6 X 10.5 Long Title.P65
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
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. -
Proceedings of the Shakespeare and His Contemporaries Graduate
THE BRITISH INSTITUTE OF FLORENCE THE ITALIAN ASSOCIATION OF SHAKESPEAREAN AND EARLY MODERN STUDIES Advisory Board Mariacristina Cavecchi, Università degli Studi di Milano Giuliana Iannaccaro, Università degli Studi di Milano Donatella Pallotti, Università degli Studi di Firenze Alessandra Petrina, Università degli Studi di Padova Laura Tosi, Università degli Studi di Venezia “Ca’ Foscari” Humour in Shakespeare’s Arcadia Selected Papers from the “Shakespeare and his Contemporaries” Graduate Conference Florence, 23 April 2015 edited by Roberta Mullini and Maria Elisa Montironi The British Institute of Florence 2017 Humour in Shakespeare’s Arcadia. Selected Papers from the “Shakespeare and his Contemporaries” Graduate Conference. Florence, 23 April 2015 / edited by Roberta Mullini and Maria Elisa Montironi – Firenze: The British Institute of Florence, 2017. © The Contributors, 2017 ISBN (online) 978-88-907244-4-2 http://www.britishinstitute.it/it/biblioteca/biblioteca-harold- acton/events-at-the-harold-acton-library Graphic design by Roberta Mullini Front cover: Will Sommers, by Francis Delaram, active 1615-1624 [Public domain], via Wikimedia at the site https://en.wikipedia.org/wiki/Will_Sommers#/ media/File:WillSommers_engraving_300dpi.jpg.. Back cover: Four figures contemplate the inscription on a tomb in Arcadia. Etch- ing by Etienne Picart after Nicolas Poussin, 1653. Wellcome Library, London. We act in good faith in publishing this material here. However, should they exist, any legitimate copyright holder is invited to contact the editors. This publication has been double blind peer reviewed. This is an open access book licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License (CC BY-NC-ND 4.0), which means that the text may be used for non- commercial purposes, provided credit is given to the author. -
The Castle and the Virgin in Medieval
I 1+ M. Vox THE CASTLE AND THE VIRGIN IN MEDIEVAL AND EARLY RENAISSANCE DRAMA John H. Meagher III A Dissertation Submitted to the Graduate School of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY December, 1976 Approved by Doctoral Committee BOWLING GREEN UN1V. LIBRARY 13 © 1977 JOHN HENRY MEAGHER III ALL RIGHTS RESERVED 11 ABSTRACT This study examined architectural metaphor and setting in civic pageantry, religious processions, and selected re ligious plays of the middle ages and renaissance. A review of critical works revealed the use of an architectural setting and metaphor in classical Greek literature that continued in Roman and medieval literature. Related examples were the Palace of Venus, the House of Fortune, and the temple or castle of the Virgin. The study then explained the devotion to the Virgin Mother in the middle ages and renaissance. The study showed that two doctrines, the Immaculate Conception and the Assumption of Mary, were illustrated in art, literature, and drama, show ing Mary as an active interceding figure. In civic pageantry from 1377 to 1556, the study found that the architectural metaphor and setting was symbolic of a heaven or structure which housed virgins personifying virtues, symbolically protective of royal genealogy. Pro tection of the royal line was associated with Mary, because she was a link in the royal line from David and Solomon to Jesus. As architecture was symbolic in civic pageantry of a protective place for the royal line, so architecture in religious drama was symbolic of, or associated with the Virgin Mother. -
Mankind Et Everyman Avant-Propos De Jean-Paul Débax & André Lascombes
Mankind et Everyman Avant-Propos de Jean-Paul Débax & André Lascombes coll. « Traductions introuvables : Théâtre Anglais Médiéval », 2012, p. 1-12, mis en ligne le 13 fevrier 2012, URL stable <https://sceneeuropeenne.univ-tours.fr/traductions/genre-humain-mankind>. Théâtre anglais Médiéval est publié par le Centre d’études Supérieures de la Renaissance Université François-Rabelais de Tours, CNRS/UMR 7323 Responsable de la publication Philippe Vendrix Responsables scientifiques Richard Hillman & André Lascombes Mentions légales Copyright © 2012 - CESR. Tous droits réservés. Les utilisateurs peuvent télécharger et imprimer, pour un usage strictement privé, cette unité documentaire. Reproduction soumise à autorisation. ISSN - 1760-4745 Date de création Janvier 2012 AVANT PROPOS P. 1-2 Mankind et Everyman Avant-Propos Jean-Paul Débax & André Lascombes Centre d’Études Supérieures de la Renaissance, Tours Ce premier volume d’une série projetée d’éditions-tra- ductions des œuvres sources du théâtre européen de la Renaissance, volume consacré au domaine anglais, pro- pose au lecteur deux pièces également représentatives, mais chacune à sa manière, de cette production drama- tique ; elles illustrent, l’une et l’autre, le théâtre de la fin du xve siècle : Mankind (Genre Humain), que nous connais- sons grâce au Manuscrit Macro datant de la fin du siècle, semble avoir été composé à une date très voisine de 1466, et d’autre part The Summoning of Everyman (La semonce ou Convocation de Tout-Homme, traduction/adaptation pro- bable de la pièce néerlandaise Elckerlijc) dont nous avons quatre éditions anciennes, chez deux impri- meurs différents, échelonnées de 1515 à 1535, mais pro- bablement composé avant la fin du siècle précédent. -
Everystudent Collection 2011
Everystudent A Collection of Allegorical Plays In the Style of the Medieval Morality Play “The Summoning of Everyman” By Students of the 2011-12 MYP 10 Drama Class Gyeonggi Suwon International School - 1 - Table of Contents Introduction by Daren Blanck .................................................................. page 3 Seven by Nick Lee and Lyle Lee .................................................................. page 4 Slayers by Mike Lee, Daniel Choi and Eric Cho ......................................... page 9 True Friendship by Yealim Lee and Hannah Seo .................................... page 12 Graduation by Judy Oh and Jaimie Park .................................................. page 16 FC society by JH Hyun and Jacob Son ...................................................... page 19 It’s Just Too Late by Jeeho Oh, Ryan Choi and Jee Eun Kim ................. page 22 The Freedom of Will by Eric Han and Bryan Ahn ................................. page 26 Everystudent Justine Yun, Rick Eum, and Seong Soo Son ...................... page 32 Everystudent by Lilly Kim, Seungyeon Rho, Erin Yoon .......................... page 37 Appendix: The Summoning of Everyman abridged by Leslie Noelani Laurio .... page 39 - 2 - Introduction An allegory is a narrative having a second meaning beneath the surface one - a story with two meanings, a literal meaning and a symbolic meaning. In an allegory objects, persons, and actions are metaphors or symbols for ideas that lie outside the text. Medieval drama was wrapped in the stories and doctrines of the medieval Christian church. Most plays could be classified as Mystery Plays - plays that told the stories of the Bible, Miracle Plays - plays that told the stories of saints and martyrs, and Morality plays - allegorical works that sought to convey a moral or some doctrine of the church. Everyman is perhaps the most famous of this last category. -
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 ......................................................................................................... -
Literature of the Low Countries
Literature of the Low Countries A Short History of Dutch Literature in the Netherlands and Belgium Reinder P. Meijer bron Reinder P. Meijer, Literature of the Low Countries. A short history of Dutch literature in the Netherlands and Belgium. Martinus Nijhoff, The Hague / Boston 1978 Zie voor verantwoording: http://www.dbnl.org/tekst/meij019lite01_01/colofon.htm © 2006 dbnl / erven Reinder P. Meijer ii For Edith Reinder P. Meijer, Literature of the Low Countries vii Preface In any definition of terms, Dutch literature must be taken to mean all literature written in Dutch, thus excluding literature in Frisian, even though Friesland is part of the Kingdom of the Netherlands, in the same way as literature in Welsh would be excluded from a history of English literature. Similarly, literature in Afrikaans (South African Dutch) falls outside the scope of this book, as Afrikaans from the moment of its birth out of seventeenth-century Dutch grew up independently and must be regarded as a language in its own right. Dutch literature, then, is the literature written in Dutch as spoken in the Kingdom of the Netherlands and the so-called Flemish part of the Kingdom of Belgium, that is the area north of the linguistic frontier which runs east-west through Belgium passing slightly south of Brussels. For the modern period this definition is clear anough, but for former times it needs some explanation. What do we mean, for example, when we use the term ‘Dutch’ for the medieval period? In the Middle Ages there was no standard Dutch language, and when the term ‘Dutch’ is used in a medieval context it is a kind of collective word indicating a number of different but closely related Frankish dialects. -
A History of English Literature MICHAEL ALEXANDER
A History of English Literature MICHAEL ALEXANDER [p. iv] © Michael Alexander 2000 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No paragraph of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, 90 Tottenham Court Road, London W 1 P 0LP. Any person who does any unauthorised act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The author has asserted his right to be identified as the author of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2000 by MACMILLAN PRESS LTD Houndmills, Basingstoke, Hampshire RG21 6XS and London Companies and representatives throughout the world ISBN 0-333-91397-3 hardcover ISBN 0-333-67226-7 paperback A catalogue record for this book is available from the British Library. This book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. 10 9 8 7 6 5 4 3 2 1 09 08 07 06 05 04 03 02 O1 00 Typeset by Footnote Graphics, Warminster, Wilts Printed in Great Britain by Antony Rowe Ltd, Chippenham, Wilts [p. v] Contents Acknowledgements The harvest of literacy Preface Further reading Abbreviations 2 Middle English Literature: 1066-1500 Introduction The new writing Literary history Handwriting -
The History of English Drama Before 1642 Revisited Alexandra F
The history of English Drama before 1642 revisited Alexandra F. Johnston Records of Early English Drama University of Toronto Shakespeare stands astride the drama of the late sixteenth and early seventeenth centuries like a colossus. What he has given to human culture and particularly the culture of the English speaking world continues to astonish and delight. Yet his monolithic presence has long obscured the variety, beauty and significance of the performance tradition that came before him. He first appears in London in 1592 as young man of twenty-five with just under one quarter of the accepted canon already written. But where had he suddenly come from? In 1971, Daniel Seltzer, in his contribution to A New Companion to Shakespeare Studies, wrote, The drama of the sixteenth and seventeenth centuries in England was an achievement extraordinary not only for its quality, but for the speed with which that quality in its various forms, seems suddenly to have been achieved.1 Many would have concurred with that comment when it was made. No one aware of the last four decades of scholarship would make that comment today. Much has been accomplished in those four decades as the symbiotic relationship among three strands of scholarly endeavour –the rediting of all the texts, the performance of the drama in ways that have sought to discover the original staging conventions and the discovery and editing of the external written evidence for early drama – has changed forever our understanding of the place of performance in late medieval and early modern -
Downloaded from Brill.Com10/02/2021 06:39:03AM Via Free Access 92 Verena Demoed
CHAPTER FOUR THE MORALITY OF HYPOCRISY: GNAPHEUS’S LATIN PLAY HYPOCRISIS AND THE LUTHERAN REFORMATION Verena Demoed Introduction In drama, moral judgment is not uttered through words alone; it can also be expressed through non-verbal and seemingly subsid- iary things such as props, costumes and stage action.1 This paper will attempt to clarify how Gnapheus used his Latin plays, especially his Hypocrisis (‘Hypocrisy’, published in 1544 and 1564), in debates on religious matters. Gulielmus Gnapheus Hagiensis, or Willem de Volder (Fuller), or Van de Voldersgraft, of The Hague (1493–1568) is an example of a committed writer. He held outspoken views on the Protestant reformations, which he expounded in pamphlets and plays. Because of his commitment, his oeuvre is pre-eminently suitable as material in an investigation of the role literature played within public debate, and the effect it may have had on public opinion. Hypocrisis is his most outspoken play. It was written and produced in East Prussia, where Lutheranism was proclaimed as a state religion. This enabled the author (he may even have felt obliged) to expound his reforma- tional ideas in a more direct, explicit and uncompromising manner than he would have done in the Low Countries and West Prussia, where he lived before the 1540s, and which at that time still remained officially Catholic. Though even here, in Lutheran East Prussia, Gnapheus came into conflict with the ecclesiastical authorities: he was indicted for heresy by the Lutheran theologian Staphylus. 1 This paper was written within the scope of the Vidi-projectLatin and Vernacular Cultures: Theatre and Public Opinion in the Netherlands (ca. -
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. -
'To See the Playes of Theatre Newe Wrought': Electronic Editions And
Issues in Review 211 ‘To see the Playes of Theatre newe wrought’: Electronic Editions and Early Tudor Drama Brett D. Hirsch Early Theatre 16.2 (2013), 211–249 DOI: http://dx.doi.org/10.12745/et.16.2.13 This article considers the challenges and opportunities associated with electronic editions of early Tudor drama, as well as the new modes of scholarship enabled by their creation. In early Tudor England the drama had sunk many fathoms below the level of the Miracle Plays … The rise of the drama, under Elizabeth, is a kind of miracle, like the sculpture of Phidias appearing after the rude art of the artists who worked at Athens before the victories of Marathon and Salamis.1 The continued neglect of early Tudor drama suggests little has changed in the hundred years since Andrew Lang published this disparaging remark. A generation before, J.A. Symonds announced that the Tudor moralities ‘can hardly be said to lie in the direct line of evolution between the Miracle and the legitimate Drama, but rather to be an abortive side-effort, which was des- tined to bear barren fruit’.2 Routinely dismissed as ‘thematically humanis- tic, theatrically dull, and aesthetically mediocre’,3 early Tudor drama has, as Leah S. Marcus observes, typically ‘interested scholars only as a transition to something else’,4 namely, the drama of Shakespeare and his immediate con- temporaries. Frederick S. Boas’ Introduction to Tudor Drama, for example, begins with the acknowledgment that Shakespeare ‘does not stand alone in isolated majesty’, that His work is the climax, the consummation of the efforts and achievements of forerunners for a century before he began to write.