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It traces the paradigm shift in Shakespeare studies which, beginning in the 1970s, has foregrounded the playwright’s embeddedness in the material practices and ideological constructs of his time, and focussed on the conflicts, gaps and faultlines in early modern society. The book concentrates on feminism and new historicism as the two critical schools that have brought about significant changes in Shakespeare studies, and devotes a chapter to issues in early modern culture and drama highlighted by gay scholars. Topics covered include: contrasting views on the position of Renaissance women, material feminist criticism, Renaissance attacks and defences of women, the maternal body, boy actors, myths of homosexual desire, theatrical transvestism, the role of anecdotes in new historicist practice, self-fashioning, subversion, anxiety and wonder. 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In a striking parallel to nostalgia’s origin, the historical novel emerged in the tumultuous early-years of the nineteenth century, at a time when the Napoleonic Wars once again set troops on the move, creating a new wave of homesick soldiers. In the historical novels of Gaskell, Thackeray, Dickens, Eliot and Hardy, nostalgia offered a language in which to describe the experience of living through changing times as a homesickness for history.    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By contrast the very existence of a specifically female tradition is still an urgent subject of debate, and it is clear that many nineteenth-century women writers were troubled in their search for literary foremothers. This autobiographical impetus can be located in the work of each of the poets discussed in Tradition and the Poetics of Self Nineteenth-Century Women’s Poetry: Elizabeth Barrett Browning, Caroline Bowles Southey, Emily Dickinson and Christina Rossetti. An exploration of the self, either in the abstract or in a more closely personal sense, appears in a concern with the craft of poetry and the role of the poet, in a teasing out of language as a marker of a personal encounter with the world, in an adventurous play with genre and a rewriting of myth, and in a bold confrontation with received notions of a woman’s place. 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