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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.

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 of / English, Department of / Graduate

Recent criticism has cast the suburban playhouses of Early Modern London as marginalised institutions, in at least a topographic if not a symbolic sense. This thesis will contend that marginality is a relative term, and that for the inhabitants of the suburb, of Clerkenwell, the salient social function of the Red Bull theatre was not to serve the City as a site for licence, but to provide a neighbourhood space in which bonds of community could be formed. Arguing that theatres were built in particular locations not just to escape City prohibitions, but to draw on proximate audiences, I provide a brief history of Clerkenwell and place the Red Bull in its local context. By figuring the Red Bull, both in terms of its standard repertoire and its audience, as a prototypical "community theatre," I develop a sociology of dramatic production which understands this Early Modern theatre as a crucial nexus of local solidarity.

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This study of the Philanthropic Society (later the Royal Philanthropic Society) sets out to explain how it survived during many shifts in thinking about the treatment of juvenile offenders in nineteenth-century Britain. The study also pays particular attention to relationships between the Society and the state, showing how the Society was gradually drawn into dependence on the state. The thesis begins with an overview of the Society's work prior to its decision to move from London to Redhill in 1849. Next it proceeds to a close study of the Society's work until the end of the century. The decision to concentrate on the Redhill Farm School reflects not only changing views about the reformation of young offenders, but also the financial imperatives which forced the Society along paths shaped by the state. Close attention is paid to the way Parliamentary inquiries and commissions, which in the mid-Victorian period tended to laud the Society as a model, later criticized it for lagging behind advanced thinking. Interwoven within this narratives are descriptions of the specific measures the Society took for training and caring for boys at Redhill. It explores the nature of unpaid labour, training and discipline enforced at the farm school. It also examines the variety of subjects taught during the years a boy would spend working within a strict discipline, and the methods used to enforce such discipline. Another subject worthy of extended consideration is the Society's enthusiasm for emigration to British colonies following a boy's term of incarceration. The thesis closes with an examination of how and why the Society lost its reputation as a leader in the treatment of young offenders in the late-Victorian period, as government imposed new rules and regulations. The overall argument is that the Society born as the result of moral panics about children at risk became a long-term survivor as the result of partnerships with the state.

Bibliography: leaves 598-620.

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