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The late sixteenth-century penal debt bond, which allowed an unsatisfied creditor to seize the body of his debtor, set in motion a series of precedents that would shape the legal, philosophical, and moral issue of property-in-person in England and America for centuries. Focusing on this historical juncture at which debt litigation was not merely an aspect of society but seemed to engulf it completely, Of Bondage examines a culture that understood money and the body of the borrower as comparable forms of property that impinged on one another at the moment of default. Amanda Bailey shows that the early modern theater, itself dependent on debt bonds, was well positioned to stage the complex ethical issues raised by a system of forfeiture that registered as a bodily event. While plays about debt like The Merchant of Venice and The Custom of the Country did not use the language of political philosophy, they were artistically and financially invested in exploring freedom as a function of possession. By revealing dramatic literature's heretofore unacknowledged contribution to the developing narrative of possessed persons, Amanda Bailey not only deepens our understanding of creditor-debtor relations in the period but also sheds new light on the conceptual conditions for the institutions of indentured servitude and African slavery. Of Bondage is vital not only for students and scholars of English literature but also for those interested in British and colonial legal history, the history of human rights, and the sociology of economics.

Debt in literature. --- Economics and literature --- Debt --- Property --- English drama --- Literature --- Literature and economics --- Indebtedness --- Finance --- Economics --- Possession (Law) --- Things (Law) --- Wealth --- History. --- History and criticism. --- Economic aspects --- Law and legislation --- Primitive property --- Cultural Studies. --- Literature. --- Medieval and Renaissance Studies.

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In the early modern period, the theatrical stage offered one of the most popular forms of entertainment and aesthetic pleasure. It also fulfilled an important cultural function by displaying modes of behaviour and dramatizing social interaction within a community. Flaunting argues that the theatre in late sixteenth-century England created the conditions for a subculture of style whose members came to distinguish themselves by their sartorial extravagance and social impudence. Drawing on evidence from legal documents, economic treatises, domestic manuals, accounts of playhouse practices, and stage plays, Amanda Bailey critiques standard accounts maintaining that those who flaunted their apparel were simply aspirants, or gaudy versions of the superiors they sought to emulate. Instead, she suggests that what mattered most was not what these young men wore but how they wore their clothes. These young men shared a distinctive sartorial sensibility and used that sensibility to undermine authority at all levels of society. Flaunting therefore, examines male style as a visual form of subversion against the norms of Renaissance England with the stage as the primary source of inspiration for collective identification. A glimpse into both the celebration of and opposition to social irreverence in the early modern period, Flaunting is a fascinating historical account of drama, fashion, and rebellion with surprisingly close parallels to the contemporary world.

Young men --- Clothing and dress --- Costume --- Theater and society --- European drama --- Jeunes hommes --- Vêtements --- Théâtre et sociét --- Théâtre européen --- Clothing --- History --- History and criticism. --- Histoire --- Histoire et critique. --- England --- England.

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History of civilization --- History of the United Kingdom and Ireland --- anno 1500-1599 --- anno 1600-1699 --- London

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Engels --- Beginner