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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. -
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. -
John Stephen Farmer
Patrick J. Kearney NOTES GENEA-BIBLIO-BIOGRAPHICAL on John Stephen Farmer SCISSORS & PASTE BIBLIOGRAPHIES Santa Rosa, CA 2019 The only known photograph of John S. Farmer obtained by G. Legman from Dr. E. J. Dingwall and used as the frontispiece to the first volume of the abortive attempt to reprint of Slang and its Analagues by University Books of New York in 1964. In 1966, University Books of New Hyde Park, New York, launched an ambitious project to reprint in a volume-by-vol- ume facsimile The Dictionary of Slang and its Analogues that was published privately by subscription, and in the teeth of legal obstructions by printers who claimed that their modesty was shocked by the work’s content, between 1890 and 1904 in seven volumes. Sensibly, University Books commenced work by re-issuing the second edition of the first volume, revised and enlarged by the original compilers, John Stephen Farmer and William Ernest Henley, and published in two parts, in 1903 and 1909. It is unfortunate that this is as far as the project went and no further volumes were reprinted. However, aside from the importance of having the quite rare revision made available again, and in a handsome, cased edition, this solitary volume had a couple of additions that make it even more valuable. First there are two Introductions, one, ‘On Sex- ual Speech and Slang,’ by the late Gershon Legman, being of particular interest; and secondly there is reproduced, as the fron- tispiece, the only known photograph of Farmer, which Legman acquired from Dr. Eric Dingwall, himself an authority on some of the more curious bypaths of literature. -
Furious: Myth, Gender, and the Origins of Lady Macbeth
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2019 Furious: Myth, Gender, and the Origins of Lady Macbeth Emma King The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/3431 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] FURIOUS: MYTH, GENDER, AND THE ORIGINS OF LADY MACBETH by EMMA KING A master’s thesis submitted to the Graduate Faculty in Liberal Studies in partial fulfillment of the requirements for the degree of Master of Arts, The City University of New York 2019 ii © 2019 EMMA KING All Rights Reserved iii Furious: Myth, Gender, and the Origins of Lady Macbeth by Emma King This manuscript has been read and accepted for the Graduate Faculty in Liberal Studies in satisfaction of the thesis requirement for the degree of Master of Arts. Date Tanya Pollard Thesis Advisor Date Elizabeth Macaulay-Lewis Executive Officer THE CITY UNIVERSITY OF NEW YORK iv ABSTRACT Furious: Myth, Gender, and the Origins of Lady Macbeth by Emma King This thesis attempts to understand the fabulously complex and poisonously unsettling Lady Macbeth as a product of classical reception and intertextuality in early modern England. Whence comes her “undaunted mettle” (1.7.73)? Why is she, like the regicide she helps commit, such a “bloody piece of work” (2.3.108)? How does her ability to be “bloody, bold, and resolute” (4.1.81), as Macbeth is commanded to be, reflect canonical literary ideas, early modern or otherwise, regarding women, gender, and violence? Approaching texts in the literary canon as the result of transformation and reception, this research analyzes the ways in which Lady Macbeth’s gender, motivations, and words can be understood as inherently intertextual. -
The Singing 'Vice': Music and Mischief in Early English Drama1
Early Theatre 12.2 (2009) Maura Giles-Watson The Singing ‘Vice’: Music and Mischief in Early English Drama1 ‘Debates about music are not about nothing.’ 2 Over the last half-century, scholars have extensively studied and debated the use and function of instrumental and vocal music in the English mystery plays,3 but music in the secular English interlude drama has yet to receive similar treatment.4 This is not without good reason: the subject of music in the interludes is fraught with ambiguity and uncertainty. Although the extant interludes contain many indications of song in the form of references, snatches, cues, stage directions, and even full song texts, very little scored music has been preserved in either manuscript or print.5 Richard Rastall’s observation with regard to music in early English religious drama might also be made of music in the interludes: ‘the surviving written music is only a fraction of that actually required in performance’.6 To be sure, absent musical scores and elided stage directions present special problems for the researcher. Thus, very sensibly, discussions of music in secular interlude drama have tended to limit themselves to those rare play texts that contain significant music in score, such as John Rastell’s The Four Elements and Ulpian Fulwell’s Like Will to Like.7 As Richard Rastall further notes, since documentation is quite scarce ‘informed guesswork is the only way forward’ in discussions of music in early English drama, ‘although the word “informed” is one that needs to be stressed’.8 Suzanne Westfall observes that ‘entertainments in great households were almost always occasional, ephemeral and frequently non- textual due to their multi-mediality. -
'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. -
Vice': Music and Mischief in Early English Drama Maura Giles-Watson University of San Diego, [email protected]
University of San Diego Digital USD English Faculty Publications Department of English 2009 The inS ging 'Vice': Music and Mischief in Early English Drama Maura Giles-Watson University of San Diego, [email protected] Follow this and additional works at: http://digital.sandiego.edu/english_facpub Digital USD Citation Giles-Watson, Maura, "The inS ging 'Vice': Music and Mischief in Early English Drama" (2009). English Faculty Publications. 2. http://digital.sandiego.edu/english_facpub/2 This Article is brought to you for free and open access by the Department of English at Digital USD. It has been accepted for inclusion in English Faculty Publications by an authorized administrator of Digital USD. For more information, please contact [email protected]. Early Theatre 12.2 (2009) Maura Giles-Watson The Singing ‘Vice’: Music and Mischief in Early English Drama1 ‘Debates about music are not about nothing.’ 2 Over the last half-century, scholars have extensively studied and debated the use and function of instrumental and vocal music in the English mystery plays,3 but music in the secular English interlude drama has yet to receive similar treatment.4 This is not without good reason: the subject of music in the interludes is fraught with ambiguity and uncertainty. Although the extant interludes contain many indications of song in the form of references, snatches, cues, stage directions, and even full song texts, very little scored music has been preserved in either manuscript or print.5 Richard Rastall’s observation with regard to music in early English religious drama might also be made of music in the interludes: ‘the surviving written music is only a fraction of that actually required in performance’.6 To be sure, absent musical scores and elided stage directions present special problems for the researcher. -
Introduction: Why Attend to Earlier Tudor Drama? Erin E
Issues in Review Erin E. Kelly (Contributing Editor), Maura Giles-Watson, Jennifer Ailles, Laura Estill, and Brett D. Hirsch New Approaches to Earlier Tudor Drama Introduction: Why Attend to Earlier Tudor Drama? Erin E. Kelly Early Theatre 16.2 (2013), 165–170 DOI: http://dx.doi.org/10.12745/et.16.2.9 While the past two decades have seen the publication of excellent new scholarship about and resources for the study of earlier Tudor drama, much of this work con- tinues to stress the historical and performance contexts for plays from the first half of the sixteenth century. The four essays in this Issues in Review demonstrate and call for new approaches to such material by featuring repertory studies, ecocritical readings, manuscript studies, and digital humanities approaches. We have arguably reached the point where it is no longer possible to say that Tudor drama receives little critical attention. Recent publication of signifi- cant essay collections and reference works suggest growing scholarly interest in plays performed and printed while Henry VII, Henry VIII, Edward VI, and Mary I ruled as well as during the first decade of the reign of Elizabeth I. Essays in Thomas Betteridge and Greg Walker’s 2012 Oxford Handbook of Tudor Drama, chapters on drama in Mike Pincombe and Cathy Shrank’s 2009 Oxford Handbook of Tudor Literature, and Kent Cartwright’s 2010 Companion to Tudor Literature, as well as nearly half of the contents of Lloyd Edward Kermode, Jason Scott-Warren, and Martine Van Elk’s Tudor Drama before Shakespeare, 1485–1590, encourage readers to revisit a wide range of these earlier plays, including so-called medieval cycles, morality plays, court Erin E. -
Direct Address in Early English Drama, 1400-1585 Michelle Markey Butler
Duquesne University Duquesne Scholarship Collection Electronic Theses and Dissertations Spring 2003 "All hayll, all hayll, both blithe and glad": Direct Address in Early English Drama, 1400-1585 Michelle Markey Butler Follow this and additional works at: https://dsc.duq.edu/etd Recommended Citation Butler, M. (2003). "All hayll, all hayll, both blithe and glad": Direct Address in Early English Drama, 1400-1585 (Doctoral dissertation, Duquesne University). Retrieved from https://dsc.duq.edu/etd/371 This Immediate Access is brought to you for free and open access by Duquesne Scholarship Collection. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Duquesne Scholarship Collection. For more information, please contact [email protected]. “All hayll, all hayll, both blithe and glad”: Direct Address in Early English Drama, 1400-1585 Michelle M. Butler A Dissertation Submitted in Partial Fulfillment of the Requirements for the degree of Doctor of Philosophy Director: Dr. Anne Brannen Duquesne University 2003 Brian— “I do love nothing in the world so well as you—is not that strange?”—Much Ado About Nothing 2 Acknowledgements My debts are legion. I want to thank my dissertation committee, Dr. Anne Brannen (chair), Dr. Jay Keenan, and Dr. David Klausner for serving on this committee and for their helpful comments on this work. I would also like to thank Dean Constance Ramirez and the Duquesne English Department for arranging for David to attend my defense, and of course David himself both for being willing to serve on my committee as an outside reader and for personally attending my defense. -
Skenè. Journal of Theatre and Drama Studies
Σ 5:2 2019 Manuela Giordano – Athenian Power: Seven Against Thebes and the Democracy-in-Arms Vasiliki Kousoulini – Restraining the Song of her Mistress 1 and Saving the Oikos? Nurses in Euripides’ Medea, Hippolytus and Andromache Francesco Dall’Olio – A Liar Tells the Truth: the Dramatic Function of the Vice in Cambises Elena Pellone – King Lear: Everything Comes of Nothing and the Great Stage of Fools Robert William Haynes – Replacing the Romantic Plantation: Horton Foote’s Dramatic Engagement from Gone with the Wind (The Musical)to Convicts Martina Treu – Erase and Rewrite. Ancient Texts, Modern Palimpsests Special Section Camilla Caporicci – Emanuel Stelzer, Portraits in Early Modern English Drama: Visual Culture, Play-Texts, and Performances, Abingdon and New York: Routledge Maria Elisa Montironi – Roberta Mullini, Parlare per non farsi sentire. L’a parte nei drammi di Shakespeare, Roma: Bulzoni Gioia Angeletti – Tradition and Revolution in Scottish Drama and Theatre: An Open Debate? Alessandro Clericuzio – Dirk Gindt, Tennessee Williams in Sweden and France, 1945-1965. Cultural Translations, Sexual Anxieties and Racial Fantasies, London and New York: Methuen Gherardo Ugolini – Women Against War. The Trojan Women, Helen, and Lysistrata at Syracuse Skenè. Journal of Theatre and Drama Studies S K E N È Journal of Theatre and Drama Studies 5:2 2019 SKENÈ Journal of Theatre and Drama Studies Founded by Guido Avezzù, Silvia Bigliazzi, and Alessandro Serpieri Executive Editor Guido Avezzù. General Editors Guido Avezzù, Silvia Bigliazzi. Editorial Board Simona Brunetti, Francesco Lupi, Nicola Pasqualicchio, Susan Payne, Gherardo Ugolini. Managing Editor Francesco Lupi. Assistant Managing Editors Valentina Adami, Emanuel Stelzer, Roberta Zanoni. -
The Paradox of Elizabethan Revenge
THE PARADOX OF ELIZABETHAN REVENGE FROM HORESTES TO HAMLET ANTON CHARLES ARULANANDAM MASTER OF ARTS - HONOURS 1995 THE UNVERSITY OF NEW SOUTH WALES THE PARADOX OF ELIZABETHAN REVENGE FROM HORESTES TO HAMLET CONTENTS Acknowledgement Page 2 List ofIllustrations Page 3 Abstract Page 4 Introduction Page 5 Chapter One Page 33 Chapter Two Page 55 Chapter Three Page 75 Chapter Four · Page 93 Chapter Five Page 112 Conclusion Page 142 ACKNOWLEDGMENT I gratefully acknowledge my indebtedness to my Supervisor, Dr. Richard Medelaine, and Co-Supervisor, Professor Mary Chan, who not only awakened my serious interest in the drama of the English Renaissance, but tolerated and encouraged this graduate student in the preparation of this thesis. I also wish to express my gratitude to Dr. Bruce Johnson, Professor Michael Hollington, Associate Professor Roslyn Haynes and Associate Professor Peter Alexander, Head, School of English, the staff of the School of English and my colleagues, Pauline Byrnes and Brian Couch, and my wife, Edith, for their assistance and encouragement. A significant debt is owed to the numerous critics mentioned in the footnotes and Bibliography for their scholarly discourse on the revenge genre. Anton C. Arulanandam 2 December 1995. LIST OF ILLUSTRATIONS Gratefully Acknowledged The Revenge of Orestes From Boccaccio's De Mulieribus Claris, Ulm, 1473, fol.xxxv verso, p. 32. The Murder of Horatio in The Spanish Tragedie From the edition of 1633, p. 54. The Revenge of Titus Andronicus From The Lamentable and Tragical History of Titus Andronicus, a ballad ( British Museum, Huth 50 - 69). p. 74. ( By kind courtesy of Willard Farnham, The Medieval Heritage ofElizabethan Tragedy, Basil Blackwell, Oxford, 1963, ps. -
Records Ofeabjyengfis Drama
volume 9, number 2 (1984) A Newsletter published by University of Toronto Press in association with Erindale College, University of Toronto. JoAnna Dutka, editor Records ofEabjY Engfis Drama We regret to announce the sudden death of Professor A .G .R. Petti . Professor Petti, a founder member of REED, retired from the Executive in 1983 to join the Advisory Board . He provided a creative critique on our activities durings his years of service on the Executive. Our special debt to him will be for his central role in devising REED's Rules of Transcription. His sensible middle road between strict diplomatic transcription and complete modernization has had an impact in editorial practices beyond our own vol- umes . We are grateful to have had the services of such a talented paleographer at the early stages of the project . AFJ Ian Lancashire's bibliography of works dealing with records of drama and related activities is accompanied in this issue by the first section of Abigail Young's study, based on her work with a selection of REED and Malone Society record collections, of Latin terms for plays, players and performance . IAN LANCASHIRE Annotated bibliography of printed records of early British drama and minstrelsy for 1982-83 This list covers documentary or material records of performers and performance that appear in books, periodicals and record series publishing on pre-18th-century British history, literature and archaeology up to 1984. Only publications on the Shakespeare claimants are omitted . Any item I could not personally read is described as `Not seen .' This introduction cannot mention every valuable contribution in the following list, but it should register that important advances have been made in five areas : the London theatres; general theatre history ; provincial drama, especially in the north ; court revels from Edward iv to Charles I ; and the biography of players and patrons .