DOCSLIB.ORG

Memory in Shakespeare's Second Tetralogy

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read 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. These three chapters prepare the ground for the subsequent four chapters, which examine each of the plays in the second tetralogy in turn. The chapters on the plays focus on key aspects of memory that exemplify the wider argument of the thesis: memory and identity in Richard II; memory and time in 1 Henry IV; memory and death in 2 Henry IV; and memory and forward recollection in Henry V. 3 CONTENTS Declaration of Authorship ......................................................................................... 2 Thesis Abstract ......................................................................................................... 3 Acknowledgments .................................................................................................... 5 A Note on Texts ........................................................................................................ 6 Chapter One: Introduction ........................................................................................ 7 The Faculty of Memory in the Works of Shakespeare .................................................. 7 Previous Studies of Memory in Shakespeare and Early Modern Literature ............... 14 Structure, Scope and Aims of Thesis ........................................................................... 28 Chapter Two: Definitions and Phenomenology of Memory ...................................... 32 Taxonomy .................................................................................................................... 32 The Phenomenology of Memory ....................................................................................... 43 The Direction of Memory ............................................................................................ 52 Chapter Three: A Drama and a Language of Memory ............................................... 60 Memory in Drama ....................................................................................................... 60 Shakespeare the Historian .......................................................................................... 78 How does the Language of the Plays Disclose Memories? ......................................... 80 Chapter Four: Memory and Identity in Richard II ..................................................... 83 Remembering Richard ................................................................................................. 83 Richard Remembering ................................................................................................. 90 Memories of Times to Come ..................................................................................... 102 Conclusion ................................................................................................................. 106 Chapter Five: Memory and Time in 1 Henry IV ....................................................... 109 Hal: ‘Redeeming time’ (1.2.185-207) ........................................................................ 111 Hotspur: ‘If life did ride upon a dial’s point’ (5.2.83) ................................................ 120 Falstaff: ‘What a devil hast thou to do with the time of day?’ (1.2.5-6) .................. 127 Conclusion ................................................................................................................. 133 Chapter Six: Memory and Death in 2 Henry IV ....................................................... 136 The Rebels: ‘a bleeding land, | Gasping for life’ ....................................................... 139 Shallow: ‘all shall die’ ................................................................................................ 144 Henry IV: ‘waste the memories of the former days’ ................................................ 152 Conclusion ................................................................................................................. 159 Chapter Seven: Memory and Forward Recollection in Henry V .............................. 161 The Chorus ................................................................................................................ 163 Henry ......................................................................................................................... 172 Conclusion ................................................................................................................. 180 Chapter Eight: Conclusion: Memory in the Second Tetralogy ................................. 183 Bibliography ......................................................................................................... 188 Primary Sources ........................................................................................................ 188 Secondary Sources .................................................................................................... 189 Websites .................................................................................................................... 201 Appendix A: The Memory Theatre of Giulio Camillo .............................................. 202 4 ACKNOWLEDGMENTS I would like to thank the generous grant from the Arts and Humanities Research Council which made this study possible. The English Department at Royal Holloway, both academics and the wonderful administrative staff, fostered a rich research culture and a warm environment in which to work. I want also to acknowledge my fellow Shakespearean doctoral students, Theodora Papadopoulou, Will McKenzie, Charlotte Keys, Paul Hamilton, Mohamed Salim-Said, and Helen True: you were inspiring friends and colleagues, with whom it was a pleasure to share ideas. Thanks are due to Daniel O’Gorman, Alexander Rain, Anna Markowska of Surrey University and Pete Kirwan of Warwick University, all of whom answered queries on subjects which were not my speciality. Deanna Fernie’s and John Miles’s superlative academic writing courses were invaluable. Deana Rankin fulfilled her advisory role with an unrivalled dedication for which I am enormously grateful. To my doctoral supervisors, Ewan Fernie and Kiernan Ryan, I owe an enormous debt. I am fortunate to have had not one but two such accomplished Shakespeareans as my supervisors, and I am certain that I would never have reached this stage without them. My wonderful parents, Nick and Jaga Heys, asked thoughtful questions and expressed interest throughout the long process of completing this thesis. The babysitting lovingly provided by them and my parents-in-law, David and Mary Warren, made it possible for me to attend numerous conferences and courses. My husband John listened patiently while an idea overtook me or while I worked through it out loud. My daughters, Emily and Laura, were unfailingly patient and made my work so much easier. It is to them that this thesis is dedicated: if something is important to you, I hope you find a way to do it, too. 5 A NOTE ON TEXTS Unless otherwise specified, all references to the plays of Shakespeare’s second tetralogy are to the most recent Arden Shakespeare editions: Richard II, ed. Charles R. Forker, Arden third series (London: Thomson Learning, 2005); Henry IV Part One, ed. David Scott Kastan, Arden third series (London: Thomson Learning, 2002); Henry IV Part Two, ed. A. R. Humphreys, Arden second series (London: Thomson Learning, 2003); and Henry V, ed. T. W. Craik, Arden third series (London: Thomson Learning, 2005). 6 CHAPTER ONE: INTRODUCTION The Faculty of Memory in the Works of Shakespeare References to both the faculty of memory and memories themselves abound in Shakespeare’s plays and poems. There are 59 instances of the word ‘memory’ or ‘memories’ in 25 of the plays, while ‘remember’ and ‘forget’ occur 184 and 86 times respectively.1 Memory is of crucial importance to some of Shakespeare’s greatest tragedies. As he recalls how his mother doted on his father, Hamlet laments, ‘Must I remember?’ (1.2.143);2 the ghost of his father implores
Load more

Recommended publications
  • PDF Download Hamlet: the Texts of 1603 and 1623 Ebook
    HAMLET: THE TEXTS OF 1603 AND 1623 PDF, EPUB, EBOOK William Shakespeare,Ann Thompson,Neil Taylor | 384 pages | 31 May 2007 | Bloomsbury Publishing PLC | 9781904271802 | English | London, United Kingdom Hamlet: The Texts of 1603 and 1623 PDF Book The New Cambridge, prepared by Philip Edwards, also conflated while using the Folio as its base text. It looks like you are located in Australia or New Zealand Close. For your intent In going back to school in Wittenberg, It is most retrograde to our desire, And we beseech you bend you to remain Here in the cheer and comfort of our eye, Our chiefest courtier, cousin, and our son. An innnovative and stimulating contribution. On approval, you will either be sent the print copy of the book, or you will receive a further email containing the link to allow you to download your eBook. This wonderful ternion gives the serious students of Hamlet everything they need to delve deeply into the Dane. You can unsubscribe from newsletters at any time by clicking the unsubscribe link in any newsletter. A beautiful, unmarked, tight copy. By using our website you consent to all cookies in accordance with our Cookie Policy. Password Forgot Password? What says Polonius? While Jonson and other writers labored over their plays, Shakespeare seems to have had the ability to turn out work of exceptionally high caliber at an amazing speed. Gerald D. May show signs of minor shelf wear and contain limited notes and highlighting. Who's there? But, look, the morn in russet mantle clad, Walks o'er the dew of yon high eastern hill.
    [Show full text]
  • Demonstration Anthology Table of Contents
    2011 Demonstration Anthology Table of Contents Paul Baumann, “Write to Live and Live to Write”---------------------------------------------------------------------------------1 Debbie Bower, “’I Remember’ Poem”-----------------------------------------------------------------------------------------------3 Megan Davis, “You Can’t Handle the Truth!”-------------------------------------------------------------------------------------6 Kathy Habing, “Transitions with Goldilocks”------------------------------------------------------------------------------------10 Ashton Harwood, “Creative Writing: Just Picture It!”---------------------------------------------------------------------------15 Robbie Kline, “Engaging Cause-And-Effect Relationships”-------------------------------------------------------------------17 Sarah Klingler, “Halloween Description Activity”-------------------------------------------------------------------------------27 Rebecca Lawson, “The Literary Resume”-----------------------------------------------------------------------------------------28 Mark Learnard, “Jumpstarting Student Writing”---------------------------------------------------------------------------------37 Misty Mapes, “Moodle ‘Power With Words’”-------------------------------------------------------------------------------------38 Mary St. Clair, “Creative Writing Haiku Project”---------------------------------------------------------------------------------42 Andrea Stack, “Using Voice in Artistic Writing”---------------------------------------------------------------------------------44
    [Show full text]
  • The Tragedy of Hamlet
    THE TRAGEDY OF HAMLET THE WORKS OF SHAKESPEARE THE TRAGEDY OF HAMLET EDITED BY EDWARD DOWDEN n METHUEN AND CO. 36 ESSEX STREET: STRAND LONDON 1899 9 5 7 7 95 —— CONTENTS PAGE Introduction ix The Tragedy of Hamlet i Appendix I. The "Travelling" of the Players. 229 Appendix II.— Some Passages from the Quarto of 1603 231 Appendix III. Addenda 235 INTRODUCTION This edition of Hamlet aims in the first place at giving a trustworthy text. Secondly, it attempts to exhibit the variations from that text which are found in the primary sources—the Quarto of 1604 and the Folio of 1623 — in so far as those variations are of importance towards the ascertainment of the text. Every variation is not recorded, but I have chosen to err on the side of excess rather than on that of defect. Readings from the Quarto of 1603 are occa- sionally given, and also from the later Quartos and Folios, but to record such readings is not a part of the design of this edition. 1 The letter Q means Quarto 604 ; F means Folio 1623. The dates of the later Quartos are as follows: —Q 3, 1605 161 1 undated 6, For ; Q 4, ; Q 5, ; Q 1637. my few references to these later Quartos I have trusted the Cambridge Shakespeare and Furness's edition of Hamlet. Thirdly, it gives explanatory notes. Here it is inevitable that my task should in the main be that of selection and condensation. But, gleaning after the gleaners, I have perhaps brought together a slender sheaf.
    [Show full text]
  • Language and the Internet
    This page intentionally left blank Language and the Internet David Crystal investigates the nature of the impact which the Internet is making on language. There is already a widespread popular mythology that the Internet is going to be bad for the future of language – that technospeak will rule, standards be lost, and creativity diminished as globalization imposes sameness. The argument of this book is the reverse: that the Internet is in fact enabling a dramatic expansion to take place in the range and variety of language, and is providing unprecedented opportunities for personal creativity. The Internet has now been around long enough for us to ‘take a view’ about the way in which it is being shaped by and is shaping language and languages, and there is no one better placed than David Crystal to take that view. His book is written to be accessible to anyone who has used the Internet and who has an interest in language issues. DAVID CRYSTAL is one of the world’s foremost authorities on language, and as editor of the Cambridge Encyclopedia database he has used the Internet for research purposes from its earliest manifestations. His work for a high technology company involved him in the development of an information classification system with several Internet applications, and he has extensive professional experience of Web issues. Professor Crystal is author of the hugely successful Cambridge Encyclopedia of Language (1987; second edition 1997), Cambridge Encyclopedia of the English Language (1995), English as a Global Language (1997), and Language Death (2000). An internationally renowned writer, journal editor, lecturer and broadcaster, he received an OBE in 1995 for his services to the English language.
    [Show full text]
  • Aitken Alexander Associates
    Aitken Alexander Associates Frankfurt Book Fair 2019 For further information on all clients and titles in this catalogue, please contact: LISA BAKER France, Germany, Holland and Italy Email: [email protected] ANNA WATKINS Brazil, China, Czech Republic, Denmark, Finland, Greece, Iceland, Japan, Korea, Norway, Portugal, Poland, Romania, Russia, Slovakia, Spain, Taiwan Email: [email protected] MONICA MACSWAN Arabic, Bulgaria, Cambodia, Croatia, Estonia, Hungary, Indian Languages, Indonesia, Israel, Latvia, Lithuania, Macedonia, Mongolia, Thailand, Turkey, Serbia, Slovenia, Vietnam Email: [email protected] Literary Agents Centre Tables: Anna – 21P, Monica – 21Q, Lisa – 22Q For Film and Television Rights please contact: LESLEY THORNE Email: [email protected] Aitken Alexander Associates Ltd. 291 Gray’s Inn Road London WC1X 8QJ Telephone (020) 7373 8672 www.aitkenalexander.co.uk @AitkenAlexander @aitkenalexander Contents Page Fiction: Saltwater by Jessica Andrews p.1 The Body Lies by Jo Baker p.2 Girl, Woman, Other by Bernardine Evaristo p.3 This Brutal House by Niven Govinden p.4 The Porpoise by Mark Haddon p.5 The Harpy by Megan Hunter p.6 Sisters by Daisy Johnson p.7 Nightingale by Marina Kemp p.8 Isabelle in the Afternoon by Douglas Kennedy p.9 When We Were Rich by Tim Lott p.10 The Anthill by Julianne Pachico p.11 The Inheritance of Solomon Farthing by Mary Paulson-Ellis p.12 Mister Wolf by Chris Petit p.13 All the Water in the World by Karen Raney p.14 English Monsters by James Scudamore p.15 The
    [Show full text]
  • The Moral Basis of Family Relationships in the Plays of Shakespeare and His Contemporaries: a Study in Renaissance Ideas
    The Moral Basis of Family Relationships in the plays of Shakespeare and his Contemporaries: a Study in Renaissance Ideas. A submission for the degree of doctor of philosophy by Stephen David Collins. The Department of History of The University of York. June, 2016. ABSTRACT. Families transact their relationships in a number of ways. Alongside and in tension with the emotional and practical dealings of family life are factors of an essentially moral nature such as loyalty, gratitude, obedience, and altruism. Morality depends on ideas about how one should behave, so that, for example, deciding whether or not to save a brother's life by going to bed with his judge involves an ethical accountancy drawing on ideas of right and wrong. It is such ideas that are the focus of this study. It seeks to recover some of ethical assumptions which were in circulation in early modern England and which inform the plays of the period. A number of plays which dramatise family relationships are analysed from the imagined perspectives of original audiences whose intellectual and moral worlds are explored through specific dramatic situations. Plays are discussed as far as possible in terms of their language and plots, rather than of character, and the study is eclectic in its use of sources, though drawing largely on the extensive didactic and polemical writing on the family surviving from the period. Three aspects of family relationships are discussed: first, the shifting one between parents and children, second, that between siblings, and, third, one version of marriage, that of the remarriage of the bereaved.
    [Show full text]
  • Priscilla: the Hidden Life of an Englishwoman in Wartime France Free
    FREE PRISCILLA: THE HIDDEN LIFE OF AN ENGLISHWOMAN IN WARTIME FRANCE PDF Nicholas Shakespeare | 464 pages | 03 Jul 2014 | Vintage Publishing | 9780099555667 | English | London, United Kingdom Priscilla: The Hidden Life of an Englishwoman in Wartime France - Wikipedia Uh-oh, it looks like your Internet Explorer is out of date. For a better shopping experience, please upgrade now. Javascript is not enabled in your browser. Enabling JavaScript in your browser will Priscilla: The Hidden Life of an Englishwoman in Wartime France you to experience all the features of our site. Learn how to enable JavaScript on your browser. NOOK Book. Home 1 Books 2. Read an excerpt of this book! Add to Wishlist. Sign in to Purchase Instantly. Members save with free shipping everyday! See details. The glamorous, mysterious figure he remembered from his childhood was very different from the morally ambiguous young woman who emerged from the trove of love letters, journals and photographs, surrounded by suitors and living the precarious existence of a British citizen in a country controlled by the enemy during World War II. As a young boy, Shakespeare had always believed that his aunt was a member of the Resistance and had been tortured by the Priscilla: The Hidden Life of an Englishwoman in Wartime France. The truth turned out to be far more complicated. Series Pages: Sales rank:Product dimensions: 5. About the Author Nicholas Shakespeare's books have been translated into twenty languages. His nonfiction includes the critically acclaimed authorized biography of Bruce Chatwin. Shakespeare is married with two sons and lives in Oxford.
    [Show full text]
  • Reimagining a Midsummer Night's Dream
    TABLE OF CONTENTS Preface 1 Art That Lives 2 Bard’s Bio 2 The First Folio 3 Shakespeare’s England 4 The Renaissance Theater 5 Barbara Gaines Criss Henderson Courtyard-style Theater 6 Artistic Director Executive Director On the Road: A Brief History of Touring Shakespeare 8 Timeline 10 Chicago Shakespeare Theater is Chicago’s professional theater dedi- cated to the works of William Shakespeare. Founded as Shakespeare Shakespeare’s Repertory in 1986, the company moved to its seven-story home on Navy Pier in 1999. In its Elizabethan-style courtyard theater, 500 seats on three A Midsummer Night's Dream levels wrap around a deep thrust stage—with only nine rows separating the farthest seat from the stage. Chicago Shakespeare also features a Dramatis Personae 12 flexible 180-seat black box studio theater, a Teacher Resource Center, and The Story 13 Who's Who: What's in a Name? 13 a Shakespeare specialty bookstall. Act-by-Act Synopsis 14 Now in its twenty-seventh season, the Theater has produced nearly the en- Something Borrowed, Something New… tire Shakespeare canon: All’s Well That Ends Well, Antony and Cleopa- Shakespeare's Sources 15 tra, As You Like It, The Comedy of Errors, Cymbeline, Hamlet, Henry The Nature of Comedy 17 IV Parts 1 and 2, Henry V, Henry VI Parts 1, 2 and 3, Henry VIII, Julius A History of Dreams 18 Caesar, King John, King Lear, Love’s Labor’s Lost, Macbeth, Measure Scholars’ Perspectives for Measure, The Merchant of Venice, The Merry Wives of Windsor, A Midsummer Night’s Dream, Much Ado About Nothing, Othello, Pericles, Spirits of Another Sort 20 Richard II, Richard III, Romeo and Juliet, The Taming of the Shrew, The What the Critics Say 21 Tempest, Timon of Athens, Troilus and Cressida, Twelfth Night, The Two Gentlemen of Verona, The Two Noble Kinsmen, and The Winter’s Tale.
    [Show full text]
  • Media and Identity in Post-War American and Global Fictions of the Undead
    "Born in Death": Media and Identity in Post-War American and Global Fictions of the Undead Jonathan Mark Wilkinson MA by Research University of York English January 2015 2 Abstract Existing scholarship has largely overlooked that the undead are, famously, ‘us’. They are beings born from our deaths. Accordingly, their existence complicates the limits and value of our own. In this dissertation, I therefore argue that fictions of the undead reflect on questions of identity, meditating on the ways in which identities are created, distorted or otherwise reformed by the media to which their most important texts draw insistent attention. Analysing landmark texts from Post-War American contexts, this dissertation expands its hypothesis through three case studies, reading the texts in each as their own exercise in ontological thought. In each case study, I show that fictions of the undead reflect on the interactions between media and identity. However, there is no repeating model through which the themes of media, identity and undeath are repeatedly engaged. Each text’s formulation of these interacting themes is distinct to the other’s, suggesting that the significance of the undead and their respective tradition is not in the resounding ontological ‘answers’ that they and their texts inspire, but the questions that their problematic existential state asks. 3 List of Contents Abstract ..................................................................................................................2 Author’s Declaration .................................................................................................4
    [Show full text]
  • 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]
  • The Cast Includes: Johnny Flynn (Arthur
    The Cast Includes: Johnny Flynn (Arthur) - Starred opposite Anne Hathaway in Song One; plays the lead in Comedy Central's new sitcom Brotherhood and is an internationally acclaimed musician. Soon to be playing the lead in a new film about the Kinks. Lydia Wilson (Vida) - Nominated for an Olivier award for her role in Charles III; starred alongside Domhall Gleeson and Bill Nighy in Richard Curtis' About Time. From October onwards to be seen on Broadway in Charles III. Juliet Stevenson (Ethel) - CBE; Olivier award Winner; five times Olivier award nominee, four times BAFTA nominee. Films include Bend it Like Beckham, Mona Lisa Smileand Being Julia Henry Goodman (Levi) - Two times Olivier award Winner; Most recently 'Dr List' in Avengers: Age of Ultron and Agents of S.H.I.E.L.D. Other films include Notting Hill and Woman in Gold. Jessica Gunning (Emily) - Starred in Golden Globe and BAFTA nominated Pride; Starred in The Woman in Red (BBC). Ellie Kendrick (Helen) - Meera Reed in HBO's Game of Thrones; Anne Frank in BBC 1's The Diary of Anne Frank Al Weaver (Adam) - Stars alongside James Norton in ITV's Grantchester. Featured in Marie Antoinette Alex Lanipekun (Llion) - Hank Wonham in Showtime's Homeland, also Ben Kaplan in BBC's Spooks. Remy Beasly (Brenda) - Beyonce in Sky One's Stella. And a real new discovery in Love is Thicker than Water. Robert Blythe (George) – Fagin in High Hopes and many parts at the Royal National Theatre. Sharon Morgan (Sara) – recipient of three BAFTA Cymru awards. Amongst many parts in film, tv and theatre Mary Cooper in Torchwood.
    [Show full text]
  • Reading the Theatrical Nebentext in Ben Jonson's Workes As
    From directions to descriptions: Reading the theatrical Nebentext in Ben Jonson’s Workes as an authorial outlet David J. Amelang Freie Universität Berlin, Germany ABSTRACT This article explores how certain dramatists in early modern England and in Spain, specifically Ben Jonson and Miguel de Cervantes (with much more emphasis on the former), pursued authority over texts by claiming as their own a new realm which had not been available—or, more accurately, as prominently available—to playwrights before: the stage directions in printed plays. The way both these playwrights and/or their publishers dealt with the transcription of stage directions provides perhaps the clearest example of a theatrical convention translated into the realm of readership. KEYWORDS: William Shakespeare; Ben Jonson; Lope de Vega; Miguel de Cervantes; stage directions. De indicaciones a descripciones: la De indicações a descrições: ler o Neben- lectura del Nebentext teatral en las text teatral em Workes de Ben Jonson Workes de Ben Jonson como expresión como expressão autoral* autorial RESUMEN: Este artículo analiza cómo RESUMO: Este artigo explora de que ciertos dramaturgos en las Inglaterra y forma certos dramaturgos em Inglaterra España del Renacimiento, especialmente e na Espanha do Renascimento, especi- Ben Jonson (y en menor medida tam- ficamente Ben Jonson e Miguel de Cer- bién Miguel de Cervantes), buscaron vantes (com maior ênfase no primeiro), establecer su posición autorial sobre sus procuraram estabelecer uma posição textos de una manera no disponible autoral sobre os seus textos ao reclama- hasta ese momento (o al menos no tan rem para si uma área que anteriormente claramente disponible) para escritores não estava disponível—ou, de forma de teatro: en las acotaciones escénicas de mais correta, não tão claramente dispo- las versiones impresas de sus obras.
    [Show full text]