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3D Computer Modelling the Rose Playhouse Phase I (1587- 1591) and Phase II (1591-1606)
3D Computer Modelling The Rose Playhouse Phase I (1587- 1591) and Phase II (1591-1606) *** Research Document Compiled by Dr Roger Clegg Computer Model created by Dr Eric Tatham, Mixed Reality Ltd. 1 BLANK PAGE 2 Contents Acknowledgements…………………………………………………………………….………………….………………6-7 Foreword…………………………………………………………………………………………………………….9-10 1. Introduction……………………..………...……………………………………………………….............………....11-15 2. The plot of land 2.1 The plot………………………………………………..………………………….………….……….……..…17-19 2.2 Sewer and boundary ditches……………………………………………….……………….………….19-23 3. The Rose playhouse, Phase I (1587-1591) 3.1 Bridges and main entrance……………………..……………………………………,.……………….25-26 3.2 Exterior decoration 3.2.1 The sign of the Rose…………………………………………………………………………27-28 3.2.2 Timber frame…………………………………………………..………………………………28-31 3.3. Walls…………………………………………………………………………………………………………….32-33 3.3.1 Outer walls………………………………………………………….…………………………..34-36 3.3.2 Windows……………………………………………………………..…………...……………..37-38 3.3.3 Inner walls………………………………………………………………………………………39-40 3.4 Timber superstructure…………………………………………….……….…………….…….………..40-42 3.4.1 The Galleries………………………………………………..…………………….……………42-47 3.4.2 Jutties……………………………………………………………...….…………………………..48-50 3.5 The yard………………………………………………………………………………………….…………….50-51 3.5.1 Relative heights………………………………………………...……………...……………..51-57 3.5.2. Main entrance to the playhouse……………………………………………………….58-61 3.6. ‘Ingressus’, or entrance into the lower gallery…………………………..……….……………62-65 3.7 Stairways……………………………………………………………………………………………………....66-71 -
Corpus Linguistics and 17Th-Century Prostitution.Indb
McEnery, Anthony, and Helen Baker. "Life as a 17th-Century Prostitute." Corpus Linguistics and 17th-Century Prostitution: Computational Linguistics and History. London: Bloomsbury Academic, 2017. 33–89. Corpus and Discourse. Bloomsbury Collections. Web. 29 Sep. 2021. <http://dx.doi.org/10.5040/9781474295062.0006>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 29 September 2021, 05:00 UTC. Copyright © Anthony McEnery and Helen Baker 2017. You may share this work for non- commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 2 Life as a 17th-Century Prostitute Free as light and air I walk, And uncontroll ’ d my passions guide; I eat and drink and sing and talk, And something else I do beside; Hither then, my followers come, And, on the couch, the seat of bliss, I ’ ll strait conduct the hero home, And shew you what this something is. 1 2.1 Introduction – historical research on early modern prostitution If we asked our readers to imagine a seventeenth-century prostitute, it is likely that some might picture a beautifully dressed and youthful courtesan, perhaps attending the playhouse with her wealthy lover but keeping a mindful watch for potential suitors. Others might visualize a wretched streetwalker, her appearance visibly marred by the tolls of venereal disease, alcoholism and physical abuse, attempting to interest a passer-by in a brief outdoor transaction. Both of these images do have their place in early modern England but they represent polar extremes of a profession that spanned a great range of social class and economic status and which women turned to for diff erent reasons. -
London and Its Main Drainage, 1847-1865: a Study of One Aspect of the Public Health Movement in Victorian England
University of Nebraska at Omaha DigitalCommons@UNO Student Work 6-1-1971 London and its main drainage, 1847-1865: A study of one aspect of the public health movement in Victorian England Lester J. Palmquist University of Nebraska at Omaha Follow this and additional works at: https://digitalcommons.unomaha.edu/studentwork Recommended Citation Palmquist, Lester J., "London and its main drainage, 1847-1865: A study of one aspect of the public health movement in Victorian England" (1971). Student Work. 395. https://digitalcommons.unomaha.edu/studentwork/395 This Thesis is brought to you for free and open access by DigitalCommons@UNO. It has been accepted for inclusion in Student Work by an authorized administrator of DigitalCommons@UNO. For more information, please contact [email protected]. LONDON .ML' ITS MAIN DRAINAGE, 1847-1865: A STUDY OF ONE ASPECT OP TEE PUBLIC HEALTH MOVEMENT IN VICTORIAN ENGLAND A Thesis Presented to the Department of History and the Faculty of the Graduate College University of Nebraska at Omaha In Partial Fulfillment of the Requirements for the Degree Master of Arts by Lester J. Palmquist June 1971 UMI Number: EP73033 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI EP73033 Published by ProQuest LLC (2015). Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. -
Records Ofearfvq English Drama
1980 :1 A newsletter published by University of Toronto Press in association with Erindale College, University of Toronto and Manchester University Press . JoAnna Dutka, editor Records ofEarfvq English Drama In this issue are Ian Lancashire's biennial bibliography of books and articles on records of drama and minstrelsy, and A .F. Johnston's list of errata and disputed readings of names in the York volumes. IAN LANCASHIRE Annotated bibliography of printed records of early British drama and minstrelsy for 1978-9 This list includes publications up to 1980 that concern records of performers and performance, but it does not notice material treating play-texts or music as such, and general or unannotated bibliographies . Works on musical, antiquarian, local, and even archaeological history figure as large here as those on theatre history . The format of this biennial bibliography is similar to that of Harrison T . Meserole's computerized Shakespeare bibliography. Literary journal titles are abbreviated as they appear in the annual MLA bibliography . My annotations are not intended to be evaluative ; they aim to abstract concisely records information or arguments and tend to be fuller for items presenting fresh evidence than for items analyzing already published records . I have tried to render faithfully the essentials of each publica- tion, but at times I will have missed the point or misstated it: for these errors I ask the indulgence of both author and user . Inevitably I will also have failed to notice some relevant publications, for interesting information is to be found in the most unlikely titles; my search could not be complete, and I was limited practically in the materials available to me up to January 1980. -
Performing Shakespeare in the Original Pronunciation Final Submission2.Docx
Performing Shakespeare in the Original Pronunciation David Barrett A submission presented in partial fulfilment of the requirements of the University of South Wales for the degree of Doctor of Philosophy December 2013 1 Contents: Abstract 4 Acknowledgements 6 Chapter 1 Introduction 7 Chapter 2 Original Pronunciation in Context 2.1 Historically Informed Performance 15 2.2 The Shakespearean Voice 90 2.3 Accented Shakespeare 104 Chapter 3 3.1 Shakespearean Original Pronunciation in Performance in the Twentieth and Twenty-First Centuries 123 3.2 Macbeth at the Mermaid Theatre 181 Chapter 4 The Linguistic Context, Phonological Research and Reference 193 Chapter 5 5.1 Transcription Policy 225 5.2 A Comparison of Transcription Styles 276 Chapter 6 Testing the Transcription Policy/ Developing a Method through Workshopping 290 Chapter 7 Conclusion 388 Works Cited 416 2 Textual Note: Unless stated otherwise, all Shakespearean quotes are from: Clark, W.G. and Wright, W.A. (1865) The Works of William Shakespeare (Globe Edition), Cambridge and London: Macmillan. Available at: http://www.opensourceshakespeare.org/views/plays/plays.php (accessed 12.09.210) Macbeth: The complete works of William Shakespeare [electronic resource] Created by Jeremy Hylton; Operated by The Tech., Cambridge, Massachusetts (From Grady Ward’s Moby Shakespeare). Available at: http://shakespeare.mit.edu/macbeth/index.html (accessed 10.08.2011) The Romeo and Juliet Transcription: based on the First Folio (1623) from the Electronic Text Center, University of Virginia Library. Available at: http://web.archive.org/web/20080504221015/http://etext.lib.virginia.e du/toc/modeng/public/ShaRJF.html (accessed 24.06.2010) I share the view of Stephen Orgel, who views the acting text, prepared for performance, as the “authentic text” (2002, 237). -
A New Companion to Renaissance Drama Blackwell Companions to Literature and Culture
A New Companion to Renaissance Drama Blackwell Companions to Literature and Culture This series offers comprehensive, newly written surveys of key periods and movements and certain major authors, in English literary culture and history. Extensive volumes provide new perspectives and positions on contexts and on canonical and post‐canonical texts, orientating the beginning student in new fields of study and providing the experi- enced undergraduate and new graduate with current and new directions, as pioneered and developed by leading scholars in the field. Published Recently 78. A Companion to American Literary Studies Edited by Caroline F. Levander and Robert S. Levine 79. A New Companion to the Gothic Edited by David Punter 80. A Companion to the American Novel Edited by Alfred Bendixen 81. A Companion to Literature, Film, and Adaptation Edited by Deborah Cartmell 82. A Companion to George Eliot Edited by Amanda Anderson and Harry E. Shaw 83. A Companion to Creative Writing Edited by Graeme Harper 84. A Companion to British Literature, 4 volumes Edited by Robert DeMaria, Jr., Heesok Chang, and Samantha Zacher 85. A Companion to American Gothic Edited by Charles L. Crow 86. A Companion to Translation Studies Edited by Sandra Bermann and Catherine Porter 87. A New Companion to Victorian Literature and Culture Edited by Herbert F. Tucker 88. A Companion to Modernist Poetry Edited by David E. Chinitz and Gail McDonald 89. A Companion to J. R. R. Tolkien Edited by Stuart D. Lee 90. A Companion to the English Novel Edited by Stephen Arata, Madigan Haley, J. Paul Hunter, and Jennifer Wicke 91. -
CONTENTS an Off-Broadway for London Union: Southwark's Theatre
SOUTHWARK THEATRE DISTRICT : AN OFF-BROADWAY 01 CONTENTS 03 An Off-Broadway for London 05 Union: Southwark’s Theatre District FOR 06 Hypothetical Logo Development 08 Map 10 Rise of the Creative District 14 Case Study: Zona Tortona LONDON 16 Case Studies 18 In Search of Southwark 28 10 Things to do in Southwark 30 These Wooden Os 36 A Workshop not a Shopfront 40 Case Studies 42 The Creative District Profiler 43 North Southwark Creative Districts URBAN RESEARCH UNIT 46 About Futurecity AN OFF-BROADWAY FOR LONDON A borough with a history of cultural freedom, Southwark can take centre stage in London with live performance as its driving force. In this decade, over 50 per cent of creating urban places of quality and people around the world will live in originality where people and businesses urban environments. For the new economic can co-exist. The challenge for politicians, giants this means cities turned into places of planners and developers is to build authentic production and manufacturing. However in the creative districts that are rooted in the West, the loss of mass industrial manufacturing “local”, reflecting on an area’s history and production offers another industry: “ideas” without defaulting to a heritage approach and the opportunity to turn our major cities into to placemaking. the locus of creative and cultural innovation. Building modern creative places is about Taking a strategic approach to placemaking risk and experiment, seizing the moment; in that focuses on the cultural and knowledge Southwark there is an opportunity to build on economies can therefore help provide an the unique energy of the arts as a catalyst for overall sense of purpose and creative vision change and regeneration. -
Playhouses and Players
1 R. A. FOAKES Playhouses and players When we look back at a distant historical period, it is easy to succumb to two temptations; the first is to see a sudden, sharp break with the past taking place at some date such as the coming to the throne of Elizabeth I (1558), or James I (1603), as though a transformation in all aspects of society happened in those instants. The second is to telescope the passage of decades of change into a single, homogenized period like ‘the age of Elizabeth’, as though forty- five years could be focused in a single, unchanging image. In our own lives we are continually alert to shifts and changes that make what happened or was in vogue ten years, five years, or even one year ago seem curiously old-fashioned and different now. Perhaps it has always been so, even when change was slower technologically. The period from 1558 to the end of the reign of Charles I saw the passage of eighty-four years, during which the theatre was transformed, and the drama startlingly expanded and diversified. It is perhaps unfortunate that the great standard works on the theatres and drama in this period should be entitled The Elizabethan Stage and The Jacobean and Caroline Stage.1 Yet any account of the period needs to begin with the recognition that there were many different stages as playhouses became more sophisticated, and that perhaps the only constant feature of the theatres up to 1642 was that all parts were normally played by men and boys; the professional companies in London had no actresses in them until after the restoration of the monarchy in 1660. -
Henslowe's Diary
r N ^ 5?, r ' ' c CORNELL UNIVERSITY LIBRARY BOUGHT WITH THE INCOME OF THE SAGE ENDOWMENT FUND GIVEN IN 1891 BY HENRY WILLIAMS SAGE llljj'ensjpwe's diar f Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924026121305 HENSLOWE'S DIARY HENSLOWE'S DIARY EDITED BY WALTER W. GREG, M.A. PART I. TEXT A. H. BULLEN 47 GREAT RUSSELL STREET, LONDON, W.C, 1904 Am% TO GEORGE FREDERICK WARNER LITT.D. ASSISTANT KEEPER OF MANUSCRIPTS AT THE BRITISH MUSEUM IN ACKNOWLEDGMENT OF CONSTANT AND GENEROUS HELP IN ALL DIFFICULTIES THIS WORK IS GRATEFULLY INSCRIBED. : PREFACE. I WISH in the forefront of my work to discharge the pleasant duty of recording my thanks to those who have with their kind assistance helped me in the fulfilment of my task. In the first place my hearty thanks are due to the Governors of Dulwich College for kindly allowing the manuscript of Henslowe's Diary to be deposited at the British Museum for my use, and for the courtesy and patience with which they have borne with me in a series of unavoidable delays. I should in particular mention Sir Robert Douglas, who most kindly undertook the duty of intermediary. Next I must record my deep indebtedness to the officials of the Manuscript Department at the British Museum. To Dr. Warner, who not only helped me in numerous cases of difficulty, but kindly consented to read the proofs of the section of my Introduction dealing with the knotty question of the forgeries, I have had an opportunity of expressing my gratitude elsewhere ; but I have here to acknowledge a scarcely smaller debt to Mr. -
Bozio, Ecologies of Thought
Ecologies of Thought in Early Modern English Drama by Andrew Jonathan Bozio 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 2013 Doctoral Committee: Professor Michael C. Schoenfeldt, Chair Associate Professor George P. Hoffmann Associate Professor Steven G. Mullaney Professor Theresa L. Tinkle Professor Valerie J. Traub © Andrew Bozio 2013 Acknowledgements Like any work that develops over the course of several years, this dissertation has been shaped and supported by many extraordinary individuals, and I’m very pleased to be able to thank them there. I’ve had the good fortune to work with an incredible dissertation committee, whose contributions to this project have left me deeply humbled. One of the greatest pleasures of graduate school has been working with Michael Schoenfeldt, whose enthusiasm and support for this endeavor has been unflagging. Mike’s warmth, generosity, and piercing intellect have made him universally beloved within the profession, and I feel very grateful to have learned so much from him while at Michigan. Steven Mullaney has been instrumental in shaping this project. Our shared interest in cognition and in theories of space provided early encouragement in undertaking this research, and he helped to excavate aspects of the argument that remained invisible to me, guiding our conversations with deeply astute questions that challenged me to rethink the terms of this project. Similarly, I owe an incredible debt to Valerie Traub, whose careful reading of this work helped to give the argument shape and solidity. From the beginning of this project, she pushed me to clarify my thinking, and that precision of thought saved the dissertation from becoming mired in abstraction. -
Playhouses and Players
Cambridge University Press 978-0-521-82115-5 - The Cambridge Companion to English Renaissance Drama, Second Edition Edited by A. R. Braunmuller and Michael Hattaway Excerpt More information 1 R. A. FOAKES Playhouses and players When we look back at a distant historical period, it is easy to succumb to two temptations; the first is to see a sudden, sharp break with the past taking place at some date such as the coming to the throne of Elizabeth I (1558), or James I (1603), as though a transformation in all aspects of society happened in those instants. The second is to telescope the passage of decades of change into a single, homogenized period like ‘the age of Elizabeth’, as though forty- five years could be focused in a single, unchanging image. In our own lives we are continually alert to shifts and changes that make what happened or was in vogue ten years, five years, or even one year ago seem curiously old-fashioned and different now. Perhaps it has always been so, even when change was slower technologically. The period from 1558 to the end of the reign of Charles I saw the passage of eighty-four years, during which the theatre was transformed, and the drama startlingly expanded and diversified. It is perhaps unfortunate that the great standard works on the theatres and drama in this period should be entitled The Elizabethan Stage and The Jacobean and Caroline Stage.1 Yet any account of the period needs to begin with the recognition that there were many different stages as playhouses became more sophisticated, and that perhaps the only constant feature of the theatres up to 1642 was that all parts were normally played by men and boys; the professional companies in London had no actresses in them until after the restoration of the monarchy in 1660. -
Royal Marriage and the Politics of Transition in Stuart Drama 1603-1630 Dissertation Presented in Partial Fulfillment of The
Royal Marriage and the Politics of Transition in Stuart Drama 1603-1630 Dissertation Presented in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Graduate School of The Ohio State University By Mira Assaf Kafantaris, B.A., M.A. Graduate Program in English The Ohio State University 2014 Dissertation Committee: Christopher Highley, Advisor Richard Dutton Alan B. Farmer Jennifer Higginbotham Copyright by Mira Assaf Kafantaris 2014 Abstract This dissertation discusses the Stuart stage’s participation in an ongoing reflection on royal marriage in the early modern period. I focus on the taxonomies of otherness, religion, foreign policy, gender politics, and race that Shakespeare and Fletcher’s Henry VIII (1613), Fletcher’s The Island Princess (1621), and Massinger’s The Roman Actor (1626) stage in order to understand how dramatic texts incorporated the vocabulary of dynasticism into their fabric. Taken collectively, these plays suggest that the belief in the efficacy of royal marriage is illusory at a historical juncture when matrimonial politics occupied center stage. My analysis starts with the competing Spanish, French, and Savoyard marriage proposals for the Prince of Wales (1612-14), which were intended to balance Princess Elizabeth’s marriage to the militant Protestant prince, Frederick V of the Rhine, where I argue that Henry VIII breaks the prescriptive binary of “foreign” and “domestic.” I then propose a new way of reading the drama surrounding the famous Spanish match (1621-1624) by showing how The Island Princess invokes the interlocking themes of “virtuous pagans” and imperial expansion to stage a successful but qualified dynastic marriage that can only be achieved after the use of military force.