Medieval and Renaissance Drama Society Newsletter Spring 2013
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The Dramaturgy of Participation and Unreliable Mirror Figures in Sixteenth-Century Drama
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Doctoral Dissertations Graduate School 5-2014 A Mirror for Spectators: The Dramaturgy of Participation and Unreliable Mirror Figures in Sixteenth-Century Drama Virginia Hanlon Murphy University of Tennessee - Knoxville, [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_graddiss Part of the Literature in English, British Isles Commons Recommended Citation Murphy, Virginia Hanlon, "A Mirror for Spectators: The Dramaturgy of Participation and Unreliable Mirror Figures in Sixteenth-Century Drama. " PhD diss., University of Tennessee, 2014. https://trace.tennessee.edu/utk_graddiss/2773 This Dissertation is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a dissertation written by Virginia Hanlon Murphy entitled "A Mirror for Spectators: The Dramaturgy of Participation and Unreliable Mirror Figures in Sixteenth-Century Drama." I have examined the final electronic copy of this dissertation for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Doctor of Philosophy, with a major in English. Heather A. Hirschfeld, Major Professor We have read this dissertation and recommend its acceptance: Rob Stillman, Laura Howes, Kate Buckley Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) A Mirror for Spectators: The Dramaturgy of Participation and Unreliable Mirror Figures in Sixteenth-Century Drama A Dissertation Presented for the Doctor of Philosophy Degree The University of Tennessee, Knoxville Virginia Hanlon Murphy May 2014 Copyright © 2014 by Virginia H. -
Medieval Representations of Satan Morgan A
Rollins College Rollins Scholarship Online Master of Liberal Studies Theses 2011 The aS tanic Phenomenon: Medieval Representations of Satan Morgan A. Matos [email protected] Follow this and additional works at: http://scholarship.rollins.edu/mls Part of the Christianity Commons, and the History of Christianity Commons Recommended Citation Matos, Morgan A., "The aS tanic Phenomenon: Medieval Representations of Satan" (2011). Master of Liberal Studies Theses. 28. http://scholarship.rollins.edu/mls/28 This Open Access is brought to you for free and open access by Rollins Scholarship Online. It has been accepted for inclusion in Master of Liberal Studies Theses by an authorized administrator of Rollins Scholarship Online. For more information, please contact [email protected]. The Satanic Phenomenon: Medieval Representations of Satan A Project Submitted in Partial Fulfillment Of the Requirements for the Degree of Master of Liberal Studies By Morgan A. Matos July, 2011 Mentor: Dr. Steve Phelan Rollins College Hamilton Holt School Winter Park Master of Liberal Studies Program The Satanic Phenomenon: Medieval Representations of Satan Project Approved: _________________________________________ Mentor _________________________________________ Seminar Director _________________________________________ Director, Master of Liberal Studies Program ________________________________________ Dean, Hamilton Holt School Rollins College i Table of Contents Table of Contents i Table of Illustrations ii Introduction 1 1. Historical Development of Satan 4 2. Liturgical Drama 24 3. The Corpus Christi Cycle Plays 32 4. The Morality Play 53 5. Dante, Marlowe, and Milton: Lasting Satanic Impressions 71 Conclusion 95 Works Consulted 98 ii Table of Illustrations 1. Azazel from Collin de Plancy’s Dictionnaire Infernal, 1825 11 2. Jesus Tempted in the Wilderness, James Tissot, 1886-1894 13 3. -
Bibliography
206 Fletcherian Dramatic Achievement Bibliography Primary sources Apology for Actors Thomas Dekker, An Apology for Actors (1612), ed. Richard H. Per- kinson, New York 1941 Aristotle Poetics, tr. W. Hamilton Fyfe, The Loeb Classics Library, Cam- bridge, Mass., London 1927 St Augustine St Augustine, The Teacher, in Against the Academicians; and, The Teach- er, trans. Peter King, Indianapolis, Cambridge 1995 Bellenden The Chronicles of Scotland: Compiled by Hector Boece: Translated into Scots by John Bellenden, 1531, ed. R. W. Chambers and Edith C. Batho, vol. I, Edinburgh and London 1938 Bowers I-X The Dramatic Works in the Beaumont and Fletcher Canon, gen. ed. Fredson Bowers, 10 vols, Cambridge UP 1966–1996 [Cicero] Ad Herennium, tr. Harry Caplan; The Loeb Classical Library, Cambridge, Mass., London 1954 Demetrius and Enanthe MS John Fletcher, Demetrius and Enanthe, ed. Margaret McLaren Cook and F. P. Wilson, The Malone Society Reprints 1950 (1951) Dio Dio Cassius, Dio’s Roman History, tr. Earnest Cary, vol. vii, The Loeb Classical Library, Cambridge, Mass., London 1961 Faithful Friends The Faithful Friends, ed. G. R. Proudfoot and G. M. Pinciss, The Malone Society Reprints 1970 (1975) Henslowe’s Diary Henslowe’s Diary, ed. R. A. Foakes, 2nd edition, Cambridge UP 2002. Howard-Hill (1980) Sir John Van Olden Barnavelt: by John Fletcher and Philip Massinger, ed. T. H. Howard-Hill, The Malone Society Reprints 1979 (1980) Bonduca MS Bonduca: by John Fletcher, ed. W. W. Greg, The Malone Society Re- prints, 1951 Mann Thomas Mann, Doctor Faustus, tr. H. T. Lowe-Porter, Everyman’s Library, vol.80, 1992 Masque of Queens Ben Jonson, The Masque of Queens (1609), published in his Workes (1616): 945–964 Meres Francis Meres, Palladis Tamia (1598), Scholars’ Facsimiles & Re- prints, New York 1938 Metrical Boece (1858) The Buik of the Chroniclis of Scotland; or, A Metrical Version of the History of Hector Boece; By William Stewart (1535), ed. -
Duchess of Malfi, the White Devil, the Broken Heart and Tis Pity Shes a Whore Pdf, Epub, Ebook
DUCHESS OF MALFI, THE WHITE DEVIL, THE BROKEN HEART AND TIS PITY SHES A WHORE PDF, EPUB, EBOOK Revd Prof. John Webster,John Ford,Jane Kingsley-Smith | 640 pages | 29 Sep 2015 | Penguin Books Ltd | 9780141392233 | English | London, United Kingdom Duchess of Malfi, the White Devil, the Broken Heart and Tis Pity Shes a Whore PDF Book And we should be thankful to Ben Jonson for writing poetry such as this. Add to cart. In The Broken Heart , John Ford questions the value of emotional repression as his characters attempt to subdue their desires and hatreds in ancient Greece. Heart of Darkness Joseph Conrad. Together with the Penguin volume of Five Revenge Tragedies , edited by Emma Smith, this is the essential sourcebook for drama in the period. Are you happy to accept all cookies? Essential We use cookies to provide our services , for example, to keep track of items stored in your shopping basket, prevent fraudulent activity, improve the security of our services, keep track of your specific preferences e. Bookishjq rated it it was amazing Jun 01, Image Credit: Wikimedia Commons. Cancel Submit. Sign in to Purchase Instantly. Learn about new offers and get more deals by joining our newsletter. Discourses and Selected Writings Epictetus. Your subscription to Read More was successful. Product Details About the Author. Mikhail Bulgakov. Tragedies, vol. How was your experience with this page? You can learn more about how we plus approved third parties use cookies and how to change your settings by visiting the Cookies notice. These four plays, written during the reigns of James I and Charles I, took revenge tragedy in dark and ambiguous new directions. -
Early Modern Culture and Literature: Renaissance Drama
Carleton University Fall 2012 Department of English Language and Literature ENGL 4304A Renaissance Drama Thurs. 11:35-2:25 (Please confirm location on Carleton Central) Instructor: Dr. David Stymeist Office: 1819 DT Office Phone: TBA Email: [email protected] Office Hours: TBA, or by appointment. Course Description This course is designed to examine of a selection of drama from the English Renaissance. This course will include work by Christopher Marlowe, Thomas Dekker, William Shakespeare, John Webster, Francis Beaumont, and John Ford. These plays will encompass the major dramatic genres of History, Comedy, and Tragedy, as well as a number of sub-genres, such as City Comedy, Satire, Domestic Tragedy, and the Revenge play. The cultural, political and intellectual contexts of individual plays will be discussed in detail, as well as the social and economic place of the stage in early modern England. There will be an emphasis on the commercial development of drama in the period. The course will also investigate how playwrights represent transgression, femininity, homosexuality, social and economic class differences, and criminality in the period. The practice of drama in the period will be examined through various critical and theoretical methodologies, including Feminist historiography, Queer theory, Cultural Materialism, and New Historicism. Classes will consist of a combination of lectures and discussion. I expect every student to attend lectures and come prepared to engage in a lively discussion of the plays. As this is a fourth year course, classes will especially emphasize active learning. The more you are willing to put into the class, the more you will get out of it! Primary Texts Anonymous. -
University of Szeged Faculty of Arts Doctoral School of English and American Literatures and Cultures
CB WSf University of Szeged Faculty of Arts Doctoral School of English and American Literatures and Cultures THE VICE-DEVICE: IAGO AND LEAR'S FOOL AS AGENTS OF REPRESENTATIONAL CRISIS PhD THESIS Submitted by Agnes MATUSKA Supervisor Dr. Attila KISS Szeged 2005 THE VICE-DEVICE: IAGO AND LEAR'S FOOL AS AGENTS OF REPRESENTATIONAL CRISIS INTRODUCTION 3 1. THEORETICAL BACKGROUND, METHODOLOGY 11 1. L THE QUESTION OF EPISTEMOLOGICAL CRISIS 12 1.2 DIALECTICAL TRAGEDY: EPISTEMIC CHANGE IN THEATRE 21 1.3 "IF ACODE IS CRUMBLING..." 25 1.4 REPRESENTATIONAL CRISIS IN SHAKESPEARE 28 2. HAPHAZARDLY AMBIDEXTROUS: THE VICE-FAMILY 35 2. L PROBLEMS OF DEFINITION 35 "YOU WILL LEARN TO PLAYE THE VICE": PROBLEMS OF INTERPRETATION 37 2.2 VICES 48 Merry Report 49 Ambidexter 52 Haphazard 56 Punisher or punished? 60 The Fool in the Vice 66 2.3. VICE-SUCCESSORS AND FOOLS 72 Intriguer villains 73 Sir John Falstaff: The Vice-Fool 77 The "corrupter of-words": Feste 81 Deceiver among deceivers: Parolles 85 Afterlife of post-vices and the common life of lago and the Fool 87 2.4. THE VICE-CLOWN ON THE SHAKESPEAREAN STAGE 91 3. METADRAMA 97 3. L METADRAMA AND THE VICE, A DEFINITION OF THE TERM 97 3.1.1 The Vice as mediator 97 3.1.2 Metadrama in Shakespeare-criticism 102 3.2 MEANING AS AN EVENT - IAGO AND METADRAMA IN OTHELLO 107 3.2.1 Commenting on drama, involving the audience 109 3.2.2 Iago's book of identity and role-playing 110 3.2.3 Plays -within - Iago as director 117 3.2.4 Representation as fiction 121 3.2.5 Iago's metadramatic effect—summary 122 3.3 METADRAMATIC ASPECTS OF THE FOOL 124 3.3.1 The Fool and his audience 125 3.3.2 "All thy other titles " 127 3.3.3 Plays of the fool -within and without. -
Comparison of the Two Plays
Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Eliška Poláčková Everyman and Homulus: analysis of their genetic relation Bachelor’s Diploma Thesis Supervisor: Mgr. Pavel Drábek, Ph.D. 2010 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. …………………………………………….. Eliška Poláčková Acknowledgement I would like to thank my supervisor Mgr. Pavel Drábek, Ph.D. for his patient and kind help, Prof. PhDr. Eva Stehlíková for useful advice, and Mgr. Markéta Polochová for unprecedented helpfulness and support. Table of Contents Introduction ....................................................................................................................... 1 1 Morality Play and Its Representatives ........................................................................... 3 1.1 Morality Play .......................................................................................................... 3 1.2 Everyman ................................................................................................................ 5 1.3 Homulus .................................................................................................................. 7 2 Concept of Translation in The Middle Ages ................................................................. 9 3 Comparison of Everyman and Homulus ...................................................................... 11 3.1 Composition ......................................................................................................... -
Bodies of Knowledge: the Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2015 Bodies of Knowledge: The Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600 Geoffrey Shamos University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the History of Art, Architecture, and Archaeology Commons Recommended Citation Shamos, Geoffrey, "Bodies of Knowledge: The Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600" (2015). Publicly Accessible Penn Dissertations. 1128. https://repository.upenn.edu/edissertations/1128 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/1128 For more information, please contact [email protected]. Bodies of Knowledge: The Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600 Abstract During the second half of the sixteenth century, engraved series of allegorical subjects featuring personified figures flourished for several decades in the Low Countries before falling into disfavor. Designed by the Netherlandsâ?? leading artists and cut by professional engravers, such series were collected primarily by the urban intelligentsia, who appreciated the use of personification for the representation of immaterial concepts and for the transmission of knowledge, both in prints and in public spectacles. The pairing of embodied forms and serial format was particularly well suited to the portrayal of abstract themes with multiple components, such as the Four Elements, Four Seasons, Seven Planets, Five Senses, or Seven Virtues and Seven Vices. While many of the themes had existed prior to their adoption in Netherlandish graphics, their pictorial rendering had rarely been so pervasive or systematic. -
2019 Seminar Abstracts: the King's Men and Their Playwrights
1 2019 Seminar Abstracts: The King’s Men and Their Playwrights Meghan C. Andrews, Lycoming College James J. Marino, Cleveland State University “Astonishing Presence”: Writing for a Boy Actress of the King’s Men, c. 1610-1616 Roberta Barker, Dalhousie University Although scholarship has acknowledged the influence of leading actors such as Richard Burbage on the plays created for the King’s Men, less attention has been paid to the ways in which the gifts and limitations of individual boy actors may have affected the company’s playwrights. Thanks to the work of scholars such as David Kathman and Martin Wiggins, however, it is now more feasible than ever to identify the periods during which specific boys served their apprenticeships with the company and the plays in which they likely performed. Building on that scholarship, my paper will focus on the repertoire of Richard Robinson (c.1597-1648) during his reign as one of the King’s Men’s leading actors of female roles. Surviving evidence shows that Robinson played the Lady in Middleton’s Second Maiden’s Tragedy in 1611 and that he appeared in Jonson’s Catiline (1611) and Fletcher’s Bonduca (c.1612-14). Using a methodology first envisioned in 1699, when one of the interlocutors in James Wright’s Historia Histrionica dreamt of reconstructing the acting of pre-Civil War London by “gues[sing] at the action of the Men, by the Parts which we now read in the Old Plays” (3), I work from this evidence to suggest that Robinson excelled in the roles of nobly born, defiant tragic heroines: women of “astonishing presence,” as Helvetius says of the Lady in The Second Maiden’s Tragedy (2.1.74). -
Theta VII Responsables Scientifiques Mentions Légales Date De Création
Mike Pincombe, « A New Interlude of Vice : Generic Experimentation in Horestes », Theta VII, Théâtre Tudor, , pp. -, mismis en en ligne ligne le en février13 février 2007, <http://www.cesr.univ-tours.fr/Publications/Theta7>., <https://sceneeuropeenne.univ-tours.fr/theta/theta7> Theta VII est publié par le Centre d’Études Supérieures de la Renaissance, dirigé par Marie-Luce Demonet, Université François-Rabelais de Tours, CNRS/UMR Responsables scientifiques André Lascombes & Richard Hillman Mentions légales Copyright © 2007 – CESR. Tous droits réservés. Les utilisateurs peuvent télécharger et imprimer, pour un usage strictement privé, cette unité documentaire. Reproduction soumise à autorisation. Date de création février 2007 Thêta VII – Théâtre Tudor Mike PINCOMBE p. 161-176 CESR, Tours A New Interlude of Vice: Generic Experimentation in Horestes Mike Pincombe University of Newcastle n this essay, I want to look at the way John Pickering experiments with dramatic genre in his interesting play I Horestes, printed by William Griffi ths in and probably written and performed that same year.¹ I am going to argue that he introduces two main changes to the basic genre of vernacular dramaturgy in sixteenth-century England: the interlude. The fi rst of these is quite simple: he adds a death- scene—still quite a novelty in the late s. The other is more complex: he alters the Vice’s part so that his tradi- tional roles in the merry scenes of the interlude and in soliloquy are reframed as “turns”, rather than a sequence of episodes integrated into the fabric of the play. I am not sure that either of these experiments actually works, but they offer a very interesting insight into the generic complexity of Tudor drama. -
Corrected Final Dissertation
Thomas Middleton’s Middle Way: Political Irony and Jacobean Drama by Mark Kaethler A Thesis presented to the University of Guelph In partial fulfillment of requirements for the degree of Doctor of Philosophy in Literary/Theatre Studies in English Guelph, Ontario, Canada © Mark Kaethler, January, 2016 ABSTRACT THOMAS MIDDLETON’S MIDDLE WAY: POLITICAL IRONY AND JACOBEAN DRAMA Mark Kaethler Advisor: Co-Advisor: University of Guelph, 2016 Mark Fortier Paul Mulholland The dissertation examines Thomas Middleton’s political irony in his drama. It differentiates this irony from the broad phrase “Middletonian irony” or the various kinds of irony featured in his oeuvre by observing its connection to what Sir Francis Bacon calls a “crossroads,” which produces opera basilica—works for the monarch to resolve. Middleton and Rowley’s definition of ironia in The World Tossed at Tennis (1620) in which the eye looks “two ways at once” positions the envisioned royal audience at such a crossroads. In doing so, Middleton and Rowley revise rhetorical definitions of irony that promote an inferred meaning which trumps literal interpretations; they instead favour a third meaning with their analogy of the tailor who stitches two previous habits into a new fashion with his needle. Rulers are thus encouraged to abandon singular, entrenched political habits in favour of new and mutually constituted fashions of governance. The course to which Middleton directs rulers and audiences here and elsewhere resembles the tradition of the via media with its projected balance, but its remaining tension infuses that outcome with the ongoing oscillation of the via diversa. In this manner Middleton’s political irony expands upon Bacon’s idea of “perpetual renovation” by seeing governance as a theatrical continuum of historical emulation and revision. -
Douglas Bruster
DOUGLAS BRUSTER Mody C. Boatright Regents Professor in American and English Literature Distinguished Teaching Professor Department of English, 1 University Station B5000 The University of Texas at Austin Austin, Texas 78712-1164 512.471.3635 (Office) ● 512.550.3465 (Mobile) [email protected] CURRICULUM VITAE EDUCATION ______________________________________________________________________________ 1990 Harvard University Ph.D. (English) 1987 Harvard University M.A. (English) 1985 University of Nebraska B.A. (English, History, Latin) ______________________________________________________________________________ APPOINTMENTS ______________________________________________________________________________ 2009- The University of Texas at Austin 2008 Université de Paris X (visiting professor) 1999-2008 The University of Texas at Austin 1995-99 The University of Texas at San Antonio 1991-95 The University of Chicago 1990-91 Harvard University ______________________________________________________________________________ PUBLICATIONS ~ BOOKS _____________________________________________________________________________ v Shakespeare and the Power of Performance: Stage and Page in the Elizabethan Theatre. Cambridge: Cambridge University Press, 2008. With Robert Weimann. v To Be or Not To Be. London and New York: Continuum, 2007. v Prologues to Shakespeare’s Theatre: Performance and Liminality in Early Modern Drama. London and New York: Routledge, 2004. With Robert Weimann. v Shakespeare and the Question of Culture: Early Modern Literature