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Mastering Masques of Blackness, Andrea Stevens
andrea stevens Mastering Masques of Blackness: Jonson’s Masque of Blackness, The Windsor text of The Gypsies Metamorphosed, and Brome’s The English Moor Black all over my body, Max Factor 2880, then a lighter brown, then Negro No. 2, a stronger brown. Brown on black to give a rich mahogany. Then the great trick: that glorious half-yard of chiffon with which I polished myself all over until I shone . The lips blueberry, the tight curled wig, the white of the eyes, whiter than ever, and the black, black sheen that covered my flesh and bones, glistening in the dressing-room lights.enlr_1052 396..426 Iam...IamI...IamOthello...butOlivier is in charge.1 —Laurence Olivier, On Acting (1986) Ben Jonson’s “Masque of Blackness” was composed, as the author himself declares, at the express commandment of the Queen (Anne of Denmark), who had a desire to appear along with the fairest ladies of her court, as a negress. I doubt whether the most enthusiastic amies des noirs among our modern beauties, would willingly undergo such a transfor- mation.What would the Age say, if our gracious Queen should play such a frolic?...Itmustnotbe supposed that these high-born masquers sooted their delicate complexions like the Wowskies of our barefaced stages. The masque of black velvet was as common as the black patches in the time of the Spectator.2 —Hartley Coleridge, The Dramatic Works of Massinger and Ford (1859) I am grateful to Bruce Holsinger, Robert Markley, and especially Paul Menzer for their detailed critiques of drafts of this paper.Thanks are due also to the essay’s earliest readers: Christine Luckyj, Katharine Maus, Elizabeth Fowler, Sarah Hagelin, Ellen Malenas Ledoux, and Samara Landers. -
The London Merchant; Or, the History of George Barnwell, and Fatal
T^testtdeb to rftlje ^niiJersit^ of 'Qloroitta The Estate of the late Professor A.S.P. '.Toodhouse > 'Bj €6e ^AWMmu^ J>erie^ SECTION III THE ENGLISH DRAMA FROM ITS BEGINNING TO THE PRESENT DAY GENERAL EDITOR GEORGE PIERCE BAKER rSOFBSSOK OF DRAMATIC IJTKRATO»« IN HAKVAKD UHIVKSSITV From Perin in Cornwall; OF A mod Bloody and vn-exampled Murthcr »ery latcJ; coniii)itted by a Father on his owne SoniK (»*# WitUtilf rttariui frim thi l»ijti) it ihe InAiguion of a mcccilefle Stcp-aothcr* Tt^etitr wilt titirftiUTtltmtJI viritetedemits. Mug all pcrfoimcdin tiic Month of Scptem- LONDON Ptiotcdb7£.4f.tadatc(aticfoldcaiCi>itCiwiigKCaIfl8» HE LONDON MERCHANT OR THE HISTORY OF GEORGE BARNWELL AND FATAL CURIOSITY By GEORGE LILLO EDITED BY ADOLPHUS WILLIAM WARiJ, Litt.D., F.B.A. MASTER OF PETERHOUSE COLLEGE CAMBRIDGE, ENGLAND BOSTON, U.S.A., AND LONDON D. C. HEATH & CO., PUBLISHERS COPYRIGHT, 1906, BY D. C. HEATH ft Ott ALL SIGHTS RESERVED 2 EO ppin , l3fograpi^r Very little is known concerning the personal life of George Lillo, the author of the two plays which are re- (irinted in this volume, and each of which may be said to have a place of its own in the history of the modem drama. His name is Flemish, and he was very probably a descendant of refugees whom religious persecution had driven to this country. ' Lillo ' was the name of the fort that stood above Antwerp on the northern bank of the Scheldt." On the occasion of the marriage, in 1734, of the Prin- cess Royal of Great Britain (Anne, daughter of King George II) to the Prince of Orange (William IV), Lillo produced a masque entitled Britannia and Bata'via. -
Masculinization of Tragedy in Joseph Addison's Cato and George Lillo's
Litera: Dil, Edebiyat ve Kültür Araştırmaları Dergisi Litera: Journal of Language, Literature and Culture Studies Litera 2018; 28(2): 233-252 DOI: 10.26650/LITERA2018-0006 Research Article Masculinization of Tragedy in Joseph Addison’s Cato and George Lillo’s The London Merchant Joseph Addison’un Cato ve George Lillo’nun Londralı Tüccar Eserlerinde Tragedyanın Maskülenleşmesi Sinan GÜL1 ABSTRACT During the 18th century, the development of gender and sexuality in the modern Western world was under tremendous impact of visual and literary culture. Considering this, by examining Addison’s Cato. A Tragedy. By Mr. Addison. Without the Love Scenes (1764) (Latin version) and Lillo’s The London Merchant (1731), this article analyzes the masculine features of the characters of 18th-century tragedies in England and investigates the reasons behind the dismissal and belittlement of love scenes and feminine qualities in those tragedies. In comedies, women and their qualities were openly ridiculed, while in tragedies, masculine values and patriarchal rules were overtly protected. Depicting societal norms and ideals, Cato and The London Merchant portray the evolving notions of masculinity. Despite increasing female influence in political and social culture, love, often associated with feminine qualities, was belittled in domestic and public domains. In doing so, playwrights either entirely ignored the idea of using female characters in their plays, thus creating contextual errors of portraying husbands without wives or sons without mothers, or depicted women as the sources of passion that could potentially destroy society, men in particular. Therefore, the concept of love was neglected, undervalued, or dismissed, with playwrights rather offering patriotic or capitalist virtues to substitute the idea of love so that their plays would be deemed as appropriate for public appreciation. -
A Dictionary of Literary and Thematic Terms, Second Edition
A DICTIONARY OF Literary and Thematic Terms Second Edition EDWARD QUINN A Dictionary of Literary and Thematic Terms, Second Edition Copyright © 2006 by Edward Quinn All rights reserved. No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval systems, without permission in writing from the publisher. For information contact: Facts On File, Inc. An imprint of Infobase Publishing 132 West 31st Street New York NY 10001 Library of Congress Cataloging-in-Publication Data Quinn, Edward, 1932– A dictionary of literary and thematic terms / Edward Quinn—2nd ed. p. cm. Includes index. ISBN 0-8160-6243-9 (hc : alk. paper) 1. Criticism—Terminology. 2. Literature— Terminology. 3. Literature, Comparative—Themes, motives, etc.—Terminology. 4. English language—Terms and phrases. 5. Literary form—Terminology. I. Title. PN44.5.Q56 2006 803—dc22 2005029826 Facts On File books are available at special discounts when purchased in bulk quantities for businesses, associations, institutions or sales promotions. Please call our Special Sales Department in New York at (212) 967-8800 or (800) 322-8755. You can fi nd Facts On File on the World Wide Web at http://www.factsonfi le.com Text design by Sandra Watanabe Cover design by Cathy Rincon Printed in the United States of America MP FOF 10 9 8 7 6 5 4 3 2 1 This book is printed on acid-free paper. Contents Preface v Literary and Thematic Terms 1 Index 453 Preface This book offers the student or general reader a guide through the thicket of liter- ary terms. -
Antitheatricality and the Body Public. by Lisa A. Freeman
Books Antitheatricality and the Body Public. By Lisa A. Freeman. Philadelphia: University of Pennsylvania Press, 2017; 376 pp.; illustrations. $55.00 cloth, e-book available. In the summer of 2017, nearly two and a half millennia after Plato banished players from his Republic, a kerfuffle over a familiarly coiffured Julius Caesar in New York’s Central Park reminded us that performance can still pose a threat to the pub- lic. In her dazzlingly ambitious and meticulously researched second book, Lisa A. Freeman gives us the historical con- text and methodological tools to understand why. The Public Theater’s production of Julius Caesar — which angered conser- vatives in featuring the assassination of a sovereign who bore a striking resemblance to Donald Trump (see Paulson and Deb 2017) — debuted after Antitheatricality and the Body Public was already in print (though Freeman has written about the incident elsewhere — see Freeman [2017]). Yet it is a testament to the perspicacity of Freeman’s thought that her ideas shed light not only on the theatre as a key to understanding how societies have defined and debated their con- stituents in the near and distant past, but also on how we might use the theatre to think through the constitutional crises of the present and the future. Freeman opens the book by questioning an underlying assumption made by previous schol- ars of antitheatricality, from Jonas Barish to Martin Puchner — that is, that antitheatricality is as “endemic” to Western culture as theatricality, a natural reaction to “a fundamental distrust of representation and an equally strong discomfiture with the bodies that lend themselves to the art of performance” (1). -
Going Commercial: Agency in 17Th Century English Drama
GOING COMMERCIAL: AGENCY IN 17TH CENTURY ENGLISH DRAMA by KARL F. MCKIMPSON A DISSERTATION Presented to the Department of English and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Philosophy March 2016 DISSERTATION APPROVAL PAGE Student: Karl F. McKimpson Title: Going Commercial: Agency in 17th Century English Drama This dissertation has been accepted and approved in partial fulfillment of the requirements for the Doctor of Philosophy degree in the Department of English by: Dianne Dugaw Chairperson George Rowe Core Member Ben Saunders Core Member Alexandre Albert-Galtier Institutional Representative and Scott L. Pratt Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded March 2016 ii © 2016 Karl F. McKimpson This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs (United States) License. iii DISSERTATION ABSTRACT Karl F. McKimpson Doctor of Philosophy Department of English March 2016 Title: Going Commercial: Agency in 17th Century English Drama This dissertation’s aim is to reveal how essential economic mechanics were to playwrights when it came to depicting agency. Rising commercialization in the seventeenth century prompted playwrights to appropriate market behaviors in London as a new discourse for agency. Commerce serves as a metaphor for every part of daily life, and a new kind of “commercial” agency evolves that predicates autonomy upon the exchange networks in which a person participates. Initially, this new agency appears as a variation on the trickster. By the end of the century, playwrights have created a new model for autonomy and a new kind of hero to employ it: the entrepreneur. -
Disordered Appetites: Female Flesh in the Works of Thomas Middleton
DISORDERED APPETITES: FEMALE FLESH IN THE WORKS OF THOMAS MIDDLETON A dissertation submitted by Gregory M. Schnitzspahn in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English TUFTS UNIVERSITY May 2015 Copyright © 2015 by Gregory M. Schnitzspahn Advisor: Judith Haber ii Abstract This dissertation contends that Thomas Middleton’s plays and poetry exploit an early modern psychocultural anxiety focused on the insubstantiality of symbolic or linguistic constructs. More specifically, Middleton’s works consistently examine the manipulability and immateriality of patriarchally prescribed female social identities––such as maid, wife, and widow––that are based entirely upon a woman’s sexual or marital relations with men. Employing principles drawn from psychoanalysis and ecofeminism, I argue that this Middletonian preoccupation bespeaks a more widespread uncertainty in the period about symbolic structures intended to control or contain female bodies and the natural world. My analysis of Thomas Middleton’s work therefore points to conceptual technologies that were emergent in the early modern period and which continue to exert influence in the present day. In the introduction, I describe my guiding principles and theoretical apparatus by reading the typically Middletonian complications of marital and sexual identity in two plays, The Witch and The Phoenix. Chapter One moves to a discussion of female virginity in The Changeling, Middleton’s famous collaboration with William Rowley, and argues that the play taps into cultural anxieties about the potential unreliability of symbolic technologies for controlling female bodies and appetites. Chapter Two examines Middleton’s early work, The Ghost of Lucrece, and contends that this poem’s plaintive ghost uses images of iii female corporeality as a rhetorical weapon, unleashing great floods of blood, milk, and tears that strain the written language of the poem itself. -
Antitheatricality and the Body Public. by Lisa A. Freeman
Books Antitheatricality and the Body Public. By Lisa A. Freeman. Philadelphia: University of Pennsylvania Press, 2017; 376 pp.; illustrations. $55.00 cloth, e-book available. Downloaded from http://direct.mit.edu/dram/article-pdf/62/2 (238)/172/1824771/dram_r_00762.pdf by guest on 28 September 2021 In the summer of 2017, nearly two and a half millennia after Plato banished players from his Republic, a kerfuffle over a familiarly coiffured Julius Caesar in New York’s Central Park reminded us that performance can still pose a threat to the pub- lic. In her dazzlingly ambitious and meticulously researched second book, Lisa A. Freeman gives us the historical con- text and methodological tools to understand why. The Public Theater’s production of Julius Caesar — which angered conser- vatives in featuring the assassination of a sovereign who bore a striking resemblance to Donald Trump (see Paulson and Deb 2017) — debuted after Antitheatricality and the Body Public was already in print (though Freeman has written about the incident elsewhere — see Freeman [2017]). Yet it is a testament to the perspicacity of Freeman’s thought that her ideas shed light not only on the theatre as a key to understanding how societies have defined and debated their con- stituents in the near and distant past, but also on how we might use the theatre to think through the constitutional crises of the present and the future. Freeman opens the book by questioning an underlying assumption made by previous schol- ars of antitheatricality, from Jonas Barish to Martin Puchner — that is, that antitheatricality is as “endemic” to Western culture as theatricality, a natural reaction to “a fundamental distrust of representation and an equally strong discomfiture with the bodies that lend themselves to the art of performance” (1). -
The Antitheatrical Paradox in Michel Marc Bouchard’S Les Feluettes, Ou La Répétition D’Un Drame Romantique1
Can Lit 188 Spring 2006-#3x 22/06/06 08:21 Page 47 JohnR. Darren Reibetanz Gobert The Antitheatrical Paradox in Michel Marc Bouchard’s Les Feluettes, ou La Répétition d’un drame romantique1 As Jonas Barish’s still indispensable book documents, a vital tradition of antitheatrical prejudice has marked the history of Christ- ianity. Theatre has been condemned, in many different historical contexts and under various denominational guises, as a serpent in the garden, offer- ing God’s subjects pleasure while ultimately leading them to sin. But reli- gious practice has meanwhile been consistently shadowed by its attraction and resemblance to theatrical performance. Barish provides an evocative analogy from Paradise Lost: like Milton’s Adam and Eve, having to impro- vise their prayers so as not to fall into ritualistic repetition and yet also having to repeat the improvisation each morning (Milton V.145-152, Barish 95-96), Christian religous practice is characterized by its paradoxical relationship to theatre—falling into theatricality with seeming inevitability even while trying to assert the theatre’s blasphemous implications. The subtitle of Michel Marc Bouchard’s play Les Feluettes, ou La Répétition d’un drame romantique (19872, published 1988) plays on these associations, emphasizing the connections between “répétition” (as both reiteration and rehearsal) and “drame” (as playscript and in the pejorative sense of hypertheatrical behaviour). The play enacts the mutual attraction and deep suspicion between Christianity and theatre—and it does -
The Antitheatrical Paradox in Michel Marc Bouchard's Les Feluettes, Au La Repetition D'un Drame Romantique1
R. Darren G'obert The Antitheatrical Paradox in Michel Marc Bouchard's Les Feluettes, au La Repetition d'un drame romantique1 As jonas Barish's still indispensable book documents, a vital tradition of antitheatrical prejudice has marked the history of Christ ianity. Theatre has been condemned, in many different historical contexts and under various denominational guises, as a serpent in the garden, offer ing God's subjects pleasure while ultimately leading them to sin. But reli gious practice has meanwhile been consistently shadowed by its attraction and resemblance to theatrical performance. Barish provides an evocative analogy from Paradise Lost: like Milton's Adam and Eve, having to impro vise their prayers so as ·not to fall into ritualistic repetition and yet also having to repeat the improvisation each morning (Milton V.145-152, Barish 95-96), Christian religous practice is characterized by its paradoxical relationship to theatre-falling into theatricality with seeming inevitability even while trying to assert the theatre's blasphemous implications. The subtitle of Michel Marc Bouchard's play Les Feluettes, ou La Repetition d'un drame romantique (1987', published 1988) plays on these associations, emphasizing the connections between "repetition, (as both reiteration and rehearsal) and "drame" (as playscript and in the pejorative sense ofhypertheatrical behaviour). The play enacts the mutual attraction and deep suspicion between Christianity and theatre-and it does so in a way which resonates with the history of antitheatrical prejudice in French Canada, where public theatre was banned in 1694 by the bishop of Quebec, Monsignor de Saint-Vallier, and has been threatened many times since.' Bouchard's play stages a 1952 performance by a group of prisoners of a series of events that occurred in 1912 Roberval-chief among these events Bouchard a staging of Gabriele d' Annunzio's (real) play Le Martyre de Saint Sebastien at the (fictional) College Saint-Sebastien. -
Ballad Opera in England: Its Songs, Contributors, and Influence
BALLAD OPERA IN ENGLAND: ITS SONGS, CONTRIBUTORS, AND INFLUENCE Julie Bumpus A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 7, 2010 Committee: Vincent Corrigan, Advisor Mary Natvig ii ABSTRACT Vincent Corrigan, Advisor The ballad opera was a popular genre of stage entertainment in England that flourished roughly from 1728 (beginning with John Gay's The Beggar's Opera) to 1760. Gay's original intention for the genre was to satirize not only the upper crust of British society, but also to mock the “excesses” of Italian opera, which had slowly been infiltrating the concert life of Britain. The Beggar's Opera and its successors were to be the answer to foreign opera on British soil: a truly nationalistic genre that essentially was a play (building on a long-standing tradition of English drama) with popular music interspersed throughout. My thesis explores the ways in which ballad operas were constructed, what meanings the songs may have held for playwrights and audiences, and what influence the genre had in England and abroad. The thesis begins with a general survey of the origins of ballad opera, covering theater music during the Commonwealth, Restoration theatre, the influence of Italian Opera in England, and The Beggar’s Opera. Next is a section on the playwrights and composers of ballad opera. The playwrights discussed are John Gay, Henry Fielding, and Colley Cibber. Purcell and Handel are used as examples of composers of source material and Mr. Seedo and Pepusch as composers and arrangers of ballad opera music. -
On the Political Ontology of the Dispositif
On the Political Ontology of the Dispositif Davide Panagia At an otherwise unnoteworthy moment during his 18 January 1978 lec- ture at the Collège de France, Michel Foucault stumbles just when he is about to resume his discussion of the “apparatuses of security” (disposi- tifs de sécurité).1 In both the English and French edition of the lecture, the interruption is footnoted in the text. Apparently, Foucault had bumped into the microphone of the device recording his lecture. As he recovers and before resuming his discussion he says this: “I am not against any appa- ratuses [les appareils], but I don’tknow—forgive me for saying so—I’m just a bit allergic.”2 The English doesn’t render what’s notable in the com- ment because English is unable to mark the lexical shift, given that the I wish to express my sincere gratitude to Ira Allen, Frances Ferguson, Daniel Morgan, Mi- chael Shapiro, Giulia Sissa, Stefania Tutino, and the editors of Critical Inquiry for their help- ful comments and criticisms on earlier versions of this essay. This essay was presented at the Western Political Science Association (San Francisco, 2018), the International Conference for the Study of Social and Political Thought (New Haven, 2018), and the American Political Sci- ence Association (Boston, 2018). I am grateful to all the participants for their engaged com- ments and criticisms. 1. Michel Foucault, Security, Territory, Population: Lectures at the Collège de France 1977— 1978, trans. Graham Burchell, ed. Michel Senellart (New York, 2009), p. 30. 2. Ibid., p. 30 n. It is worth citing the French edition.