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For British playwright, John Osborne, there are no brave causes; only people who muddle through life, who hurt, and are often hurt in return. This study deals with Osborne's complete oeuvre and critically examines its form and technique; the function of the gaze; its construction of gender; and the relationship between Osborne's life and work. Gilleman has also traced the evolution of Osborne's reception by turning to critical reviews at the beginning of each chapter.

Osborne, John --- Invective in literature. --- Osborne, John, --- Criticism and interpretation.

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Satire, Arabic --- Arabic poetry --- Invective in literature. --- History and criticism. --- History and criticism.

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Latin literature, Medieval and modern --- Invective in literature. --- Humanism --- History and criticism. --- Bracciolini, Poggio, --- Criticism and interpretation.

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Greek drama (Comedy) --- -Iambic poetry, Greek --- -Invective in literature --- Greek iambic poetry --- Greek poetry --- History and criticism --- Aristophanes --- Cratinus --- -Criticism and interpretation --- Iambic poetry, Greek --- Invective in literature. --- Poésie iambique grecque --- Komödie --- Jambendichtung --- Rezeption --- Jambus --- History and criticism. --- Histoire et critique. --- Cratinus, --- Aristophanes. --- Criticism and interpretation. --- Geschichte 486 v. Chr.-400 v. Chr. --- Geschichte 500 v. Chr.-400 v. Chr. --- Geschichte 486 v. Chr.-404 v. Chr. --- Griechisch --- Komödie. --- Jambendichtung. --- Rezeption. --- Jambus. --- Griechisch. --- -Kratinos --- Criticism and interpretation --- Invective in literature --- Cratino, --- Kratinos,

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Railing, Reviling, and Invective in English Literary Culture, 1588-1617 is the first book to consider railing plays and pamphlets as participating in a coherent literary movement that dominated much of the English literary landscape during the late Elizabethan/early Jacobean period. Author Prendergast considers how these crisis-ridden texts on religious, gender, and aesthetic controversies were encouraged and supported by the emergence of the professional theater and print pamphlets. She argues that railing texts by Shakespeare, Nashe, Jonson, Jane Anger and others became sites for articulating anxious emotions-including fears about the stability of England after the death of Queen Elizabeth and the increasing factional splits between Protestant groups. But, given that railings about religious and political matters often led to censorship or even death, most railing writers chose to circumvent such possible repercussions by railing against unconventional gender identity, perverse sexual proclivities, and controversial aesthetics. In the process, Prendergast argues, railers shaped an anti-aesthetics that was itself dependent on the very expressions of perverse gender and sexuality that they discursively condemned, an aesthetics that created a conceptual third space in which bitter enemies-male or female, conformist or nonconformist-could bond by engaging in collaborative experiments with dialogical invective. By considering a literary mode of articulation that vehemently counters dominant literary discourse, this book changes the way that we look at late Elizabethan and early Jacobean literature, as it associates works that have been studied in isolation from each other with a larger, coherent literary movement.

Book history --- English literature --- anno 1500-1599 --- anno 1600-1699 --- Invective in literature --- Complaints (Rhetoric) --- Literature and society --- History and criticism --- History