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Bringing Richard Brome Online
This is a repository copy of Bringing Richard Brome Online. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/105805/ Version: Published Version Article: Hirsch, BD orcid.org/0000-0002-6231-2080 (2010) Bringing Richard Brome Online. Early Theatre, 13 (1). pp. 137-153. ISSN 1206-9078 10.12745/et.13.1.837 This article is protected by copyright. Reproduced in accordance with the publisher's self-archiving policy. Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Early Theatre Volume 13, Issue 1 2010 Article 7 Bringing Richard Brome Online Brett D. Hirsch∗ ∗University of Western Australia, [email protected] Copyright c 2010 by Early Theatre. Early Theatre is produced by The Berkeley Electronic Press (bepress). http://digitalcommons.mcmaster.ca/earlytheatre Bringing Richard Brome Online Brett D. Hirsch Abstract This review essay assesses Richard Brome Online, an online edition of the collected works of Richard Brome, in terms of the design, functionality, and usability of its features. -
Volume 4 2014
2101 EAST COLISEUM BOULEVARD FORT WAYNE, IN 46805-1499 Volume 4 2014 Volume Volume 4 2014 Volume 4 2014 EDITORS at Indiana University– at Mount St. Mary’s University Purdue University Fort Wayne Emmitsburg, Maryland M. L. Stapleton, Editor Sarah K. Scott, Associate Editor Cathleen M. Carosella, Managing Editor Jessica Neuenschwander, Pub. Assistant BOARD OF ADVISORS Hardin Aasand, Indiana University–Purdue University, Fort Wayne; David Bevington, University of Chicago; Douglas Bruster, University of Texas, Austin; Dympna Callaghan, Syracuse University; Patrick Cheney, Pennsylvania State University; Sara Deats, University of South Florida; J. A. Downie, Goldsmiths College, University of London; Lisa M. Hopkins, Sheffield Hallam University; Heather James, University of Southern California; Roslyn L. Knutson, University of Arkansas, Little Rock; Robert A. Logan, University of Hartford; Ruth Lunney, University of Newcastle (Australia); Laurie Maguire, Magdalen College, Oxford University; Lawrence Manley, Yale University; Kirk Melnikoff, University of North Carolina at Charlotte; Paul Menzer, Mary Baldwin College; John Parker, University of Virginia; Eric Rasmussen, University of Nevada, Reno; David Riggs, Stanford University; John P. Rumrich, University of Texas, Austin; Carol Chillington Rutter, University of Warwick; Paul Werstine, King's College, University of Western Ontario; Charles Whitney, University of Nevada, Las Vegas Marlowe Studies: An Annual is a journal devoted to studying Christopher Marlowe and his role in the literary culture of his time, including but not limited to studies of his plays and poetry; their sources; relations to genre; lines of influence; classical, medieval, and continental contexts; performance and theater history; textual studies; the author’s professional milieu and place in early modern English poetry, drama, and culture. -
Literature, Language & Skills
INTERNATIONAL JOURNAL OF ENGLISH: LITERATURE, LANGUAGE & SKILLS (IJELLS) ISSN 2278-0742 www.ijells.com Volume 3 Issue 1 www.ijells.com 2278 0742 Page | 2 Founding & Chief Editor Profile Dr. Mrudula Lakkaraju, Department of English, Osmania University is trained from EFLU and a Doctorate from Osmania University. She prefers the designation of a trainer and a writer. She has presented several academic articles to international and national seminars, conferences, journals, and magazines. She also renders voluntary services as an editor to another International Journal. Casual and creative writing is also her forte. She is a prolific reader and writer. Volume 3 Issue 1 April 2014 www.ijells.com 2278 0742 Dr. G. Venkata Ramana, Head of Writers Division English Writers and Software Solutions Page | 3 Dr. George Kolanchery, Multimedia Language Lab Supervisor, Dhofar University, Sultanate of Oman Dr. Thirunavukkarasu Karunakaran English Language Teaching Centre, University of Jaffna, Sri Lanka. Dr. Deepti Gupta Professor, English Panjab University Chandigarh Dr. Asha Choubey Associate Professor of English Head, Dept. of Humanities MJP Rohilkhand University Bareilly Dr. Mohammad Shaukat Ansari Associate Professor of English, M.L.S.M. College, Darbhanga, Bihar Dr. Hareshwar Roy Assistant Professor, English Govt. Autonomous P.G. College Satna Satna, Madhya Pradesh Dr. Ravi Bhushan Assistant Professor of English Bhagat Phool Singh Mahila Vishwavidyalaya Khanpur Kalan, Sonipat, Haryana Volume 3 Issue 1 April 2014 www.ijells.com 2278 0742 Dear Readers and Contributors, Welcome to the Volume 3 Issue 1 of IJELLS. We now enter the third year of our Page | 4 journey; it on one hand gives us a sense of contentment yet on the other hand alerts us into the daunting task of sustaining and developing this academic enterprise. -
Scripted Improvisation in the Antipodes
ISSUES IN REVIEW 129 ‘Now mark that fellow; he speaks Extempore’: Scripted Improvisation in The Antipodes Concluding his near-paraphrase of Hamlet’s famous advice to the players, Letoy in Richard Brome’s The Antipodes chastises Byplay, an actor with a penchant for improvisation, with the following lines: But you, sir, are incorrigible, and Take license to yourself to add unto Your parts your own free fancy, and sometimes To alter or diminish what the writer With care and skill compos’d; and when you are To speak to your coactors in the scene, You hold interlocutions with the audients— (2.1.93–9)1 Unlike the silent company Hamlet addresses, whose leader assents to Hamlet’s presumptuous lessons with only ‘I warrant your honour’ and a slightly more defensive ‘I hope we have reformed that indifferently with us, sir’ (3.2.13, 30),2 Byplay argues back saying, ‘That is a way, my lord, has been allowed / On elder stages to move mirth and laughter.’ ‘Yes’, Letoy replies, ‘in the days of Tarlton and Kemp, / Before the stage was purged from barbarism, / And brought to the perfection it now shines with’ (2.1.100–4) . Scholars often acknowledge, like Letoy, that improvisation played a signifi- cant role in early English theatre. Actors playing Vice characters in Tudor the- atre improvised before and after the plays in which they performed.3 Renais- sance texts contain stage directions instructing actors to improvise—Greene’s Tu Quoque (1611), for example, includes a direction for characters to ‘talk and rail what they list’ and The Trial of Chivalry (1601) contains the remark- able direction, ‘speaks anything, and Exit’.4 Elizabethan clowns, and in par- ticular Richard Tarlton and William Kemp, were famous for their ability to improvise. -
The Dramatic Records of Sir Henry Herbert, Master of the Revels, 1623-1673
ill "iil! !!;i;i;i; K tftkrmiti THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES Digitized by the Internet Archive in 2007 with funding from IVIicrosoft Corporation http://www.archive.org/details/dramaticrecordsoOOgreaiala CORNELL STUDIES IN ENGLISH EDITED BY JOSEPH QUINCY ADAMS LANE COOPER CLARK SUTHERLAND NORTHUP THE DRAMATIC RECORDS OF SIR HENRY HERBERT MASTER OF THE REVELS, 1623-1673 EDITED BY JOSEPH QUINCY ADAMS CORNELL UNIVERSITY NEW HAVEN: VALE UNIVERSITY PRESS LONDON: HUMPHREY MILKORD OXFORD UNIVERSITY PRESS MDCCCCXVII 7 7 Copyright, 191 By Yale University Press First published, October, 191 PRESS OF THE NEW ERA PRINTING COMPANY LANCASTER, PA. College Library TO CLARK SUTHERLAND NORTHUP AS A TOKEN OF ESTEEM 1092850 PREFACE The dramatic records of the Office of the Revels during the reigns of Edward VI, Mar>', and Elizabeth have been admirably edited with full indexes and notes by Professor Albert Feuillerat; but the records of the Office during the reigns of James I, Charles I, and Charles TI remain either unedited or scattered in mis- cellaneous volumes, none of which is indexed. Every scholar working in the field of the Tudor-Stuart drama must have felt the desirability of having these later records printed in a more accessible form. In the present volume I have attempted to bring together the dramatic records of Sir Henry Herbert, during whose long administration the Office of the Revels attained the height of its power and importance. These records, most of them preserved through Herbert's own care, consist of his office-book, covering the period of 1 622-1 642, a few documents relating to the same period, and miscellaneous documents relating to the management of the Office after the Restoration. -
The Beestons and the Art of Theatrical Management in Seventeenth-Century London
THE BEESTONS AND THE ART OF THEATRICAL MANAGEMENT IN SEVENTEENTH-CENTURY LONDON by Christopher M. Matusiak A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Department of English University of Toronto © Copyright by Christopher M. Matusiak (2009) Library and Archives Bibliothèque et Canada Archives Canada Published Heritage Direction du Branch Patrimoine de l’édition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre référence ISBN: 978-0-494-61029-9 Our file Notre référence ISBN: 978-0-494-61029-9 NOTICE: AVIS: The author has granted a non- L’auteur a accordé une licence non exclusive exclusive license allowing Library and permettant à la Bibliothèque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par télécommunication ou par l’Internet, prêter, telecommunication or on the Internet, distribuer et vendre des thèses partout dans le loan, distribute and sell theses monde, à des fins commerciales ou autres, sur worldwide, for commercial or non- support microforme, papier, électronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L’auteur conserve la propriété du droit d’auteur ownership and moral rights in this et des droits moraux qui protège cette thèse. Ni thesis. Neither the thesis nor la thèse ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent être imprimés ou autrement printed or otherwise reproduced reproduits sans son autorisation. -
New Approaches to Richard Brome
Early Theatre 10.2 (2007) Issues in Review ELEANOR LOWE, ELEANOR COLLINS, KAREN KETTNICH, FARAH KARIM-COOPER, AND MIMI YIU Offstage and Onstage Drama: New Approaches to Richard Brome Richard Brome had his dramatic debut in Ben Jonson’s play, Bartholomew Fair, where he is described by the Stage-keeper in the Induction as skulking about backstage: ‘But for the whole play, will you ha’ the truth on’t? I am looking, lest the poet hear me, or his man, Master Brome, behind the arras. It is like to be a very conceited scurvy one, in plain English’ (Induction, 6–9).1 So Jonson immortalizes Brome as being backstage, literally and metaphor- ically within his master’s shadow. Beginning with Edward Phillips, writing twenty three years after the playwright’s death, critical evaluation preserves Brome’s literary and social status as Jonson’s servant. For many years he has remained a shadowy figure in the tiring house and in Jonson’s service, even electing servitude as a frame of self-reference.2 The introduction to Matthew Steggle’s seminal work on Brome, Place and Politics on the Caroline Stage, identifies several good reasons why this relatively neglected Caroline playwright deserves attention. Among them are Brome’s complex, stimulating, and entertaining plays; his relationship with key dramatists and poets (including his time in Jonson’s service); the variety of his literary legacy and its theatrical afterlife; legal evidence, contributing towards Renaissance scholars’ knowledge of the working lives of theatre pro- fessionals; and his rare status and example as a servant writer.3 This list summarizes many excellent reasons for studying Brome’s work and life, and the dramatic and biographical importance highlighted by Steggle is reflected in the four varied essays which follow.4 The first paper concerns Brome’s contract with the Salisbury Court theatre, while the latter three take an individual Brome play as their subject: The English Moor, The Antipodes, and The Weeding of Covent Garden. -
The Absence of America on the Early Modern Stage by Gavin R. Hollis A
The Absence of America on the Early Modern Stage by Gavin R. Hollis A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (English Language and Literature) in The University of Michigan 2008 Doctoral Committee: Professor Valerie J. Traub, Chair Professor Michael C. Schoenfeldt Associate Professor Susan M. Juster Associate Professor Susan Scott Parrish © Gavin Hollis 2008 To my parents ii Acknowledgements In an episode of The Simpsons, Marge urges Bart not to make fun of graduate students because “they’ve just made a terrible life choice.” This may be true, but one of the many advantages of this “life choice” is that I have met, been inspired by, and become firm friends with an array of people on both sides of the pond. The first debt I owe is to my advisors at the University of Michigan, who have seen this project through its many stages of confusion and incoherence. Mike Schoenfeldt, Scotti Parrish, and Sue Juster have been supportive, critical, rigorous, inventive, and excellent company. My biggest debt of gratitude is owed however to Valerie Traub, the chair of my dissertation committee, whose influence on this project and has been, and I hope will continue to be, immense. I’m also indebted to faculty at Trinity Hall, Cambridge and at The Shakespeare Institute who have shaped me as a scholar before I made it these shores. I am especially grateful to Peter Holland, who, it is no exaggeration to say, taught me how to read Shakespeare. Thank you also to John Jowett, Drew Milne, and John Lennard. -
Performing Multilingualism on the Caroline Stage in the Plays of Richard Brome
Performing Multilingualism on the Caroline Stage in the Plays of Richard Brome Performing Multilingualism on the Caroline Stage in the Plays of Richard Brome By Cristina Paravano Performing Multilingualism on the Caroline Stage in the Plays of Richard Brome By Cristina Paravano This book first published 2018 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2018 by Cristina Paravano All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-0593-6 ISBN (13): 978-1-5275-0593-3 CONTENTS Acknowledgments ..................................................................................... vii Quotations, Abbreviations and Conventions .............................................. ix Introduction ................................................................................................. 1 Through the Prism of Multilingualism Chapter One ............................................................................................... 19 ‟There’s too much French in town”: The New Academy and The Demoiselle Chapter Two .............................................................................................. 37 ‟Simile non est idem”: The City Wit and -
The Complete Works of James Shirley
The Complete Works of James Shirley compact guidelines May 2010 The Complete Works of James Shirley (CWJS) is a modern-spelling edition in 10 volumes, forthcoming with Oxford University Press in staggered publication from about 2012. James Shirley was a protean writer who explored many genres, and effortlessly absorbed and transformed literary fashions from the late Renaissance to the Restoration. Well over thirty scholars are now involved in editing his works, the music of his plays and poems, and pertinent source material of the period. The corpus of texts is no less diverse than the international network of contributors concerned with Shirley. A drama editor’s approaches will differ to those applied by a grammarian; in some cases editors need to consider how to place printed witnesses side by side with manuscripts. Over the coming years editorial approaches may also evolve as knowledge about Shirley’s texts and literary practices increases. The editorial guidelines for CWJS will be relatively short so as to achieve maximum flexibility while setting a baseline standard of consistency across the volumes. Gary Taylor has recently applied the term ‘federal edition’ to the Oxford Complete Works of Thomas Middleton. In order to give individual editors as much freedom as possible and facilitate progress on each volume, the rationale for CWJS is also that of a federal edition. Every single volume is the direct responsibility of one (or two) general editors (aka volume editors). This general editor will liaise with the volume’s contributors and the editorial board, set deadlines, ensure consistency and make all final editorial decisions. -
Repertory by Genre at Lisle's Tennis Court
A University of Sussex PhD thesis Available online via Sussex Research Online: http://sro.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Please visit Sussex Research Online for more information and further details UNIVERSITY OF SUSSEX LANA MARIE HARPER PHD ENGLISH THE DEVELOPMENT OF EARLY ENGLISH PLAYHOUSES, 1560-1670 I hereby declare that this thesis has not been and will not be submitted in whole or in part to another university for the award of any other degree Signature: Lana M Harper Abstract This thesis presents a study of playhouse spaces and the theatre industry in early modern England, and how they developed from 1560-1670. The period considered spans the English civil wars and Commonwealth to complicate the notion of a cessation of theatrical activity in 1642, and argues against the division of theatre history into distinct Renaissance and Restoration periods. The study builds on recent scholarly trends which have productively read early modern playing companies as consistent cultural entities with individual identities, by extending and applying this methodology to playhouse spaces. As such, this thesis proposes that all early modern playhouses had unique identities, and suggests that the frequent division into amphitheatre and indoor playhouses can produce an oversimplified binary with homogenising consequences. -
'London, Thou Great Emporium of Our Isle': Dryden Writing the City
‘London, thou great emporium of our Isle’: Dryden writing the city Samuel James Burton Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds School of English September 2019 ii The candidate confirms that the work submitted is his own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. The right of Samuel James Burton to be identified as author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. Ó The University of Leeds and Samuel James Burton iii Acknowledgements This thesis began life as a weekly essay written in Michaelmas term 2013 for a special author paper on John Dryden. The original essay was little more than two thousand words in length, looking principally at Dryden’s two direct addresses to London in Annus Mirabilis and The Medall. That it transformed into a doctoral thesis owes much to the enthusiasm generated by Peter McCullough. My greatest debt is to my doctoral supervisor, Paul Hammond, for his constant guidance, encouragement and diligence. I must afford thanks for his seemingly endless patience with the most burdensome of students. Catherine Batt was also a source of sage counsel at moments of difficulty. This thesis would not have been possible without the generosity of Kate and Jason Gatenby, as well as the School of English at the University of Leeds.