DOCSLIB.ORG

THEA 461: History of Theatre & Drama: Beginnings to 1600

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
THEA 461: History of Theatre & Drama: Beginnings to 1600 The University of South Dakota THEA 461: History of Theatre & Drama: Beginnings to 1600 Concepts addressed: History, Theory and Literature Development of the theatre, including knowledge of performance architecture, technology, the relationship of theatre and society, theatre organization, conventions, and vocabulary as well as representative plays from the following periods within Western literature: origins, Greek and Roman, medieval, Renaissance When, where, what it is, importance to theatre/to the development of theatre Abydos Passion Play Ancient Greece • Hellenic period • Defeat of Persians • Peloponnesian War • Pericles (Age of) • Polis • Thespis • City Dionysia: organization, contests • Lenaia • Dithyrambic chorus • Tetralogy, trilogy • Archon • Choragus • Audience composition • Aeschylus, including plays, style, innovations Prometheus Bound, Oresteia (Agamemnon, Libation Bearers, Eumenides) • Sophocles, including plays, style, innovations Oedipus the King, Antigone, Oedipus at Colonus Euripides, including plays, style Hippolvtus, Medea, The Bacchae • Aristotle: Poetics, definition of tragedy, elements of tragedy (in order), complex/simple plots, anagnorisis (recognition), peripeteia (reversal), hamartia (error), hubris (excessive pride: a type of hamartia); be able to discuss plays from Aristotelian view • Structure of tragedy: prologus, parados, episodes, choral odes, exodos; be able to discuss • plays structurally • Crisis drama • Satyr plays • Old Comedy: subject matter, style, structure (prologos, parados, agon, parabasis, episodes • [how differ from tragedy?], odes, exodos, "happy idea" • Aristophanes: The Birds, The Clouds, Lysistrata • Chorus: tragedy/comedy, functions Development of this review sheet was made possible by funding from the US Department of Education through South Dakota’s EveryTeacher Teacher Quality Enhancement grant. • Hellenic theatre architecture: example, location, capacity, size, orchestra, theatron, skene, parodoi (sing., parodos), thymele, conjectural paraskenia; description, general use; be able to diagram; 5th Century, BCE & 4th Century, BCE • Scenery (known and conjectural): ekkyklema, mechane, pinake, periaktoi; description, • general use • Acting: who, doubling, style • Costuming and masks • Middle comedy • Hellenistic period • Alexander the Great ( empire) • New Comedy: subjects, style, structure • Menander • Hellenistic theatre architecture: see Hellenistic subjects, plus proskenion, episkenion, • stage (logeion) • The rise of the actor • Hellenistic developments in costume and mask Greek mimes Ancient Rome • Roman Republic • Roman Empire • Festivals, Ludi Romani • Roman comedy: sources, subjects, structure, style, contamination • Livius Andronicus • Gnaeus Naevius • Titus Maccius Plautus (Plautus) • Publius Terentius Afer (Terence) • Lucius Annaeus Seneca (Seneca) • Popular entertainments: chariot races, gladiatorial combat, naumachiae, venationes • Circus Maximus • Colosseum • Quintus Horatius Flaccus (Horace): Ars Poetica, "rules" • Roscius • Roman theatre architecture: location, capacity, size, cavea, orchestra, scaena, scaena frons, pulpitum, versurae, auleum, siparium • Vitruvius • Fall of the Roman Empire • Christian opposition to theatre Middle Ages • Fall of Rome, Byzantium, Fall of the eastern empire • Feudalism • Hrosvitha • Liturgical drama • Ethelwold, Regularis Concordia • Mansion (loci, scaffold) and platea (playne), simultaneous setting (what and how used) • Religious vernacular drama Development of this review sheet was made possible by funding from the US Department of Education through South Dakota’s EveryTeacher Teacher Quality Enhancement grant. • The Mystery of Adam • Mystery/Cycle plays and individual pageants • Corpus Christi • Major English cycles: York, Chester, Wakefield, N-town; (examples of individual cycle plays or pageants: Abraham and Isaac, The Second Shepherds' Play) • Episodic form, anachronism (what and why) • Confraternities, Guilds • Pageant masters • Processional staging, pageant wagons, York (video) • Stationary staging: Valenciennes, Lucerne • Secrets • Miracle/Saint's plays • Morality plays, stations, allegorical characters (example: Everyman) • Secular farce, Adam de la Halle, Hans Sachs, Pierre Patelin Asian Theatre • Kalidasa, Shakuntala • Noh characteristics • Zeami • Bunraku • Chikamatsu • Kabuki, Okuni, development • Onnagata Renaissance (Early Modern) Italian • Humanism • Fall of the eastern empire (Turks take Constantinople) • Gutenberg's printing press • Neoclassicism-sources • Lodovico Castelvetro • Verisimilitude • Reality • Morality • Generality/universality Decorum • Purity off ormlgenre • Three unities • Main purposes: to teach (didactic) and to please • Theatre architecture • Teatro Olimpico--Palladio/Scamozzi • Theatre at Sabbionetta (Teatro all'Antico )-Scamozzi • Teatro Farnese-Aleotti • Proscenium-arch stage • Venetian opera houses • Pit-box-gallery • Scenery--single, illusionistic setting Development of this review sheet was made possible by funding from the US Department of Education through South Dakota’s EveryTeacher Teacher Quality Enhancement grant. • Vitruvius-- De Architectura • Perspective scenery • Sebastiano Serlio--Architettura (Bk. II) • Nicola Sabbatini--Manual for Constructing Theatrical Scenes and Machines ... • Wing-groove-borders (Aleotti) • Chariot-and-pole ( Giacomo Torelli) Glories • Lighting--candle (Leone di Somi) • Regular comedy and tragedy in Italian by early sixteenth century --based on classical models (Roman New Comedy, Seneca, Greek tragedy) • Commedia erudita • Intermezzi • Pastoral-Aminta • Machiavelli-Mandragola • Early Italian opera--Florentine Camerata, libretto, aria, recitative • Commedia dell'arte • Scenarios • Characters: Stock (types), costumes, half-masks (see Web sites) • Innamorati (--to) (--ta) • Old men/masters--Pantalone, Dottore, Capitano • Zanni--Arlecchino, Brighella, Scapino, Colombina, etc. • Lazzi and memorized passages, slapstick • Isabella Andreini, c d'a troupes English (Tudor, Elizabethan, Jacobean) • Elizabeth I • Reformation; Anglicanism • Interludes • School Drama: Ralph Roister Doister, etc. • Boy's Companies • University Wits, Marlowe, Lyly, etc. • Elizabethan drama: characteristics, relation to neoclassicism • Thomas Kyd: The Spanish Tragedy (Senecan revenge tragedy) • Christopher Marlowe: Tamburlaine, The Jew of Malta, Doctor Faustus, Edward II (chronicle/history play) • William Shakespeare: be aware of lots of plays • Elizabethan public theatre: description, names & uses of parts • Audience areas • Stage/acting areas • Tiring house--multiple theories • The Red Lion, The Theatre, The Swan (& DeWitt), The Rose (& excavation), The • Globe, The Fortune (& Contract) • Philip Henslowe (& diary) • Private theatres (compare to public) • Scenery & costumes • Acting companies; examples: Lord Chamberlain's Men (King's Men) and Lord Admiral's Men; Shareholders, hirelings, apprentices, householders Development of this review sheet was made possible by funding from the US Department of Education through South Dakota’s EveryTeacher Teacher Quality Enhancement grant. • Acting style, Richard Burbage, Edward Alleyn Spanish (Golden Age) • Ferdinand & Isabella • Spanish Armada • Auto sacramentale • Carros • Lope de Rueda • Miguel de Cervantes • Comedia (form) • Capa y espada • Corrales: description, names & uses of parts • Audience areas • Stage/acting areas • Tiring house • Corral de la Cruz • Corral del Principe • Lope Felix de Vega Carpio: Fuente Oveiuna • Pedro Calderon de la Barca: Life is a Dream Development of this review sheet was made possible by funding from the US Department of Education through South Dakota’s EveryTeacher Teacher Quality Enhancement grant. .
Load more

Recommended publications
  • 53Rd International Congress on Medieval Studies
    53rd International Congress on Medieval Studies May 10–13, 2018 Medieval Institute College of Arts and Sciences Western Michigan University 1903 W. Michigan Ave. Kalamazoo, MI 49008-5432 wmich.edu/medieval 2018 i Table of Contents Welcome Letter iii Registration iv-v On-Campus Housing vi-vii Food viii-ix Travel x Driving and Parking xi Logistics and Amenities xii-xiii Varia xiv Off-Campus Accommodations vx Hotel Shuttle Routes xvi Hotel Shuttle Schedules xvii Campus Shuttles xviii Mailings xix Exhibits Hall xx Exhibitors xxi Plenary Lectures xxii Reception of the Classics in the Middle Ages Lecture xxiii Screenings xxiv Social Media xxv Advance Notice—2019 Congress xxvi The Congress: How It Works xxvii The Congress Academic Program xxviii-xxix Travel Awards xxx The Otto Gründler Book Prize xxxi Richard Rawlinson Center xxxii Center for Cistercian and Monastic Studies xxxiii M.A. Program in Medieval Studies xxxiv Medieval Institute Publications xxxv Endowment and Gift Funds xxxvi 2018 Congress Schedule of Events 1–192 Index of Sponsoring Organizations 193–198 Index of Participants 199–218 Floor Plans M-1 – M-9 List of Advertisers Advertising A-1 – A-36 Color Maps ii Dear colleagues, It’s a balmy 9 degrees here in Kalamazoo today, but I can’t complain—too much— because Kalamazoo will not feel the wrath of the “bomb cyclone” and polar vortex due to hit the East Coast later this week, the first week of 2018. Nonetheless, today in Kalamazoo, I long for spring and what it brings: the warmth of the weather, my colleagues and friends who will come in May to the International Congress on Medieval Studies.
    [Show full text]
  • God Loves Uganda | the Hooping Life | Tim’S Vermeer | the Address | Life According to Sam | the Story of the Jews Scene & He D
    July-August 2014 VOL. 29 THE VIDEO REVIEW MAGAZINE FOR LIBRARIES N O . 4 IN THIS ISSUE God Loves Uganda | The Hooping Life | Tim’s Vermeer | The Address | Life According to Sam | The Story of the Jews scene & he d LET BAKER & TAYLOR’S SCENE & HEARD TEAM HELP MAKE BUILDING AND MAINTAINING YOUR A/V COLLECTION EASIER WITH OUR PROFESSIONAL DIGITAL MEDIA PROCESSING (DMP) SERVICES! DMP off s a v iety of key benefi ts and feat es including: ■ Digitally reproduced original cover artwork ■ Personalized library contact information ■ Detailed content checklists and messaging ■ Circulation-tough polyvinyl CD and DVD cases ■ Single, double, multiple and locking security cases available ■ Large assortment of customized, embedded labels — genre, spine and more! To learn about DMP and other A/V products and services, contact your Sales Consultant today to discuss a custom-tailored solution for all your needs! 800-775-2600 x2050 [email protected] www.baker-taylor.com STAY CONNECTED: Spotlight Review God Loves Uganda streets, LGBT activists identified in newspa- HHH1/2 pers, and finally to a killing. Williams seems (2013) 83 min. DVD: to be everywhere with his camera (although $24.95. First Run he also makes assiduous use of archival and Publisher/Editor: Randy Pitman Features (avail. from other material): on buses with young Ameri- most distributors). Closed can ministers in Uganda, in parliamentary Associate Editor: Jazza Williams-Wood captioned. session, and at town hall-like meetings where Copy Editor: Kathleen L. Florio Stunning in its rev- gay pornography is shown (even to children) elations about the ways Editorial Assistant: Chris Pitman with the intent of fomenting intolerance.
    [Show full text]
  • Graphic Narrative: Comics in Contemporary Art
    An Elective Course for Undergraduate and Graduate Students of any discipline and for English Language Students GRAPHIC NARRATIVE IN CONTEMPORARY LITERATURE & ART: EVOLUTION OF COMIC BOOK TO GRAPHIC NOVEL Basic Requirements: Appropriate language skills required by the University. This course should be of interest to anyone concerned with verbal & visual communications, popular forms, mass culture, history and its representation, colonialism, politics, journalism, writing, philosophy, religion, mythology, mysticism, metaphysics, cultural exchanges, aesthetics, post-modernism, theatre, film, comic art, collections, popular art & culture, literature, fine arts, etc. This course may have a specific appeal to fans and/or to those who are curious about this vastly influential, widely popular, most complex and thought-provoking work of contemporary literature and art form, the ‘Comics’; however it does not presume a prior familiarity with graphic novels and/or comics, just an overall enthusiasm to learn new things from a new angle and an open mind. Prerequisites: FA489: ‘By consent’ selection of students. FA490: Upon successful completion of FA489. Co-requisites: FA489: Freshmen who graduated from a high school with an English curriculum or passed BU proficiency test with an A; & sophomore, junior, senior students. FA490: Successful completion of FA 489. No requisites: FA 49I, FA49J, FA49V. Recommended Preparation: Reading all of the required readings and as many from the suggested reading list. Idea Description: Is ‘comics’ a form of both literature and art? Certainly the answer is “yes” but there are many people who reject the idea, yet many other people call those people old-school intellectuals. However, in recent years, many scholars, critics and faculty alike have accepted ‘comics’, often dubbed by many publishers as ‘graphic novel’, as a respected form of both literature and art.
    [Show full text]
  • Download Your Free Digital Copy of the June 2018 Special Print Edition of Animationworld Magazine Today
    ANIMATIONWorld GOOGLE SPOTLIGHT STORIES | SPECIAL SECTION: ANNECY 2018 MAGAZINE © JUNE 2018 © PIXAR’S INCREDIBLES 2 BRAD BIRD MAKES A HEROIC RETURN SONY’S NINA PALEY’S HOTEL TRANSYLVANIA 3 BILBY & BIRD KARMA SEDER-MASOCHISM GENNDY TARTAKOVSKY TAKES DREAMWORKS ANIMATION A BIBLICAL EPIC YOU CAN JUNE 2018 THE HELM SHORTS MAKE THEIR DEBUT DANCE TO ANiMATION WORLD © MAGAZINE JUNE 2018 • SPECIAL ANNECY EDITION 5 Publisher’s Letter 65 Warner Bros. SPECIAL SECTION: Animation Ramps Up 6 First-Time Director for the Streaming Age Domee Shi Takes a Bao in New Pixar Short ANNECY 2018 68 CG Global Entertainment Offers a 8 Brad Bird Makes 28 Interview with Annecy Artistic Director Total Animation Solution a Heroic Return Marcel Jean to Animation with 70 Let’s Get Digital: A Incredibles 2 29 Pascal Blanchet Evokes Global Entertainment Another Time in 2018 Media Ecosystem Is on Annecy Festival Poster the Rise 30 Interview with Mifa 71 Golden Eggplant Head Mickaël Marin Media Brings Creators and Investors Together 31 Women in Animation to Produce Quality to Receive Fourth Mifa Animated Products Animation Industry 12 Genndy Tartakovsky Award 72 After 20 Years of Takes the Helm of Excellence, Original Force Hotel Transylvania 3: 33 Special Programs at Annecy Awakens Summer Vacation Celebrate Music in Animation 74 Dragon Monster Brings 36 Drinking Deep from the Spring of Creativity: Traditional Chinese Brazil in the Spotlight at Annecy Culture to Schoolchildren 40 Political, Social and Family Issues Stand Out in a Strong Line-Up of Feature Films 44 Annecy
    [Show full text]
  • “AN EFFEMINATE PRINCE”:GENDER CONSTRUCTION in SHAKESPEARE’S FIRST TETRALOGY Miguel Angel González Campos Universidad De Málaga
    id3022796 pdfMachine by Broadgun Software - a great PDF writer! - a great PDF creator! - http://www.pdfmachine.com http://www.broadgun.com “AN EFFEMINATE PRINCE”:GENDER CONSTRUCTION IN SHAKESPEARE’S FIRST TETRALOGY Miguel Angel González Campos Universidad de Málaga In the emphatically masculine world of Shakespeare’s History Plays, the king Henry VI shows some unequivocally feminine features. This character is particularly revealing to understand the underlying gender ideology in the first tetralogy. The aim of this paper is to approach this “effeminate prince,” as he is called in the play, who neglects his duties as a ruler and as a man, and to discuss the implications of his behaviour in order to analyse how these plays construct a gender system in which femininity and masculinity are defined by mutual opposition and in which power, an element clearly belonging to the male sphere, can have disastrous consequences when it is exerted by weak non-masculine men. In the first scene of 1 Henry VI Gloucester uses the expression “an effeminate prince” (I1.35) to refer to the King. In the “emphatically masculine” world (Kahn 1981: 47) of Shakespeare’s History Plays the adjective “effeminate” has a priori an undeniable pejorative sense. However, the loyalty and the respect to the King which Gloucester displays at all times throughout the play suggest that these words are used with a strictly descriptive rather than offensive intention to represent the figure of Henry VI. Although some critics such as J. P. Brockbank have explicitly denied the “feminine character” of this king (1961: 97) it seems clear that a certain feminine quality exists in the figure of Henry VI.
    [Show full text]
  • Three Rings for the Elven-Kings: Trilogizing Tolkien in Print and Film
    Volume 36 Number 1 Article 11 10-15-2017 Three Rings for the Elven-kings: Trilogizing Tolkien in Print and Film Robert T. Tally, Jr. Texas State University Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Tally, Jr., Robert T. (2017) "Three Rings for the Elven-kings: Trilogizing Tolkien in Print and Film," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 36 : No. 1 , Article 11. Available at: https://dc.swosu.edu/mythlore/vol36/iss1/11 This Article is brought to you for free and open access by the Mythopoeic Society at SWOSU Digital Commons. It has been accepted for inclusion in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature by an authorized editor of SWOSU Digital Commons. An ADA compliant document is available upon request. For more information, please contact [email protected]. To join the Mythopoeic Society go to: http://www.mythsoc.org/join.htm Mythcon 51: A VIRTUAL “HALFLING” MYTHCON July 31 - August 1, 2021 (Saturday and Sunday) http://www.mythsoc.org/mythcon/mythcon-51.htm Mythcon 52: The Mythic, the Fantastic, and the Alien Albuquerque, New Mexico; July 29 - August 1, 2022 http://www.mythsoc.org/mythcon/mythcon-52.htm Abstract Discusses the division of works meant to be whole into trilogies; primarily Tolkien’s lengthy novel, split into two volumes due to printing considerations, and Peter Jackson’s film trilogies of The Lord of the Rings and The Hobbit.
    [Show full text]
  • The Making and Remaking of History in Shakespeare's History Plays
    The Making and Remaking of History in Shakespeare’s History Plays Candidate’s Name: Alun Deian Thomas Thesis submitted in partial fulfilment of the requirements for the degree of Ph.D. at Cardiff University. September 2012 1 DECLARATION This work has not been submitted in substance for any other degree or award at this or any other university or place of learning, nor is being submitted concurrently in candidature for any degree or other award. Signed ………………………………………… (candidate) Date ………………………… STATEMENT 1 This thesis is being submitted in partial fulfillment of the requirements for the degree of …………………………(insert MCh, MD, MPhil, PhD etc, as appropriate) Signed ………………………………………… (candidate) Date ………………………… STATEMENT 2 This thesis is the result of my own independent work/investigation, except where otherwise stated. Other sources are acknowledged by explicit references. The views expressed are my own. Signed ………………………………………… (candidate) Date ………………………… STATEMENT 3 I hereby give consent for my thesis, if accepted, to be available for photocopying and for inter-library loan, and for the title and summary to be made available to outside organisations. Signed ………………………………………… (candidate) Date ………………………… STATEMENT 4: PREVIOUSLY APPROVED BAR ON ACCESS I hereby give consent for my thesis, if accepted, to be available for photocopying and for inter-library loans after expiry of a bar on access previously approved by the Academic Standards & Quality Committee. Signed ………………………………………… (candidate) Date ………………………… 2 Summary of Thesis: History is a problem for the history plays. The weight of ‘true’ history, of fact, puts pressure on the dramatic presentation of history. Not fiction and not fact, the plays occupy the interstitial space between these opposites, the space of drama.
    [Show full text]
  • Shakespeare's Henriadic Monarchy and Chaucerian/Elizabethan Religion
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Faculty Publications -- Department of English English, Department of 2021 Shakespeare's Henriadic Monarchy and Chaucerian/Elizabethan Religion Paul Olson Follow this and additional works at: https://digitalcommons.unl.edu/englishfacpubs Part of the Comparative Literature Commons, English Language and Literature Commons, Modern Literature Commons, and the Reading and Language Commons This Article is brought to you for free and open access by the English, Department of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Faculty Publications -- Department of English by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Shakespeare's H enriadic Monarchy and ChaucerianlElizabethan Religion Paul A. Olson Shakespeare, interpreting late medieval English history from the ages of Geoffrey and Thomas Chaucer, gives us a second tetralogy (1595-99) that less defends the "Tudor myth" than creates a lens for viewing the formation of a unitary religious/political culture. Writing near the end of Elizabeth's reign, after serious Catholic insurrection had quieted, he examines how Act of Supremacy sacerdotal monarchy eschew rebellion and decadence, creat­ ing eidola paralleling Chaucer s Canterbury Tales ones. ill the latter, Chaucer presented, to the court narratives of Catholic clerical failure Jovinian deca­ dence and th po Ibility of reformed penance. However Sbakespeare tw-ns, for his salvific, from honest penance-Chaucer's solution-to royal contri­ tion and honest action. The second Henriad debunks old polarities of con­ formity and non-confomuty by celebrating the monarch's sen e of nationa.l religion and recapitulating unifying themes about celibacy, repentance and rebellion from the age of Chaucer, bringing Elizabethan religious polemics to the stage in a fashion that emulates Chaucer's dramatic court readings in his time and place.
    [Show full text]
  • Avignon2017 with Sacd, an Entire Program Ça Va, Ça Va Le Monde ! Les Territoires Intrépides Cinématographiques Des Spectacles Soutenus
    SUMMER • 2017 CARTE BLANCHE HUMOUR LES SUJETS À VIF LE SUJET DES THE SACD RENDEZVOUS AT THE CONSERVATOIRE SUJETS DU GRAND AVIGNON 8 > 21 juillet 2017 #AVIGNON2017 WITH SACD, AN ENTIRE PROGRAM ÇA VA, ÇA VA LE MONDE ! LES TERRITOIRES INTRÉPIDES CINÉMATOGRAPHIQUES DES SPECTACLES SOUTENUS LES RENCONTRES DU CONSERVATOIRE SOIRÉE VOIX ROUGE D’AUTEURS Twitter/@SACDParis Facebook/sacd.fr Instagram/@sacdparis SUMMER • 2017 CARTE BLANCHE HUMOUR LES SUJETS À VIF LE SUJET DES THE SACD RENDEZVOUS AT THE CONSERVATOIRE SUJETS DU GRAND AVIGNON 8 > 21 juillet 2017 #AVIGNON2017 WITH SACD, AN ENTIRE PROGRAM ÇA VA, ÇA VA LE MONDE ! LES TERRITOIRES INTRÉPIDES CINÉMATOGRAPHIQUES DES SPECTACLES SOUTENUS .179 LES RENCONTRES DU CONSERVATOIRE SOIRÉE VOIX ROUGE D’AUTEURS Twitter/@SACDParis Facebook/sacd.fr Instagram/@sacdparis o N EDITORIAL p.03 by Jacques Fansten, SACD President FORUM by Pascal Rogard p.04 FEATURE #Avignon 2017 Find full SACD Meetings p.06 information on SACD Events p.08 www.sacd.fr Le Sujet des Sujets (Talking Points) p.09 © Les Sujets à Vif (Heart of the Matter) p.10 Android Iphone© Les Intrépides (Fearless ones) p.11 INTERVIEW p.12 Léa Mysius “There’s something dream-like with children” SACD AWARDS CEREMONY p.14 The 2017 Awards Join us on GENERAL MEETING Facebook 2017-2018 Board Members p.16 www.facebook.com/sacd.fr The SACD in 2016: key figures p.18 2016 activities p.19 RENDEZVOUS p.20 Follow us on Avignon Special Report Twitter CULTURAL ACTIVITIES p.22 @SACDParis The SACD Fund CONTENTS CONTENTS 2 SACD • LE MAGAZINE • suMMEr 2017 EDITORIAL Iconoclastic questions? BY JACQUES FANSTEN, SACD PRESIDENT Are we entering a new era? Within the space of a few TV license, unless the programmes they see and hear ERS H months, there has been a rebirth, a whole next genera- come with a difference and unless a particular link is RAP OG tion which has emerged and learned to reject the old created between creators and their audience? Why do T habits and customs that all too often passed for a politi- we still talk about competition and market share? Glo- cal vision.
    [Show full text]
  • Memory in Shakespeare's Second Tetralogy
    TITLE PAGE Memory in Shakespeare’s Second Tetralogy Rebecca Warren-Heys Royal Holloway, University of London Submission for Doctor of Philosophy DECLARATION OF AUTHORSHIP I hereby declare that this thesis and the work presented in it is my own. Where I have consulted the work of others, this is clearly stated. Rebecca Warren-Heys, October 2013. 2 THESIS ABSTRACT This thesis undertakes an original analysis of the incidence and influence of memory in Shakespeare’s second tetralogy. It is the first full-length study of memory in Shakespeare to show not only how memories can lock characters into history but also how memories can be released from history in order to engender radically different futures. This thesis offers detailed close readings of key scenes in the second tetralogy to substantiate this argument and to illuminate afresh issues at the heart of the plays, such as identity, time and death. It builds on previous and current research on memory in Shakespeare, as well as considering how he may have engaged with original archival sources such as Petrus’s ‘Art of Memory’ and Gratarolo’s ‘Castle of Memory’. The first chapter of this thesis provides an overview of Shakespeare’s use of and reliance on memory in the canon, supplies a review of previous works on memory, and explains the scope and structure of the thesis. The second chapter defines terms and clarifies the method of the thesis, considers the phenomenology of memory, and elucidates the crucial concept of forward recollection. The third chapter explores how and why Shakespeare’s drama is an especially apt vehicle for memory.
    [Show full text]
  • Funt Alex-My Own Private Henriad Looking Back to Now Through
    My Own Private Henriad: Looking Back to Now Through Shakespeare’s Second Tetralogy by Alex Funt My Own Private Henriad: Looking Back to Now Through Shakespeare’s Second Tetralogy by Alex Funt A thesis presented for the B. A. degree with Honors in The Department of English University of Michigan Spring 2008 © March 17, 2008 Alex Funt To Annemarie Acknowledgements This project reflects the efforts of all my professors and instructors at the University of Michigan, each of whom has left me something valuable and has helped me throughout the journey of writing this thesis. I want to thank Carrie Wood in particular, my “Great Books” GSI, for first capturing my interest in literature and for the setting the bar at the beginning of college for what a class can be. My thanks also to Professor Sweeney for setting high standards for my writing, for teaching me how to think in a way that troubles “normal” and excites, and for her support and guidance over the past few years. Thank you to Professor Williams, for first grabbing my interest in Shakespeare with his memorable and thought-provoking lectures. To Professor Parrish, for her advice, support, and all else that goes into keeping the wayward on track while writing a thesis. To Professor Sanok, for her writing help, her support more generally, and for facilitating a term of thoughtful and interesting conversations in the Fall. To Professor Hodgdon, for unknowingly offering daily lessons in the art of teaching, for always knowing exactly the right thing to say, for her tireless help with my writing and thinking, for her mentorship and guidance, and for all the other clauses of praise that should be added onto this sentence if I could express my thanks in a sentence.
    [Show full text]
  • Writing and Rewriting in Hebrew and Yiddish by Yaakov Herskovitz A
    Linguistic Limbo: Writing and Rewriting in Hebrew and Yiddish By Yaakov Herskovitz A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Near Eastern Studies) in The University of Michigan 2019 Doctoral Committee: Professor Shachar Pinsker, Chair Associate Professor Maya Barzilai Professor Mikhail Krutikov Professor Anita Norich Yaakov Herskovitz [email protected] ORCID iD: 0000-0002-6993-9740 © Yaakov Herskovitz 2019 Acknowledgements In my quest to reconfigure the formation of Hebrew and Yiddish literature through self- translation I was fortunate to have chosen the University of Michigan as my academic home. Shachar Pinsker, Maya Barzilai, Mikhail Krutikov and Anita Norich were not only advisors, but also mentors to all facets of academia and life. I cannot thank them enough for their academic rigor, intellectual inspiration, warmth and friendship, the combination of which is all too rare, and I am truly blessed to have them as my mentors. Shachar has guided me through what many times felt like a joint inquiry into the dynamics of Jewish bilingualism, giving me insight into his scholarly practice and sharing his invaluable experience. Maya with her friendship and keen eye made me feel that she is as invested in my work as I am. Anita was as loving as she was intellectually demanding, a wonderful balance. Misha was infinitely generous with his immense knowledge and his acute eye for the narrative arc of my project as a whole. I owe my committee more than words can express. The warm academic community of our Ann Arbor campus was a welcoming intellectual home; I was fortunate to learn with and from so many exquisite scholars who have been not only helpful in this journey, but also became friends along the way.
    [Show full text]