The Invention of Suspicion argues that the English justice system underwent changes in the sixteenth century that; because of the systems participatory nature; had a widespread effect and a decisive impact on the development of English Renaissance drama. These changes gradually made evidence evaluation a popular skill: justices of peace and juries were increasingly required to weigh up the probabilities of competing narratives of facts. At precisely thesame time; English dramatists were absorbing; from Latin legal rhetoric and from Latin comedy; poetic strategies that enabled them to make their plays more persuasively realistic; more probable. The result of this enormously rich conjunction of popular legal culture and ancient forensic rhetoric was a drama inwhich dramatis personae habitually gather evidence and invent arguments of suspicion and conjecture about one another; thus prompting us; as readers and audience; to reconstruct this evidence as stories of characters private histories and inner lives. In this drama; people act in uncertainty; inferring one anothers motives and testing evidence for their conclusions. As well as offering an overarching account of how changes in juridical epistemology relate to post-Reformation drama; thisbook examines comic dramatic writing associated with the Inns of Court in the overlooked decades of the 1560s and 70s. It argues that these experiments constituted an influential sub-genre; assimilating the structures of Roman comedy to current civic and political concerns with the administration ofjustice. This sub-genres impact may be seen in Shakespeares early experiments in revenge tragedy; history play and romance comedy; in Titus Andronicus; Henry VI and The Comedy of Errors; as well as Jonsons Every Man in his Humour; Bartholomew Fair and The Alchemist. The book ranges from mid-fifteenth century drama; through sixteenth century interludes to the drama of the 1590s and 1600s. It draws on recent research by legal historians;and on a range of legal-historical sources in print and manuscript.
#1577876 in eBooks 2004-08-10 2004-08-10File Name: B006OMK7TM
Review
1 of 1 people found the following review helpful. A nice analysis for Tull fans. but a bit too stodgy for me...By Charles H. LeinHaving just finished reading the "Court and Spark" (Joni Mitchell) installment in this series. by Sean Nelson. I find myself in an interesting position to comment on this one on "Aqualung".This is a nice treatise on the great Tull album. and offered some cool insights which. while subjective. were fascinating to us die-hard Tull fans who are more than happy to absorb and ponder any deep and appreciative discussions of Tulls work. But. in comparison to Sean Nelsons treatment of Jonis "Court and Spark". it left me cold. In mulling the issue over. I think Ive figured out why.Mr. Moore. as the bio tells us. is a Professor of Music at a respectable institution of higher learning. Reading his work. I get the distinct feeling that he has never written or played rock and roll in his life. only analyzed it. Much like rock critics. whom I for the most part despise. because they typically seem more interested in showing off their wit and sarcasm while tearing down that which they themselves cannot accomplish (like petty and jealous schoolchildren). As a result. the book comes across as what it is - a work by an academic rather than a musician. or music lover. The analysis is good. and as I said. illuminating at times. but felt wanting in the "passion" department. At least Mr. Moore didnt make the mistake that others in this series have. which is to spend so much time rambling on about context and axe-grinding that the songs got the left-overs. But. the book felt to me a bit too much like a college course.Contrast this with Mr. Nelson. His bio? A working musician who has a pretty cool and diverse list of credits vis a vis the folks hes worked with. His book. in my opinion. takes the approach that I believe is the promise held out by this series. An intelligent and informed musician and music lover who knows his history. understands the milieu in which his subject was written. and tiers it all together in a way that sheds light on both the album itself. and where and why it sits in the stream of Jonis albums that went before and after. HIS book feels more like a relaxed discussion over a beer. with a close friend who loves the music the way you do. and has given it a lot of thought.To sum up. I agree with what a few others have said here - this series could have benefited from an editorial watchdog who chose the authors better. or at the least monitored the results to ensure that each installment consistently served the subject. and not the authors agenda or tone. In my opinion. Sean Nelson got it right. and I have to attribute that to his credentials as a passionate musician who loved his subject. took the time to do his research. and then brought it all together in a writing style that made the read FUN.As I have always said about my love for early to mid-career Michael Crichton. its always nice to learn something useful about a subject. even while youre being entertained.1 of 2 people found the following review helpful. Uninteresting. so boring it becomes offensive!By Kindle CustomerThis book was written by a "Professor of Music" and boy does he want you to know that. I am such a big fan of the 33 1/3 series and have read probably half what they have. I buy the highest reviewed books first and it took me a bit to get to this one. Occasionally I have wildly diverged from the opinions on .com and found a great book where no one else did. so it was with an open mind I picked this up. But no. I really side with the negative reviews on here. The book is really. really dry and focuses on the least interesting things about Aqualung - a record I have loved since I heard it as a teenager. decades ago (!). There are slight. side references to things which sounded very interesting (recording in a new studio with rented instruments. for instance) but a lot of stuff turns out to be about what channel the electric guitar comes in 35 seconds into Cross Eyed Mary. where the recorders pop up in the LP and who else used recorders back then and boy arent those recorders just neat. The Professor Of Music even takes the Aqualung theme and reproduces it on the treble clef. I guess having read a ton of these books I figured the author would (if they didnt do anything "creative" which can be good or bad!) talk about the changing personnel (Clives last. Evans first. and the introduction of non-musician Hammond on the bass) (Tull fans. dont hate me! I LOVE Jeffrey Hammond!). how the record began the association of Tull with "heavy rock" (and acoustic rock at the same time!) . how it is really a bridge between the discrete song orientated LPs of Tulls past with the sprawling epics of the future.....I mean. this LP is FULL of insights waiting to be found. None of this is touched on whatsoever. But instead. lets talk about what the F# major chord in "Wind Up" "means"! (note to the author: Anderson most likely used the chord because he liked it). I hate this book.0 of 0 people found the following review helpful. A Gem ! - when get past academicsBy BigReaderThis is a gem - but only when author gets past academic details. I use some of his wise takes to analyze Aqualung and several more in 2 chapters of our upcoming book for 2016 I Wanna Know What Love Is taken from the same title hit from Foreigner (the late 1970s-on bandrsquo;s 1984 album Agent Provocateur).Its only problem may be authors overdoing academic musical details.BigReader
