King John Education Pack
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
John Bale's <I>Kynge Johan</I> As English Nationalist Propaganda
Quidditas Volume 35 Article 10 2014 John Bale’s Kynge Johan as English Nationalist Propaganda G. D. George Prince George's County Public Schools, Prince George's Community College Follow this and additional works at: https://scholarsarchive.byu.edu/rmmra Part of the Comparative Literature Commons, History Commons, Philosophy Commons, and the Renaissance Studies Commons Recommended Citation George, G. D. (2014) "John Bale’s Kynge Johan as English Nationalist Propaganda," Quidditas: Vol. 35 , Article 10. Available at: https://scholarsarchive.byu.edu/rmmra/vol35/iss1/10 This Article is brought to you for free and open access by the Journals at BYU ScholarsArchive. It has been accepted for inclusion in Quidditas by an authorized editor of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Quidditas 35 (2014) 177 John Bale’s Kynge Johan as English Nationalist Propaganda G. D. George Prince George’s County Public Schools Prince George’s Community College John Bale is generally associated with the English Reformation rather than the Tudor government. It may be that Bale’s well-know protestant polemics tend to overshadow his place in Thomas Cromwell’s propaganda machine, and that Bale’s Kynge Johan is more a propaganda piece for the Tudor monarchy than it is just another of his Protestant dramas.. Introduction On 2 January, 1539, a “petie and nawghtely don enterlude,” that “put down the Pope and Saincte Thomas” was presented at Canterbury.1 Beyond the fact that a four hundred sixty-one year old play from Tudor England remains extant in any form, this particular “enterlude,” John Bale’s play Kynge Johan,2 remains of particular interest to scholars for some see Johan as meriting “a particular place in the history of the theatre. -
Killing Shakespeare's Children: the Cases of Richard III and King John Joseph Campana
Campana, J. (2007). Killing Shakespeare’s Children: The Cases of Richard III and King John. Shakespeare, 3(1), 18–39. doi:10.1080/17450910701252271 Killing Shakespeare's Children: The Cases of Richard III and King John Joseph Campana This essay explores a series of affective, sexual and temporal disturbances that Shakespeare's child characters create on the early modern stage and that lead these characters often to their deaths. It does so by turning to the murdered princes of Richard III and the ultimately extinguished boy-king Arthur of King John. A pervasive sentimentality about childhood shapes the way audiences and critics have responded to Shakespeare's children by rendering invisible complex and discomfiting erotic and emotional investments in childhood innocence. While Richard III subjects such sentimentality to its analytic gaze, King John explores extreme modes of affect and sexuality associated with childhood. For all of the pragmatic political reasons to kill Arthur, he is much more than an inconvenient dynastic obstacle. Arthur functions as the central node of networks of seduction, the catalyst of morbid displays of affect, and the signifier of future promise as threateningly mutable. King John and Richard III typify Shakespeare's larger dramatic interrogation of emergent notions of childhood and of contradictory notions of temporality, an interrogation conducted by the staging of uncanny, precocious, and ill-fated child roles. Keywords: Children; childhood; seduction; sexuality; affect; temporality; Richard III; King John If it is fair to say that Shakespeare included in his plays more child roles than did his contemporaries (Ann Blake counts thirty; Mark Heberle counts thirty-nine), it is also fair to say Shakespeare provided a wide range of parts for those children: from pivotal roles in royal succession to trace presences as enigmatic markers of symbolic equations never perhaps to be solved. -
King John Take Place in the Thirteenth Century, Well Before Shakespeare’S Other English History Plays
Folger Shakespeare Library https://shakespeare.folger.edu/ Get even more from the Folger You can get your own copy of this text to keep. Purchase a full copy to get the text, plus explanatory notes, illustrations, and more. Buy a copy Contents From the Director of the Folger Shakespeare Library Front Textual Introduction Matter Synopsis Characters in the Play ACT 1 Scene 1 ACT 2 Scene 1 Scene 1 Scene 2 ACT 3 Scene 3 Scene 4 Scene 1 ACT 4 Scene 2 Scene 3 Scene 1 Scene 2 Scene 3 ACT 5 Scene 4 Scene 5 Scene 6 Scene 7 From the Director of the Folger Shakespeare Library It is hard to imagine a world without Shakespeare. Since their composition four hundred years ago, Shakespeare’s plays and poems have traveled the globe, inviting those who see and read his works to make them their own. Readers of the New Folger Editions are part of this ongoing process of “taking up Shakespeare,” finding our own thoughts and feelings in language that strikes us as old or unusual and, for that very reason, new. We still struggle to keep up with a writer who could think a mile a minute, whose words paint pictures that shift like clouds. These expertly edited texts are presented to the public as a resource for study, artistic adaptation, and enjoyment. By making the classic texts of the New Folger Editions available in electronic form as The Folger Shakespeare (formerly Folger Digital Texts), we place a trusted resource in the hands of anyone who wants them. -
Gesture and Movement in Silent Shakespeare Films
Gesticulated Shakespeare: Gesture and Movement in Silent Shakespeare Films Thesis Presented in Partial Fulfillment of the Requirements for the Degree of Master of Arts in the Graduate School of The Ohio State University By Jennifer Rebecca Collins, B.A. Graduate Program in Theatre The Ohio State University 2011 Thesis Committee: Alan Woods, Advisor Janet Parrott Copyright by Jennifer Rebecca Collins 2011 Abstract The purpose of this study is to dissect the gesticulation used in the films made during the silent era that were adaptations of William Shakespeare's plays. In particular, this study investigates the use of nineteenth and twentieth century established gesture in the Shakespearean film adaptations from 1899-1922. The gestures described and illustrated by published gesture manuals are juxtaposed with at least one leading actor from each film. The research involves films from the experimental phase (1899-1907), the transitional phase (1908-1913), and the feature film phase (1912-1922). Specifically, the films are: King John (1899), Le Duel d'Hamlet (1900), La Diable et la Statue (1901), Duel Scene from Macbeth (1905), The Taming of the Shrew (1908), The Tempest (1908), A Midsummer Night's Dream (1909), Il Mercante di Venezia (1910), Re Lear (1910), Romeo Turns Bandit (1910), Twelfth Night (1910), A Winter's Tale (1910), Desdemona (1911), Richard III (1911), The Life and Death of King Richard III (1912), Romeo e Giulietta (1912), Cymbeline (1913), Hamlet (1913), King Lear (1916), Hamlet: Drama of Vengeance (1920), and Othello (1922). The gestures used by actors in the films are compared with Gilbert Austin's Chironomia or A Treatise on Rhetorical Delivery (1806), Henry Siddons' Practical Illustrations of Rhetorical Gesture and Action; Adapted to The English Drama: From a Work on the Subject by M. -
An Interview with John Jakes, Chronicler of the American Epic
Civil War Book Review Spring 2000 Article 1 'Unrelenting Suspense': An Interview With John Jakes, Chronicler Of The American Epic Katie L. Theriot Follow this and additional works at: https://digitalcommons.lsu.edu/cwbr Recommended Citation Theriot, Katie L. (2000) "'Unrelenting Suspense': An Interview With John Jakes, Chronicler Of The American Epic," Civil War Book Review: Vol. 2 : Iss. 2 . Available at: https://digitalcommons.lsu.edu/cwbr/vol2/iss2/1 Theriot: 'Unrelenting Suspense': An Interview With John Jakes, Chronicler Interview 'UNRELENTING SUSPENSE': AN INTERVIEW WITH JOHN JAKES, CHRONICLER OF THE AMERICAN EPIC Theriot, Katie L. Spring 2000 Civil War Book Review (cwbr): You have achieved prominence as a writer of historical fiction. Do you see your role as primarily literary or historical -- or both? John Jakes (jj): From the time I made my first sale (a 1500-word short story in 1950), writing an entertaining narrative was my chief goal. It was, that is, until the 1970s, when I began to research and write the first of The Kent Family Chronicles. At that point something new intruded: before starting to write the first volume, The Bastard (Jove, ISBN 0515099279, $7.99 softcover), I decided to think of the novels as perhaps the only books about a given period that someone might read. The history therefore had to be as correct as conscientious research could make it without devoting a lifetime to it. I have followed that path ever since, with two goals for every novel: the entertaining story and the accurate history. Readers have come to appreciate and expect that duality, and indeed some have said that people have probably learned more history from me than from all the teachers, texts, and scholarly tomes in existence. -
Understanding Shakespeare's King John and Magna Carta in the Light
Bilgi [2018 Yaz], 20 [1]: 241-259 Understanding Shakespeare’s King John and 1 Magna Carta in the Light of New Historicism Kenan Yerli2 Abstract: Being one of the history plays of William Shakespeare, The Life and Death of King John tells the life and important polit- ical matters of King John (1166-1216). In this play, Shakespeare basically relates the political issues of King John to Queen Eliza- beth I. Political matters such as the threat of invasion by a foreign country, divine right of kings; papal excommunication and legit- imacy discussions constitute the main themes of the play. How- ever, Shakespeare does not mention a word of Magna Carta throughout the play. In this regard, it is critical to figure out and explain the reason why Shakespeare did not mention Magna Car- ta in his The Life and Death of King John, owing to the im- portance of Magna Carta in the history of England. In this respect, the analysis of The Life and Death of King John in the light of new historicism helps us to understand both how Shakespeare re- lated the periods of Queen Elizabeth and King John; and the rea- son why Shakespeare did not mention Magna Carta in his play. Keywords: Shakespeare, New Historicism, Magna Carta, Eliza- bethan Drama. 1. This article has been derived from the doctoral dissertation entitled Political Propaganda in Shakespeare’s History Plays. 2. Sakarya University, School of Foreign Languages. 242 ▪ Kenan Yerli Being one of the most important playwrights of all times, William Shakespeare wrote and staged great number of plays about English history. -
King John Article (Cathleen Sheehan)
The Historical King John By Cathleen Sheehan, Dramaturg Today, King John is a little-known historical figure. If you are a student of history, you might connect him to the Magna Carta; if you are a student of romance literature (or Disney films), you might recognize him as the nemesis of Robin Hood. For Shakespeare’s contemporaries, however, King John was a compelling figure—a complicated king whose reign resonated with the anxieties of the day. In King John, Shakespeare addresses the fears of England as a land of civil disputes, subject to foreign invasion and Papal interference. The most pressing and controversial issues in the play are questions of succession and legitimacy. Shakespeare used several sources for the story—relying predictably on Holinshed, the official Tudor chronicler, as well as John Foxe’s Actes and Monuments. As always, Shakespeare’s adaptation of historical facts—or what were taken to be facts—reveals his thematic and dramatic intentions. The play opens in roughly 1199 with the French making gestures of aggression toward King John. France disputes John’s right to be king—backing instead his nephew Arthur, the son of John’s older brother Geoffrey. Presumably, King Philip of France likes the thought of a French-raised, very young king in England—a king who might be easy to influence and more favorably inclined toward France. And Arthur’s claim to the throne is not so easily dismissed, as John’s mother even admits. Arthur’s claim pits inheritance by primogeniture against inheritance by will—a pertinent tension in Shakespeare’s day. -
NOT SHAKESPEARE Bardolatry and Burlesque in the Nineteenth Century
NOT SHAKESPEARE Bardolatry and Burlesque in the Nineteenth Century RICHARD W. SCHOCH School of English and Drama Queen Mary, University of London PUBLISHED BY THE PRESS SYNDICATE OF THE UNIVERSITY OF CAMBRIDGE The Pitt Building, Trumpington Street, Cambridge, United Kingdom CAMBRIDGE UNIVERSITY PRESS The Edinburgh Building, Cambridge CBRU,UK West th Street, New York, NY -,USA Williamstown Road, Port Melbourne, VIC , Australia Ruiz de Alarco´n , Madrid, Spain Dock House, The Waterfront, Cape Town , South Africa http://www.cambridge.org C Richard W. Schoch This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published Printed in the United Kingdom at the University Press, Cambridge Typeface Baskerville no. /. pt. System LATEX ε [TB] A catalogue record for this book is available from the British Library. Library of Congress Cataloguing in Publication data Schoch, Richard W. Not Shakespeare: bardolatry and burlesque in the nineteenth century / Richard W. Schoch. p. cm. Includes bibliographical references and index. ISBN . Shakespeare, William, – – Parodies, imitations, etc. – History and criticism . Shakespeare, William, – – Adaptations – History and criticism . Shakespeare, William, – – Appreciation – Great Britain. Popular culture – Great Britain – History – th century. English drama – th century – History and criticism. Theatre – Great Britain – History – th century. English drama (Comedy) – History and criticism. Burlesques. I. Title. PR.A S 0. –dc ISBN hardback Contents List of illustrations page viii Acknowledgments x Note on texts xiii Introduction ‘New Readings for Unconventional Tragedians’ ‘Vile beyond endurance’: the language of burlesque Shakespeare’s surrogates Shakespeare in Bohemia Politics ‘burlesquified’ Bibliography Index vii List of illustrations Thomas Blanchard as Guildenstern in a provincial production of Hamlet, c. -
John Foxe's 'Acts and Monuments' and the Lollard Legacy in the Long English Reformation
Durham E-Theses John Foxe's 'Acts and Monuments' and the Lollard Legacy in the Long English Reformation ROYAL, SUSAN,ANN How to cite: ROYAL, SUSAN,ANN (2014) John Foxe's 'Acts and Monuments' and the Lollard Legacy in the Long English Reformation, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/10624/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 John Foxe's Acts and Monuments and the Lollard Legacy in the Long English Reformation Susan Royal A Thesis Presented for the Degree of Doctor of Philosophy Durham University Department of Theology and Religion 2013 Abstract This thesis addresses a perennial historiographical question of the English Ref- ormation: to what extent, if any, the late medieval dissenters known as lollards influenced the Protestant Reformation in England. To answer this question, this thesis looks at the appropriation of the lollards by evangelicals such as William Tyndale, John Bale, and especially John Foxe, and through them by their seven- teenth century successors. -
Review Essay
Early Theatre 16.1 (2013), 151–75 doi: http://dx.doi.org/10.12745/et.16.1.9 Review Essay Kent Cartwright Defining Tudor Drama The gods are smiling upon the field of Tudor literature — perhaps to para- doxical effect, as we shall later see. In 2009 Oxford University Press published Mike Pincombe and Cathy Shrank’s magnificent (and award-winning) col- lection of multi-authored essays The Oxford Handbook of Tudor Literature.1 For drama specialists, Oxford has now followed it with Thomas Betteridge and Greg Walker’s The Oxford Handbook of Tudor Drama.2 This fresh atten- tion to Tudor literature has surely received encouragement from scholarly interest in political history and in religious change during the sixteenth century in England, as illustrated in drama studies by the transformational influence of, for example, Paul Whitfield White’s 1993 Theatre and Reforma- tion: Protestantism, Patronage and Playing in Tudor England. The important Records of Early English Drama project, now almost four decades old, has bolstered such interests.3 More recently, Tudor literature has figured in the ongoing reconsideration of a reigning theory of literary periodization that segmented off what was ‘medieval’ from what was ‘Renaissance’; that recon- sideration, well under way, now tracks the long reach of medieval values and worldviews into the 1530s and beyond. Tudor literary studies has received impetus, too, from the tireless efforts of a number of eminent scholars. Greg Walker, the co-editor of the Handbook, for instance, has authored a series of books on Tudor drama (and most recently Tudor literature) that display a fine-grained, locally attuned, paradigm-setting political analysis at a level never before achieved. -
The New Cambridge Companion to Shakespeare Edited by Margreta De Grazia and Stanley Wells Index More Information
Cambridge University Press 978-0-521-88632-1 - The New Cambridge Companion to Shakespeare Edited by Margreta De Grazia and Stanley Wells Index More information INDEX Note: Page numbers for illustrations are given in italics. Works by Shakespeare appear under title; works by others under author’s name. 4D art: La Tempête 296 , 297 language 83–4 , 86 , 202 , 203 , 208 performance 52 , 333 actor-managers 287 sexuality and gender 221 actors apprentices 45–6 actions and feelings 194–5 Arabic performances 297–8 globalization 287–91 Archer, William 236 performance 233–8 , 248–9 , 287–8 Arden, Mary ( later Shakespeare) xiv , in Shakespeare’s London 45–9 , 61 4 , 5 see also boy actors Arden, Robert 4 , 5 Adams, W. E. 68 ‘Arden Shakespeare’ 69 , 73 , 83 , 255 , 292 , Addison, Joseph 80–1 326 Adelman, Janet Ariosto, Ludovico: Orlando Furioso 92 Hamlet to the Tempest 338 Aristotle 88 , 122 , 128 , 138 Suffocating Mothers: Fantasies of Armin, Robert 46 , 98 Maternal Origin in Shakespeare’s art 339 Plays 338 As You Like It xv , 62 , 114–15 Aesop: Fables 19 categorization 171 Afghanistan 289–90 , 294 characters 46 Age of Kings, An (BBC mini-series) 313 language 17 Akala 280–1 plot devices 109 , 173 Al-Bassam, Sulayman: Richard III – An Arab sexuality and gender 218 , 219 , 223–4 Tragedy 297–8 sources 23 Alexander, Shelton 280 theatre 51 , 52 All is True see Henry VIII Ascham, Roger: The Scholemaster 18 , 20 , Allen, A. J. B. 327 22–3 Allot, Robert: England’s Parnassus 91 Aubrey, John 8 All’s Well That Ends Well xvi , 62 , 84 , audiences 116–17 , 122 , 199 , 213 , 219 audience agency 316–17 Almereyda, Michael: Hamlet 318 , 319–21 , early modern popular culture 271–3 , 274 320 media history 315–17 Amyot, Jacques 20 authors and authorship 1 , 32–4 , 61–2 , 97 , Andrews, John F.: William Shakespeare: His 291–5 , 308 World, His Work, His Infl uence 328 Autran, Paulo 290–1 anti-Stratfordianism 273 Antony and Cleopatra xvi , 62 , 162–3 Bacon, Francis 128 actors 46 Bakhtin, Michaïl 275 characters 163 , 274 Baldwin, T. -
Redalyc.THE REAL THING? ADAPTATIONS, TRANSFORMATIONS and BURLESQUES of SHAKESPEARE, HISTORIC and POST-MODERN
Ilha do Desterro: A Journal of English Language, Literatures in English and Cultural Studies E-ISSN: 2175-8026 [email protected] Universidade Federal de Santa Catarina Brasil Draudt, Manfred THE REAL THING? ADAPTATIONS, TRANSFORMATIONS AND BURLESQUES OF SHAKESPEARE, HISTORIC AND POST-MODERN Ilha do Desterro: A Journal of English Language, Literatures in English and Cultural Studies, núm. 49, julio-diciembre, 2005, pp. 289-314 Universidade Federal de Santa Catarina Florianópolis, Brasil Available in: http://www.redalyc.org/articulo.oa?id=478348687015 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative The real thing? Adaptations, transformations... 289 THE REAL THING?1 ADAPTATIONS, TRANSFORMATIONS AND BURLESQUES OF SHAKESPEARE, HISTORIC AND POST-MODERN Manfred Draudt University of Austria The practice of adapting great authors to fit current requirements is not just a recent phenomenon. The first great wave of adaptations of Shakespeare came after the period of the closing of theatres in 1642, with the advent of the Restoration in 1660. Political change was accompanied by a radical change in tastes, ideals and conditions: theatres were roofed in and artificially illuminated (like the earlier private theatres); there was also elaborate changeable scenery; and for the first time female roles were taken by professional actresses. Most importantly, French neo-classicism was adopted as the fashionable theory that shaped both the form and the language of plays. These currents of change motivated playwrights and managers to “improve on” Shakespeare by rewriting and staging his plays in accordance with the spirit of the new times.