Papers by Thomas Betteridge
Contents: Introduction: all is true - Henry VIII in and out of history, Thomas Betteridge and Tho... more Contents: Introduction: all is true - Henry VIII in and out of history, Thomas Betteridge and Thomas S. Freeman Harry's peregrinations: an Italianate defence of Henry VIII, Brett Foster From perfect prince to 'wise and pollitike' king: Henry VIII in Edward Hall's chronicle, Scott Lucas 'It is perilous stryvinge withe princes': Henry VIII in works by Pole, Roper and Harpsfield, Carolyn Colbert Hands defiled with blood: Henry VIII in Foxe's Book of Martyrs, Thomas S. Freeman Fallen Prince and Pretender of the Faith: Henry VIII as seen by Sander and Persons, Victor Houliston 'It is unpossible to draw his picture well who hath severall countenances': Lord Herbert of Cherbury and The Life and Reign of King Henry VIII, Christine Jackson Henry VIII in history: Gilbert Burnet's History of the Reformation (v.1), 1679, Andrew Starkie 'Unblushing falsehood': the Strickland sisters and the domestic history of Henry VIII, Judith M. Richards Ford Madox Ford's Fifth Queen and the modernity of Henry VIII, Anthony Monta and Susannah Brietz Monta The 'sexual everyman'? Maxwell Anderson's Henry VIII, Glenn Richardson Drama king: the portrayal of Henry VIII in Robert Bolt's A Man for All Seasons, Ruth Ahnert 'Anne taught him how to be cruel': Henry VIII in modern historical fiction, Megan L. Hickerson Booby, baby or classical monster? Henry VIII in the writings of G.R. Elton and J.J. Scarisbrick, Dale Hoak Through the eyes of a fool: Henry VIII and Margaret Georgea (TM)s 1986 novel The Autobiography of Henry VIII: With Notes by His Fool, Will Somers, Kristen Post Walton Index.
Boydell & Brewer eBooks, Nov 15, 2018
Yet if one were to carry the reproach of Christ -the heavier the task that told His glory. An exp... more Yet if one were to carry the reproach of Christ -the heavier the task that told His glory. An expert biography pilots the reader through a graphic personal saga of ecclesiastical encounter with perplexities for mind and spirit.
Choice Reviews Online, Sep 22, 2014
... the truth is, that when Hugh Capet usurped the Kingdom of France against the Carolinges he, t... more ... the truth is, that when Hugh Capet usurped the Kingdom of France against the Carolinges he, to fortifie himself and to draw all the Nobility of France to support his Faction about the year 987 granted to them in the year 988 that whereas till then they enjoyed their Feuds and ...
... It returns to Betteridge's opening trope to ask, did cannibals have a renaissance? The a... more ... It returns to Betteridge's opening trope to ask, did cannibals have a renaissance? The answer is ... "Virgil and Homer in Poland," Fran?ois Rigolot's "Montaigne in Italy," Katherine Elliot van Liere's "Shared studies foster Friendship: Humanism and History in ...
The Encyclopedia of English Renaissance Literature
<i>Love's Welcome</i>, Bolsover Castle, July 2013. This was a performance which c... more <i>Love's Welcome</i>, Bolsover Castle, July 2013. This was a performance which combined an immersive site specific devised opening followed by a historically informed workshop production of Ben Jonson's masque <i>Love's Welcome</i>. The masque was performed in the Little Garden at Bolsover Castle in one of the possible performance spaces for the original masque. The site specific devised introduction was produced and written by Betteridge and the creative team. The entire show was directed by Professor Betteridge. This video includes contributions from Charlotte Ewart, choreography, Dr Nicola Stacey, Chief Curator English Heritage, and Professor James Knowles, Brunel University. The research methodology for the masque was based on Betteridge's AHRC funded productions of <i>The Play of the Weather</i> at Hampton Court Palace and Ane Satyre of Thrie Estatis at Linltihgow Palace. It also drew on Professor <i>Knowles</i>' published work on Ben Jonson and Stuart Court masques.
The Cambridge Guide to the Worlds of Shakespeare, 2019
A Critical Companion to John Skelton, 2018
Oxford Handbooks Online, 2012
The Heythrop Journal, 2015
The Cambridge Companion to Shakespeare and Religion
<i>Love's Welcome</i>, Bolsover Castle, July 2014. This was a performance which c... more <i>Love's Welcome</i>, Bolsover Castle, July 2014. This was a performance which combined an immersive site specific devised opening followed by a historically informed workshop production of Ben Jonson's masque <i>Love's Welcome</i>. The masque was performed in the Little Garden at Bolsover Castle in one of the possible performance spaces for the original masque. The site specific devised introduction was produced and written by Betteridge and the creative team. The entire show was directed by Professor Betteridge. This video includes contributions from Charlotte Ewart, choreography, Dr Nicola Stacey, Chief Curator English Heritage, and Professor James Knowles, Brunel University. The research methodology for the masque was based on Betteridge's AHRC funded productions of <i>The Play of the Weather</i> at Hampton Court Palace and Ane Satyre of Thrie Estatis at Linltihgow Palace. It also drew on Professor <i>Knowles</i>' published work on Ben Jonson and Stuart Court masques.
Over the last ten years there has been a struggle within Shakespeare studies between the vast maj... more Over the last ten years there has been a struggle within Shakespeare studies between the vast majority of scholars who have remained committed to the orthodox view on Shakespeare's authorship of the plays that bear his name and a much smaller group of scholars, working with profoundly different levels of rigour, who have sought to question this position. Recently there has been a degree of agreement that it is more productive to approach the issue in terms of acknowledging the collaborative nature of early modern play writing. It is noticeable, however, that for the literary critics and historians involved in this debate collaboration seems to end at the playhouse's door. There is an assumption that the collaborators who produced early modern drama were all writers and not the other people involved in the production of Tudor and Stuart plays. This is profoundly problematic. In this article, Thomas Betteridge and Greg Thompson propose a non-textual approach to the authorship ...
<i>Love's Welcome</i>, Bolsover Castle, July 2013. This was a performance which c... more <i>Love's Welcome</i>, Bolsover Castle, July 2013. This was a performance which combined an immersive site specific devised opening followed by a historically informed workshop production of Ben Jonson's masque <i>Love's Welcome</i>. The masque was performed in the Little Garden at Bolsover Castle in one of the possible performance spaces for the original masque. The site specific devised introduction was produced and written by Betteridge and the creative team. The entire show was directed by Professor Betteridge. This video includes contributions from Charlotte Ewart, choreography, Dr Nicola Stacey, Chief Curator English Heritage, and Professor James Knowles, Brunel University. The research methodology for the masque was based on Betteridge's AHRC funded productions of <i>The Play of the Weather</i> at Hampton Court Palace and Ane Satyre of Thrie Estatis at Linltihgow Palace. It also drew on Professor <i>Knowles</i>' published work on Ben Jonson and Stuart Court masques.
John Foxe and his World, 2017
Film of workshop performance of The Masque of Augurs at the Banqueting House Whitehall, performed... more Film of workshop performance of The Masque of Augurs at the Banqueting House Whitehall, performed on 10th May 2016 as part of the collaborative research project, 'Exploring the potential of combining performance and digital research in a heritage context'. The project was funded by the AHRC and was a partnership between Brunel University London, Historic Royal Palaces and Edinburgh University.
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Papers by Thomas Betteridge