History Rediscovered
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Personal Properties: Stage Props and Self-Expression in British Drama, 1600-1707
PERSONAL PROPERTIES: STAGE PROPS AND SELF-EXPRESSION IN BRITISH DRAMA, 1600-1707 Ashley Brookner Bender, B.A., M.A. Dissertation Prepared for the Degree of DOCTOR OF PHILOSOPHY UNIVERSITY OF NORTH TEXAS December 2009 APPROVED: Alexander D. Pettit, Major Professor Deborah Needleman Armintor, Committee Member Jacqueline A. Vanhoutte, Committee Member David Holdeman, Chair of the Department of English Michael Monticino, Dean of the Robert B. Toulouse School of Graduate Studies Bender, Ashley Brookner, Personal Properties: Stage Props and Self-Expression in British Drama, 1600-1707, Doctor of Philosophy (English), December 2009, 166 pp., 119 titles. This dissertation examines the role of stage properties—props, slangily—in the construction and expression of characters’ identities. Through readings of both canonical and non-canonical drama written between 1600 and 1707—for example, Thomas Middleton’s The Revenger’s Tragedy (1607), Edward Ravenscroft’s adaptation of Titus Andronicus (1678), Aphra Behn’s The Rover (1677), and William Wycherley’s The Plain Dealer (1677)—I demonstrate how props mediate relationships between people. The control of a character’s props often accords a person control of the character to whom the props belong. Props consequently make visual the relationships of power and subjugation that exist among characters. The severed body parts, bodies, miniature portraits, and containers of these plays are the mechanisms by which characters attempt to differentiate themselves from others. The characters deploy objects as proof of their identities—for example, when the women in Behn’s Rover circulate miniatures of themselves—yet other characters must also interpret these objects. The props, and therefore the characters’ identities, are at all times vulnerable to misinterpretation. -
Theodore Tilton at Ohio Wesleyan University, and Bid Him Into Phi Kappa Psi
Appendix Zeta2: The Pembroke Intellectual Line Connecting brothers of Phi Kappa Psi Fraternity at Cornell University, tracing their fraternal Big Brother/Little Brother line to tri-Founder John Andrew Rea (1869) John Andrew Rea, tri-founder of Phi Kappa Psi at Cornell . . befriended Theodore Tilton at Ohio Wesleyan University, and bid him into Phi Kappa Psi . . Ted was mentored by Henry Ward . John Clapp studied under John Beecher, who also seduced Leverett who studied under his wife . Urian Oakes. . Henry Ward Beecher followed in . Oakes, in turn was protected by the tradition of Lyman Beecher . Colonel Richard Norton . Lyman Beecher studied under Timothy . Norton was a friend of Oliver Dwight IV . Cromwell . Dwight studied under Naphtali . The Lord Protector was brought over to Daggett . Puritanism by Swithun Butterfield . . who studied under . and Butterfield was patronized by the Thomas Clapp . Earl of Pembroke’s spouse . Below we present short biographies of the Pembroke intellectual line of the Phi Kappa Psi Fraternity at Cornell University. “Who defends the House.” We begin with John “Jack” Andrew Rea, Cornell Class of 1869 and one of the three founders of the New York Alpha Chapter of the Phi Kappa Psi Fraternity at Cornell University, who bid brother Theodore Tilton: Theodore Tilton (Oct. 2, 1835 – May 25, 1907) was a American newspaper editor, poet and abolitionist. He was born in New York City to Silas Tilton and Eusebia Tilton (same surname). In October of 1855 he married Elizabeth Richards. From 1860 to 1871, he was the assistant of Henry Ward Beecher; however, in 1874, he filed criminal charges against Beecher for "criminal intimacy" with his (Tilton's) wife. -
Reviling Regicides: the King Killers in Popular Culture, 1649-62
REVILING REGICIDES: THE KING KILLERS IN POPULAR CULTURE, 1649-62 By Dr Lloyd Bowen On 30 January 1661, the twelfth anniversary of Charles I’s execution, Oliver Cromwell’s body (or at least a body said to be his), was hung from the gallows at Tyburn before being decapitated and buried in a lime pit. Eight years earlier, an unknown author posted a set of verses at Cromwell’s portrait which had been placed in the Exchange following his expulsion of the Rump Parliament. The poem addressed Cromwell directly, and foretold the fate of his flesh during the Restoration: ‘Ascend three gibbets, other right thou hast none,/ Two in effigie, and in person one’. Cromwell deserved a triple hanging, it said, as a rebel against God, king and parliament, and the Antichrist’s triple crown was his only inheritance, not the circlet of the martyred king. Although the poem had a serious message about the fate of the most prominent regicide, An Horatian Ode it was not. Rather it traded in the knockabout and the satirical. The poet conjured Hugh Peters, Cromwell’s chaplain and enthusiastic regicide, as the man who ‘shall ayde thy coronacon/ And in the pulpit thy damn’d acts rehearse/ Whilst all the people cry/ Goe kisse myne arse’.1 The executions of Cromwell in 1661 and 1653 were both symbolic, but they were also both deeply political. These figurative retributions emerged from a strain in contemporary political discourse which thirsted for revenge against the regicides in general and Cromwell in particular. The two episodes were connected by an arc of disaffection and hostility against the republic which was militarily inept, but culturally potent, and it is with this strain of anti- regicide bitterness and resentment that this essay is concerned.