Podcasts about shakespeare's england

In the late 1590s as William Shakespeare was writing Henry V, and the famous battle scene of Agincourt, there was a cultural battle going on between the older and younger generations of men in England concerning the use of the longbow. As Shakespeare staged Henry V in 1605, he did so with the obvious absence of the very longbows that are considered responsible for the English victory at the Battle of Agincourt. Similarly, Christopher Marlowe sidesteps the use of archery in his portrayal of Tamburlaine, when the real Tamberlaine was famous for his skills with a recurve, or Eastern-style bow. These omissions are made even more striking when we consider that scholars and historians like John Smythe and Roger Ascham were writing treatises at this time making a plea to the young men of England to take up the longbow once more in what they saw as the quintessentially English weapon to use. With an absence of teachers in the art of archery, having been replaced by the booming fencing industry coming over from Italy at this time, these pleas to take up the longbow fell on deaf ears for most of England’s young men who saw the sword as the more popular weapon of choice.    Here to help us step into the moment when England was divided in their opinion about archery and young men were turning their sights on the sword while older men went so far as to pass laws to try and save the dying art of using a longbow, we can see through the silences in Shakespeare’s history plays, as well as those of his contemporaries, that the case for archery in early modern England demonstrates what Lyn Tribble describes as “the intergenerational tensions and discords that arise from [trying to bring together the mindset of the] late medieval period into the very different “mental universe” of the late Elizabethan period.” Lyn joins us this week to help us explore this mental universe, as well as the cultural divide between archery and swords that existed for Shakespeare, and what we can learn from the obvious absences of the longbow in his plays.

Do you have a book that means something special to you? 400 years ago, when printed books were a fairly new thing, they meant something to their owners too. But what they meant was, in many ways, much different from what they mean today. In this episode we talk to two authors about how people read, acquired, and collected books in Shakespeare’s time. Stuart Kells is the author of Shakespeare’s Library (Counterpoint, 2019). It speculates on what books the Bard might have owned and tells some intriguing stories about people over the years who’ve claimed either to have found the library or to have owned pieces of it. Jason Scott-Warren’s book is Shakespeare’s First Reader (University of Pennsylvania Press, 2019), which dissects the library of Richard Stonley, an Elizabethan bureaucrat who was the first person we know of to buy a printed book written by Shakespeare—a copy of Venus and Adonis that Stonley picked up on June 12, 1593. Kells and Scott-Warren are interviewed by Barbara Bogaev. Stuart Kells is an Australian writer. He is the author of Penguin and the Lane Brothers, and The Library: A Catalogue of Wonders. Jason Scott-Warren is a College Lecturer and Director of Studies in English at Cambridge University in England. Recently, we had him on Shakespeare Unlimited when he discovered, based on research by Claire M.L. Bourne, that the First Folio at the Free Library of Philadelphia was once owned by John Milton. From the Folger's Shakespeare Unlimited podcast series. Published February 4, 2020. © Folger Shakespeare Library. All rights reserved. This podcast episode, “Give Me Some Ink and Paper,” was produced by Richard Paul. Garland Scott is the associate producer. It was edited by Gail Kern Paster. Ben Lauer is the web producer. We had technical helped from Andrew Feliciano and Evan Marquart at Voice Trax West in Studio City, California, Roger Chatterton at Kite Recording Studio in Cambridge, England, and Simon Knight in the recording studio at La Trobe University’s College of Arts, Social Sciences and Commerce in Melbourne, Australia.

There are several references to Indians in Shakespeare’s plays, which were being written right at the same time famous American Indians like Squanto and Pocahontas were interacting with explorers like Sir Walter Raleigh from the courts of Elizabeth I and later, under King James I. All of these explorations were big news back home in England, with many round trip voyages across the Atlantic to connect Shakespeare with England’s first colony, Virginia. As we celebrate Thanksgiving this week here in the United States and our minds turn to prominent figures of our history, like Captain Miles Standish, John Smith, and Chief Massasoit, we are honored to welcome the foremost expert in the intersection of Shakespeare’s life with the founding of Jamestown and establishment of early America, Dr Alden Vaughan.

William Shakespeare’s presentation of Richard III portrays the king as a villain, with a great focus on his hunchback and other disabilities as a justification and contributing factor to Richard’s malalignment morally. For centuries, historians have wondered if the late King really was as twisted as legend has rendered him to be, or if the tales were merely the product of centuries of conflation, born out of the winter of a collective discontent. Other kinds of disabilities from Pistol’s mispronunciation of Irish Gaeilic in response to a French question being asked in Henry V, to questions of madness and mental stability from characters like King Lear. With the advent of hospitals like Bedlam Hospital to treat mental disorders in England, as well as the very first occupational health scheme established in 1599, Shakespeare’s lifetime was full of questions, and diverse answers, concerning what a disabilities was, and how to address it as a society and as an individual living with disease or impairment.  Here today to help us explore the world of regional accents in a dialogue based theater, the twisted spine and subsequent hunchback of King Richard III, as well as the historical opinions, hospitals, and medical treatments available for those living with a wide range of disabilities in the 16th century is our guest, Dr. Susan Anderson.

When it comes to Food in Shakespeare's England, there were superstitions, recipes, kitchens, and even cooking methods attached to the metaphors Shakespeare intended when he used food references in his works.  All of this effusive history behind food in early modern England is at the heart of the Folger Shakespeare Library’s latest project caled Before Farm to Table. Our guest this week Elisa Tersigni, the Digital Research Fellow for "Before 'Farm to Table': Early Modern Foodways and Cultures", and she joins us today to share what’s going on at The Folger with this new project, and how we can better understand Shakespeare as a result of what they discovered.

Elephants being given as gifts to the monarch, lions being tamed inside theaters, and bears chasing people off stage in A Winter's Tale. Where did these exotic animals come from? Why were they being used on stage? Peta Tait visits with us this week to explore exotic animals in Shakespeare's England.

Several of Shakespeare’s history plays, and even some of his comedies mention or refer to characters as a knight. Sometimes knights are good, other times they are bad, and sometimes we aren’t quite sure what they are as is often the case with characters like Falstaff. However, what’s true is that an armored knight defending the honor of the monarchy were real people in Shakespeare’s lifetime, and the portrayal of them on stage reflects what was going on around the real 16th century audience. Here to help us sort out the legend from the fact surrounding knights in early modern England is our guest, Scott Farrell.

Whether it was beer, ale, tobacco, or other plant based stimulants, almost every man and woman in 16th century London from the brothel to the royal court had an opinion on, and often tried, intoxicants. Substances like tobacco, ale, beer, and even chocolate were being brought to England for the first time by explorers who were travelling to new worlds and returning with samples of new and exciting crops that grabbed hold of England’s collective attention, impact the economy and business innovation of a vibrant trade industry in London. In today’s episode, Phil Withington is here to talk about intoxicants of early modern England, the title subject of an article he wrote in 2011 and published in The Historical Journal. Phil Withington is an author, professor, and Head of History at University of Sheffield. He trained as a historian in Cambridge, and is the former editor of 'The Historical Journal' and Principal Investigator of the joint professional project 'Intoxicants and Early Modernity'. Phil joins us today to explain the everyday role of intoxicants in Shakespeare’s lifetime, as well as what we can tell about the use of alcohol and tobacco in Shakespeare’s plays when we understand what kind of reputation these new intoxicants held in the 16th century.

In Shakespeare’s play, Two Gentlemen of Verona, one character has a pet dog. The dog’s name is Crab. The part in the play is very small, but remains included by Shakespeare, which leads to some interesting questions about animals and their role in Shakespeare’s history. He must have included Crab strategically, but why? Animals in history are connected mostly to farming, agriculture, and perhaps display by royalty to demonstrate their vast exploits into trade and international travel. However, when it comes to the companion animal, the pet dog or cat, I invited Jennifer Jorm, to visit with us today and talk about whether Shakespeare, or his contemporaries, would have had pets, and what the audience’s reaction would have been to seeing a character on stage with a pet dog like Crab.

Barbara Traister is the author of The Notorious Astrological Physician of London, and Heavenly Necromancers: The Magician in English Renaissance Drama, as well as former Professor of English at Lehigh University. She joins us today to look at some of Shakespeare’s examples of medicine depicted in his plays and explore where Shakespeare got it right, and some of the hidden messages we can discover in the text by understanding the realities of astrology and 17th century medicine. In this episode, I’ll be asking Barbara about : What kinds of doctors existed in the 16th and 17th century?  What role did astrology play in time keeping and individuals knowing how often to take their medicine?  Why were people accepting, even respectful and trusting of doctors who mixed herbal medicine, but suspicious of witches by accusing them of mixing potions? What was the relationship between the 4 humors and the more bizarre practices of medicine like bloodletting? 

1606, while a very good year for Shakespeare (he wrote Macbeth, King Lear and Antony and Cleopatra), was a fraught one for England. The plague had returned. There was resistance to the new king's desire to turn England and Scotland into a united Britain. Fear and uncertainty across the land exposed deep divisions in the aftermath of a failed terrorist attack that came to be known as the Gunpowder Plot. Join James Shapiro to explore how Shakespeare’s plays responded to the tumultuous events of 1606. James Shapiro, who teaches English at Columbia University in New York, is author of several books, including 1599: A Year in the Life of William Shakespeare (winner of the BBC4 Samuel Johnson Prize in 2006), 1606: William Shakespeare and the Year of Lear, as well as Contested Will: Who Wrote Shakespeare? He also serves on the Board of the Royal Shakespeare Company. This talk will be chaired by Mark Lawson.

Presenter William Crawley hears reaction to Pope Francis' visit to Lesbos, and explores the significance of the joint approach to the migrant crisis by the Catholic and Orthodox churches. Ahead of the 400th anniversary of William Shakespeare's death, Trevor Barnes reports on the religion of Shakespeare's England, and the influence of the Bible on his language. This week's Channel 4 documentary "What British Muslims really think", has been heavily criticised by members of Muslim communities for putting across what they see as a skewed picture of Islam in Britain. The programme's executive producer Samir Shah and author and activist Shelina Janmohamed discuss. Liz Leonard examines the current religious landscape of Scotland, in light of the recent Scottish Social Attitudes survey which suggests that most people in Scotland are 'not religious'. What is it like to live in Britain as a member of the persecuted Ahmadi Muslim sect? Author Adil Khan profiles the history and beliefs of Ahmadis following the discovery of leaflets in a South London Mosque calling on them to be killed. The three Christian denominations which run the Church in Jerusalem, believed to be on the site of Jesus' tomb, have reached an agreement to carry out much-needed repair work. Archaeologist Martin Biddle explains the rich history of the shrine. Producers: Dan Tierney Peter Everett Series producer: Amanda Hancox.

Before Secret Wars ends, we check out 1602: WITCH HUNTER ANGELA! This AU pulls Angela and Sera from deep space into Shakespeare's England, where the ladies run afoul of magic, dangerous deals, and plenty of familiar faces.

melandwarp melandwarp full Fun Kids 1bb4e95c-ce0a-4dc6-909d-a4bf00ca2f21 1bb4e95c-ce0a-4dc6-909d-a4bf00ca2f21 Mon, 22 Jun 2015 12:20:00 +0000 131 http://feedproxy.google.com/~r/FunKidsRadioMelAndWarp/~3/cCQWx6Us_Is/5-mel-and-warp-shakespeares-england clean 5 From the children's radio station Fun Kids: Follow Mel and Warp's time-travel adventures.https://omny.fm/shows/fun-kids/5-mel-and-warp-shakespeares-englandhttps://dts.podtrac.com/redirect.mp3/traffic.omny.fm/d/clips/289ceca7-bef3-48af-9f74-a4ba0095cab1/8ac9406d-304d-441e-8532-a4ba00967cfc/1bb

"Blood hath been shed ere now, i' th' olden time, Ere humane statute purged the gentle weal; Ay, and since too, murders have been performed Too terrible for the ear." —MACBETH(3.4.91–94) From the duels in ROMEO AND JULIET to a brutal mob in JULIUS CAESAR, street fighting transforms several of Shakespeare's plays. How much, though, does it reflect (or differ from) the mean streets of his day? Rebecca Sheir talks violence in Elizabethan times with Vanessa McMahon, author of "Murder in Shakespeare's England" (2004), and Casey Kaleba, an expert in Elizabethan street crime and one of the Washington, DC, area's most sought-after fight coaches for stage plays. ---------------------------- From the Shakespeare Unlimited podcast series. Published May 6, 2015. © Folger Shakespeare Library. All rights reserved. Produced for the Folger Shakespeare Library by Richard Paul. Garland Scott is the associate producer. Edited by Gail Kern Paster and Esther Ferington. With help from Folger Magazine editor Karen Lyon, Juliet Bury at Richmond, the American International University in London, Laura Green at The Sound Company, and Jonathan Charry at public radio station WAMU.

Neil MacGregor, Director of the British Museum, continues his object-based history. Taking artefacts from William Shakespeare's time, he explores how Elizabethan and Jacobean playgoers made sense of the unstable and rapidly changing world in which they lived. With old certainties shifting around them, in a time of political and religious unrest and economic expansion, Neil asks what the plays would have meant to the public when they were first performed. He uses carefully selected objects to explore the great issues of the day that preoccupied the public and helped shape the works, and he considers what they can reveal about the concerns and beliefs of Shakespearean England. Programme 11. TREASON & PLOTS - A tabloid history of Shakespeare's England, told through a collection of contemporary accounts of plots to murder Elizabeth I and James I. Producer: Paul Kobrak.