Legal play : the literary culture of the Inns of Court, 1572-1634

This thesis examines the social politics of literary production at London's Inns of Court from 1572 to 1634. Pierre Bourdieu's concepts of cultural production are widened beyond his own French academic context so that the Inns may be located as institutions central to the formation of literary and, in particular, dramatic culture in early modern London. A significant part of Bourdieu's research has concerned the establishment of a foundation for a sociological analysis of literary works. The literary field, Bourdieu argues, is but one of many possible fields of cultural production—social networks of struggle over valued economic, cultural, scientific, or religious resources. As a historically constituted arena of activity with its own specific institutions, rules, and capital, the juridical field of early modern London was a competitive market in which legal agents struggled for the power to determine the law. Within this field, the Inns of Court served as unchartered law schools in which the valuable cultural currency of the common law was transmitted to the resident students, whose association with this currency was crucial for their pursuit of social prestige. Focusing on the four Inns of Court as central institutions in the juridical field and their relationship with the larger political and economic forces of London, that is, the field of power, the thesis demonstrates how the literary art associated with these institutions relates to the students' struggle for social legitimation, particularly in their interaction with the City and the Crown. By demonstrating how the structures of literary texts reflect the structures of the relationship between the Inns and other centers of urban power, this analysis examines the pivotal role(s) played by law students in the development of London's literary culture.Arts, Faculty ofEnglish, Department ofGraduat

Staging Exchange: Why The Knight of the Burning Pestle Flopped at Blackfriars in 1607

The first performance of Francis Beaumont’s The Knight of the Burning Pestle at the Blackfriars in 1607 apparently aroused an unexpected upheaval among the audience, according to the publishers of the first printed edition. This essay uses a careful rearrangement and interpretation of textual and biographical evidence to propose a new sociological basis for the play’s reputedly disastrous debut