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The Relationship of the Dramatic Works of John Lyly to Later Elizabethan Comedies
Durham E-Theses The relationship of the dramatic works of John Lyly to later Elizabethan comedies Gilbert, Christopher G. How to cite: Gilbert, Christopher G. (1965) The relationship of the dramatic works of John Lyly to later Elizabethan comedies, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/9816/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 THE RELATIONSHIP OP THE DRAMATIC WORKS OP JOHN LYLY TO LATER ELIZABETHAN COMEDIES A Thesis Submitted in candidature for the degree of Master of Arts of the University of Durham by Christopher G. Gilbert 1965 The copyright of this thesis rests with the author. No quotation from it should be published without his prior written consent and information derived from it should be acknowledged. DECLARATION I declare this work is the result of my independent investigation. -
Shakespeare's Mirror Metaphors, 2019
Bar Ilan University Department of English Literature and Linguistics Edward Evans (I.D. 326997152) PhD Proposal Supervisor: Professor William Kolbrener “A Mirror Up To Nature”: Shakespeare’s Mirror Metaphors "מראה אל הטבע": מטאפורות המראה של שייקספיר. אוניברסיטת בר אילן המחלקה בלשנות וספרות אנגלית אדוארד אוונס )ת.ז. 326997152( הצעת מחקר לדוקטורט שם המנחה: פרופסור וויליאם קולברנר Table of Contents Objectives ....................................................................................................................................... 3 Critical Background ........................................................................................................................ 9 Methodology ................................................................................................................................. 11 Proposed Chapters ........................................................................................................................ 15 Bibliography ................................................................................................................................. 19 Primary ........................................................................................................................... 19 Secondary ....................................................................................................................... 20 2 ת.ז. Edward Evans 326997152 Objectives William Shakespeare possessed an unrivalled fascination with the dramatic utility of mirror metaphors. There are forty-two of these -
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. -
The Plays of John Lyly Bachelor’S Diploma Thesis
Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Petra Spurná The Plays of John Lyly Bachelor’s Diploma Thesis Supervisor: Mgr. Pavel Drábek, Ph.D. 2009 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. …………………………………………….. Author’s signature 2 Acknowledgement: I would like to thank my supervisor Mgr. Pavel Drábek, Ph.D. for his valuable guidance and advice. 3 Table of Contents 1. Introduction.................................................................................................................5 2. The Life of Johny Lyly...............................................................................................7 3. Lyly‟s Work..............................................................................................................12 3.1 Specific Conditions...........................................................................................12 3.2 Inventions..........................................................................................................14 4. The Plays...................................................................................................................18 4.1 Introduction to the Eight Plays..........................................................................18 4.2 Allegory.............................................................................................................25 4.3 Sapho and Phao.................................................................................................28 -
The Not-So-Holy Shrine of Catholicism in Romeo and Juliet
Te Not-So-Holy Shrine of Catholicism in Romeo and Juliet Margaret Rothrock “Te Not-So-Holy Shrine of Catholicism in Romeo and Juliet” questions a view of Shakespeare’s relationship to the Reformation in the early tragedy, which claims that his main Reformed concern in the play is to endorse individualistic notions of desire and repentance. Instead, the play is shown to display Reformational sensibilities in its exposure of blasphemous imagery and societal corruption as the vehicle for the lovers’ downfall. Tis reading takes a critical eye to a culturally idealized romance, allowing modern readers to consider more carefully how passion and temptation were viewed in a post- Reformational context. See and view the whole Chapter with diligence, for it is worthy David Balty is one of the few scholars who tries to to be well considered, specially that is written of the deceauing fll this gap. In his dissertation, Te Teological Bard: of the simple and vnwise common people by Idols and Images, Shakespeare and the Evolving English Reformation, he and repeated twise or thrise lest it should be forgotten. And in the argues that a Protestant emphasis on individualism is the Chapter following be these words: Te painting of the picture and driving force behind the play: the lovers are victims of a carued Image with diuers colours, entiseth the ignorant so, that societally-focused, Catholic schema which de-emphasizes he honoureth and loueth the picture of a dead image that hath no individual repentance and instead endorses social obliga- soule (Apocrypha. Wisdom 15.4-5). Neuerthelesse, they that loue tion. -
I N S T I T U T
INSTITUTES Institutes fo r College and University Faculty provide intensive study of texts, historical ‘periods, and ideas central to undergraduate teaching in the humanities. They take place in settings suitable fo r research, and they allow faculty to examine significant material under the direction of recognized scholars. They thus prepare faculty to return to their classrooms with a deeper knowledge o f important scholarship in key fields of the humanities. Institutes are sponsored by colleges, universities, libraries, museums, and professional organizations. Participation is open to full-tim e teachers in two-year and four-year colleges and universities, with twenty to thirty participants in a given institute selected in open competition by the institute’s staff. The study program emphasizes collaborative work under the direction of a group of scholars. Participants in these four- to six-week summer institutes receive stipends of $250per week and an allowance fo r travel, room, and board. Prospective participants should write or call the directors of the institutes in which they are interested. There is no need to communicate with NEH. Scholars interested in conducting an institute, however, should write or call: Higher Education in the Humanities, Room 302— NEH, 1100 Pennsylvania Avenue, N. W., Washington, DC 20506 Phone: 202/606-8380, E-mail: education@nehfed. us F or general NEH information, write to OPPA, Room 406 at the same address, or call 202/606-8438. Islamic History and Culture Information: Faculty: University of Arizona, -
“Much Virtue in If”: Ethics and Uncertainty in Hamlet and As You Like It David Summers Capital University, [email protected]
The University of Akron IdeaExchange@UAkron Selected Papers of the Ohio Valley Shakespeare Literary Magazines Conference November 2014 “Much Virtue in If”: Ethics and Uncertainty in Hamlet and As You Like It David Summers Capital University, [email protected] Please take a moment to share how this work helps you through this survey. Your feedback will be important as we plan further development of our repository. Follow this and additional works at: http://ideaexchange.uakron.edu/spovsc Part of the Ethics and Political Philosophy Commons, Literature in English, British Isles Commons, and the Theatre and Performance Studies Commons Recommended Citation Summers, David (2011) "“Much Virtue in If”: Ethics and Uncertainty in Hamlet and As You Like It," Selected Papers of the Ohio Valley Shakespeare Conference: Vol. 4 , Article 4. Available at: http://ideaexchange.uakron.edu/spovsc/vol4/iss2011/4 This Article is brought to you for free and open access by Literary Magazines at IdeaExchange@UAkron, the institutional repository of The nivU ersity of Akron in Akron, Ohio, USA. It has been accepted for inclusion in Selected Papers of the Ohio Valley Shakespeare Conference by an authorized administrator of IdeaExchange@UAkron. For more information, please contact [email protected], [email protected]. “Much Virtue in If”: Ethics and Uncertainty in Hamlet and As You Like It David Summers, Capital University n recent years we have seen a renewed interest in Shakespeare as an intellect, a mind at work on problems we I could properly consider “philosophical.” Not only have we seen literary critics writing about philosophy—David Bevington’s Shakespeare’s Ideas, Jonathan Bates’s The Soul of the Age and A.D. -
Front Matter
Cambridge University Press 978-1-107-02152-5 - The Tempest: Updated edition Edited by David Lindley Frontmatter More information THE NEW CAMBRIDGE SHAKESPEARE general editor Brian Gibbons associate general editor A. R. Braunmuller, University of California, Los Angeles From the publication of the first volumes in 1984 the General Editor of the New Cambridge Shakespeare was Philip Brockbank and the Associate General Editors were Brian Gibbons and Robin Hood. From 1990 to 1994 the General Editor was Brian Gibbons and the Associate General Editors were A. R. Braunmuller and Robin Hood. THE TEMPEST The Tempest is one of the most suggestive, yet most elusive of all Shakespeare’s plays, and has provoked a wide range of critical interpretations. It is a magical romance, yet deeply and problematically embedded in seventeenth-century debates about authority and power. In this updated edition, David Lindley has thoroughly revised the introduction and reading list to take account of the latest directions in criticism and performance. Including a new section on casting in recent productions, Lindley’s introduction explores the complex questions this raises about colonisation, racial and gender stereotypes, and the nature of the theatrical experience. Careful attention is also given to the play’s dramatic form, stagecraft, and use of music and spectacle, to demonstrate its uniquely experimental nature. © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-02152-5 - The Tempest: Updated edition Edited -
Dramatic Space and a Willingness to Let the Spectators Get Involved in the Play in Various Ways
Space in Early Modern English Drama Allan Folkestad Space in Early Modern English Drama The Literary Dramaturgy of Space in the Comedies of John Lyly Doctoral Dissertation at the University of Agder University of Agder Faculty of Humanities and Pedagogy 2012 Abstract The present dissertation investigates the literary dramaturgy of space in the comedies of John Lyly (1564-1606), i.e. the ways in which various textual elements contribute to the establishment of both local settings and wider worlds within the plays. Previous readings of Lyly’s literary dramaturgy have tended to focus on the relationship between the stylistic device of the antithesis and the structure of the dramatic worlds, whereas I argue that deeper insight into the literary dramaturgical techniques of Lyly can be achieved by deploying the conceptual framework of semiotics of drama. Rather than comparing Lyly’s dramaturgy to that of Shakespeare, the dissertation adopts a historical perspective where Lyly’s dramatic oeuvre is examined on the background of the dramaturgy of a selection of middle and early sixteenth-century plays. In the final chapter, however, the perspective changes where Lyly’s only urban play, Mother Bombie, is compared to Shakepeare’s Comedy of Errors. Using lists of all the spatialising utterances in a play as my main analytic tool and then sorting these utterances according to certain parameters reveals that whwn compared to the somewhat mechanical declamatory quality of the spatialising utterances of earlier plays, Lyly’s literary dramaturgy of space unfolds more organically from the dialogue and is better integrated with aspects of characterisation. Moreover, to a higher degree than earlier playwrights Lyly allows minor characters to contribute significantly to the spatial dramaturgy of a play in their speeches. -
Recent Studies in the English Renaissance
KatherineSEL 57, 1 (Winter Eggert 2017): 181–225 181181 ISSN 0039-3657 © 2017 Rice University Recent Studies in the English Renaissance KATHERINE EGGERT The exercise of reviewing books on nondramatic Renaissance literature released over twelve months from August 2015 until August 2016 feels a bit like speculating on the futures market. Analyzing the way things have recently been, I am also guessing at what is to come. (Buy ecocriticism, sell globalism, is my guess. I explain further below.) I hasten to point out, however, that I am completing this essay just after the 2016 U.S. presidential election, whose results proved me—like many, many others—abjectly inept at predicting the future. Take my forecasting with due caution. I begin by observing that the books that arrived for my review did not surprise me in terms of their topics, since they reflect the kinds of concerns that have been aired recently at major confer- ences in Renaissance studies. The number of books in certain areas did, however, surprise me to some extent. Although the vagaries of publishing mean that any given year might see a coincidental surge in one type of study and temporary dearth in another, three trends seem evident: John Donne may be shoul- dering aside Milton as the Renaissance nondramatic poet about whom books may be written and marketed; cultural-studies books bearing titles fitting the formula “Such-and-Such Cultural Group, Practice, or Object in Early Modern Culture” are on the wane; and some of the best current work in the field connects literature to science (including the “dismal science,” economics), material- ity, and/or knowledge practices. -
Hamlet (The New Cambridge Shakespeare, Philip Edwards Ed., 2E, 2003)
Hamlet Prince of Denmark Edited by Philip Edwards An international team of scholars offers: . modernized, easily accessible texts • ample commentary and introductions . attention to the theatrical qualities of each play and its stage history . informative illustrations Hamlet Philip Edwards aims to bring the reader, playgoer and director of Hamlet into the closest possible contact with Shakespeare's most famous and most perplexing play. He concentrates on essentials, dealing succinctly with the huge volume of commentary and controversy which the play has provoked and offering a way forward which enables us once again to recognise its full tragic energy. The introduction and commentary reveal an author with a lively awareness of the importance of perceiving the play as a theatrical document, one which comes to life, which is completed only in performance.' Review of English Studies For this updated edition, Robert Hapgood Cover design by Paul Oldman, based has added a new section on prevailing on a draining by David Hockney, critical and performance approaches to reproduced by permission of tlie Hamlet. He discusses recent film and stage performances, actors of the Hamlet role as well as directors of the play; his account of new scholarship stresses the role of remembering and forgetting in the play, and the impact of feminist and performance studies. CAMBRIDGE UNIVERSITY PRESS www.cambridge.org THE NEW CAMBRIDGE SHAKESPEARE GENERAL EDITOR Brian Gibbons, University of Munster ASSOCIATE GENERAL EDITOR A. R. Braunmuller, University of California, Los Angeles From the publication of the first volumes in 1984 the General Editor of the New Cambridge Shakespeare was Philip Brockbank and the Associate General Editors were Brian Gibbons and Robin Hood. -
Occult Life Los Angeles V2 6 Jul-Sep
IN THIS ISSUE Will Levington Comfort Jeanne L’ strange Cappell Rosalind Greene Peasley Dr. Juno Kayy Walton Dr. Axel Emil Gibson Marc Edmund Jones Rachel Mack Wilson Ervine Denison York Helen Lukens Gaut A. Gale Thomson C ed ric W * L e m o n t H. Lister James Dr. Julia Seton Svend Raasted Trisma O’Day O. W. LeMar W . H. Scott Nulla Crede, Omnia Nosce. July-Aug u st-September 1929 2 5 cents OCCULT LIFE’S BOOK DEPARTMENT/ numBers .........................................;.......... 1.50 RICHARD AND ISABELLA INGALESE How Shall We Know Christ At His .15 Coming .................................................... (Standard Texts of Western Occultism) .10 History and Power of Mind.....................$2.50 EarthBound .................................................. Occult Philosophy..................................... 2.50 Evolution from the Rosicrucian Stand .15 Fragments of Truth............................. 2.50 point .............................. :............................ .80 The Greater Mysteries.............................. 2.50 Christ or Buddha?........ I........................... Astrology and Health.............................. $0.25 How the Rosicrucians heal the sick ea .05 The Evolution of God and Man .25 1.50 Reincarnation ..................................................25 Per hundred .........................................i. Fundamental Rules of Natural Dietet Honesty ..............................................................25 3.00 Alchemy ........................................................... 25 ics,