinary conversations around intersectionality and sexualities more broadly imagined.

Understanding and theorising the translocational, multiscalar, intersectional nature of urban gendered violence and resistance to it in Rio de Janeiro and London.

False profits of ethical capital is an important and unique contribution to understanding sustainability politics.Moving beyond observations of the inadequacies of responsible business as a vehicle for social change, this book argues that ESG investing and related corporate responsibility practices facilitate profit through speculation on ethics. Parfitt frames ethical capital as a process through which political challenges to capital accumulation on social and environmental grounds are transformed into opportunities for profit. A speculative moral economy prevails, in which it is assumed that business can do well and do good at the same time, belying the conflicts between different "stakeholders". The practices of stakeholder capitalism aim to neutralise the ethical dilemmas presented by overlapping social, ecological and economic crises, and in the process, alienate ethics from the human being and transform them, via financial calculus, into metrics that inform value relations. These processes manifest in ESG investing, sustainability reporting and corporate branding exercises.False profits exposes the contradictions that are concealed by sustainability politics, and suggests an alternative frame for thinking through the strategic challenges of contesting ethical capital.

After the end studies the enduring legacy of Cold War culture in current debates and concerns around risk, security, borders, environmental justice, inequality, and apocalypse. The chapters trace this legacy from the ideologies of survivalism through global fantasies of bunkering from Switzerland and Alban to Taiwan and India to current imaginings of post-apocalyptic worlds. Pike argues that the real and imagined spaces of sheltering continue to inform in foundational and often unrecognized ways; not only in cultural forms such as literature, film, comics, music, and the built environment, but also policy and political formulations. The book documents the ways the Cold War affected its primary antagonists and how the rest of the world processed the fallout of this antagonism. It surveys the fate of Cold War fortifications and shelters as they are repurposed for twenty-first century needs. After the end shows how counter-visions appropriating those same apocalyptic forms have emerged from the global South and from marginalized populations within the U.S. and elsewhere to challenge the lingering verities of the Cold War years.

Neither use nor ornament is a book about personal productivity, told from the perspective of its obstacles: clutter and procrastination. It offers a challenge to the self-help promise of a clutter-free life and unravels the moral narratives that hold individuals to account for their inefficiencies and muddles.

Rochester and the pursuit of pleasure, the fourth full-length study of Rochester's work since David Vieth's pioneering edition of The Compete Poems (1968), is the first to bring together a reading of John Wilmot's poetry, dramatic works, and letters. The book makes three claims, all perhaps unexpected. Though a biographical interpretation of Rochester's work is fraught with risks, theoretically and in terms of the surviving literary and biographical material, Rochester's work should be read in a biographical context. Rochester drew upon his emotional, intellectual, and religious life. He wrote about what engrossed him, seeking answers to real life questions. Showing the role that biography plays in interpreting Rochester's work illuminates, moreover, a central problem in Rochester criticism, the relationship of poet to his speakers. Reading the works as doing something for the poet and his audience reveals that they cluster about a central theme, the pursuit of pleasure, a complex process in which many of Rochester's mid-seventeenth century contemporaries were engaged. No longer sure under the old dispensation of their duties--familial, political, religious, or artistic--they sought new grounds for their motivations. For Rochester this pursuit of pleasure has its roots in Christianity. Rochester's work, that is, everywhere reflects his Christian and God-fearing upbringing and provides evidence of an excessive preoccupation with, and, at the end of his life, acceptance of Christianity. As the various speakers and the man himself pursue pleasure by courting king, wife, mistresses, and the craft of writing, they in humorous, perverse, even criminal ways court God.

What does 'lifework' mean? In his 1967 essay 'The Death of the Author', Roland Barthes described Marcel Proust's novel À la recherche du temps perdu as a form of 'lifework' that changed how autobiography would be written forever. Barthes's words would prove prophetic, as the following decades saw a return to this much-derided genre, albeit it through a string of artistic transformations that challenged, interrogated, and reimagined the notion of the 'self' . Offering a set of approaches spanning art history, literary theory, feminist, black, trans, and queer studies, this book takes the work of art and the process of artmaking as starting points for examining what a 'lifework' might constitute and what it suggests about the relationship -- both historical and contemporary -- between life and work. Featuring artworks by Moyra Davey and Susan Morris, as well as examples of autotheory by Teresa Carmody and Marquis Bey, the book doubles as a space in which different forms of life-writing take place. With further contributions from Jo Applin, Lucy Bradnock, Alice Butler, Miguel de Baca, Rye Dag Holmboe, Margaret Iversen, Alistair Rider, Abi Shapiro, and Moran Sheleg, Lifework is a valuable resource that brings together a range of established and emerging voices.

The edges of cities are increasingly understood as places of dynamism and change, but there is little research on African urban peripheries and the nature of building, growth, investment and decline that is shaping them. This multi-authored monograph examines African urban peripheries through a dual focus on the logics driving the transformation of these spaces, and the experience of living through these changes. As well as exploring the generic dynamics of peripheral change across the continent, it provides rich qualitative insights into the specificity and distinctiveness of a range of peripheral locations. Using substantial comparative empirical data from city-regions in Ethiopia, South Africa and Ghana, in conversation with research in other African contexts, it provides a cogent analysis of spatial transformations and everyday life on the African city periphery. It argues that urban peripheries are formed through five distinct but interconnected logics that capture the complexities of periphery formation and changes therein. However, it illustrates that to fully understand the nature of change in urban peripheries we need to situate these logics in relation to the varied lived experiences of people living there. Developed within a framework of comparative urbanism, the book considers multiple issues, including economic and infrastructural transitions, political practices, social outcomes and differences, and spatial and material changes. In order to bring the realities of 'living the periphery' to life, the book foregrounds the voices of residents throughout, supported by visual images.

What happens when the elitist space of 'Western' classical music seeks to diversify itself? And what are the social effects worked through diversity discourses in classical music institutions? Sounding difference addresses these timely concerns by critically examining how diversity work takes shape in a cultural sector so deeply implicated in hierarchies of class, structures of whiteness, and legacies of imperialism. Against persistent social exclusions in the sector, and sharpening inequality and upsurging ethnonationalism in Europe, the book draws from ethnographic and interview data to analyse how diversity discourses become constructed in the organisational and creative processes of music production. From rehearsal and performance practices to the impact of the Covid-19 pandemic on the sector's commitment to change, Kolbe reveals the institutional constraints and precarious labour relations that form around diversity work in classical music and skilfully considers what these processes can tell us about the remaking of class, race, and racism today. Overall, Sounding difference makes visible the contingent ways in which diversity discourses in the cultural industries contribute to the endurance of white middle-class social domination, yet also draws out under which conditions they may unlock a more radical cultural politics predicated on creative and social justice.

A pasticcio opera is created from pre-existing music, texts or both. This way of creating operas began soon after 1600 and still continues today, yet twentieth-century musicologists, steeped in neoromantic assumptions, felt that purely original works had to be better than collaborative ones, or composites, and must have been more valued and widespread. They presented pasticcio as a marginal genre within opera which came to an end in the early nineteenth century. This narrative was achieved by allowing only those operas which designated themselves a pasticcio to be categorised as such.The book challenges this perspective, arguing that pasticcio is a method of creating opera not a genre. The word was coined in the 1720s but the practice had existed long before long before and continued long after the word fell out of favour; many operas that are patently pasticci did not describe themselves as such and the practice can be found in many other artforms. Pasticcio is studied over a long timeframe as its evolutions were stimulated by cultural transitions with similarly long timespans: Britain's gradual shift from a proto-literate to a mass-literate society and shifts in conceptualising the self among others. As a practice, pasticcio came under critical pressure in the nineteenth century, not just in opera but in sculpture, the restoration of antiquities and in making commodities such as wine. Yet far from coming to an end in this century, as once argued, pasticcio continued into and beyond the twentieth century

Enthusiastically praised by Charles Lamb and A. C. Swinburne but unjustly neglected since the early twentieth century, Thierry and Theodoret dramatizes events from medieval French history, and it makes them particularly memorable by portraying the scariest villainess in early modern drama -- the unblinkingly evil Brunehaut, whose relentless pursuit of self-determination in the guise of unchecked sexual freedom leads her to plot the assassination of her two sons and a human sacrifice. The play explores the delicate nexus between misogyny, gender paradigms, and power in a patriarchal system, while glancing at recent political events in Paris and London in a way sufficiently aslant not to raise the censor's eyebrows. With its disenchanted depiction of royalty, its eerie instability in terms of genre, and its black comic overtones, Thierry and Theodoret strikes as a distinctive specimen of tragic drama in the Jacobean mould and ranks as one of the most powerful plays in the canon of John Fletcher and his collaborators. This Revels Plays volume is the first fully annotated critical edition of the play, and the first to attribute it to Nathan Field alongside Fletcher and Philip Massinger. It provides a thorough introduction reassessing the play's engagement with its classical and contemporary sources -- including Shakespeare -- and discusses the dating, authorship, and reception of this bizarrely captivating play, pointing the way for future scholarship, especially of a historical or gender-based nature. With its modernized spelling and detailed on-page commentary, this edition makes the play newly accessible to readers, students, and theatre practitioners.