Interiority, Truth, and Violence in Early Modern Drama
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Mastering Masques of Blackness, Andrea Stevens
andrea stevens Mastering Masques of Blackness: Jonson’s Masque of Blackness, The Windsor text of The Gypsies Metamorphosed, and Brome’s The English Moor Black all over my body, Max Factor 2880, then a lighter brown, then Negro No. 2, a stronger brown. Brown on black to give a rich mahogany. Then the great trick: that glorious half-yard of chiffon with which I polished myself all over until I shone . The lips blueberry, the tight curled wig, the white of the eyes, whiter than ever, and the black, black sheen that covered my flesh and bones, glistening in the dressing-room lights.enlr_1052 396..426 Iam...IamI...IamOthello...butOlivier is in charge.1 —Laurence Olivier, On Acting (1986) Ben Jonson’s “Masque of Blackness” was composed, as the author himself declares, at the express commandment of the Queen (Anne of Denmark), who had a desire to appear along with the fairest ladies of her court, as a negress. I doubt whether the most enthusiastic amies des noirs among our modern beauties, would willingly undergo such a transfor- mation.What would the Age say, if our gracious Queen should play such a frolic?...Itmustnotbe supposed that these high-born masquers sooted their delicate complexions like the Wowskies of our barefaced stages. The masque of black velvet was as common as the black patches in the time of the Spectator.2 —Hartley Coleridge, The Dramatic Works of Massinger and Ford (1859) I am grateful to Bruce Holsinger, Robert Markley, and especially Paul Menzer for their detailed critiques of drafts of this paper.Thanks are due also to the essay’s earliest readers: Christine Luckyj, Katharine Maus, Elizabeth Fowler, Sarah Hagelin, Ellen Malenas Ledoux, and Samara Landers. -
TK TK TK TK the Change in Spain Is Mainly On
THE BUSINESS JOURNAL OF FILM, BROADCASTING, BROADBAND, PRODUCTION, DISTRIBUTION JANUARY/FEBRUARYJUNE/JULY 20102011 VOL. 3031 NO. 41 $9.75 In This Issue: A SusskindTK of TV Latin TVTK Directory ATF’s GentleTK Touch ToiletSección Paper en inEspañol Europe ® www.videoage.org Caracol’s TelenovelaTK Unfolds The ChangeTK In Spain Is Daily On andTK Off TV Screens Mainly On The Air By Dom Serafini TK By BoB JenkinheS Although, as David Esquinas, Research f Colombia’s Caracol planned to broadcast a telenovela on the Santo Domingo affaele Annechino, senior and Strategic Resources director at By Dom Serafini family, it would not be fiction, but reality: A real life telenovela produced by vice president and general Spanish ad agency Optimedia pointed rgentina’s the family itself, since it owns the Bogotá-based TV network. manager, MTV Iberia, out, even though “The final move to All the ingredients for a telenovela are there: Fabulous fortune; beautiful expressed his belief that, digital was made in April, this is a process “Spain is currently one people jet-setting around South America, North America and Europe, (Continued on Page 22)18) and a patriarch. Plus, of the most drama, love, nobility and T interesting, if glamour. Wrote The New York not the most interesting, MiracleTK NATPE I Rbroadcast markets in the Post last year in its popular “Page Comparing two marketsTK in Miami Beach: 1994, 2011 A world. This,” he explained, Six” gossip column, “The Santo “Is because all of the he above headline doesn’t refer to NATPE Domingos Take New York.” hris 2011, even though its renewed success could changes that are happening The patriarch in this case is be attributed to a miracle. -
A Textual Analysis of the Closer and Saving Grace: Feminist and Genre Theory in 21St Century Television
A TEXTUAL ANALYSIS OF THE CLOSER AND SAVING GRACE: FEMINIST AND GENRE THEORY IN 21ST CENTURY TELEVISION Lelia M. Stone, B.A., M.P.A. Thesis Prepared for the Degree of MASTER OF ARTS UNIVERSITY OF NORTH TEXAS December 2013 APPROVED: Harry Benshoff, Committee Chair George Larke-Walsh, Committee Member Sandra Spencer, Committee Member Albert Albarran, Chair of the Department of Radio, Television and Film Art Goven, Dean of the College of Arts and Sciences Mark Wardell, Dean of the Toulouse Graduate School Stone, Lelia M. A Textual Analysis of The Closer and Saving Grace: Feminist and Genre Theory in 21st Century Television. Master of Arts (Radio, Television and Film), December 2013, 89 pp., references 82 titles. Television is a universally popular medium that offers a myriad of choices to viewers around the world. American programs both reflect and influence the culture of the times. Two dramatic series, The Closer and Saving Grace, were presented on the same cable network and shared genre and design. Both featured female police detectives and demonstrated an acute awareness of postmodern feminism. The Closer was very successful, yet Saving Grace, was cancelled midway through the third season. A close study of plot lines and character development in the shows will elucidate their fundamental differences that serve to explain their widely disparate reception by the viewing public. Copyright 2013 by Lelia M. Stone ii TABLE OF CONTENTS Chapters Page 1 INTRODUCTION .............................................................................................. -
Legal, Literary, and Journalistic Textualities of Gender Violence in Post-War Nicaragua DISSERTATION P
Mediated Intimacies: Legal, Literary, and Journalistic Textualities of Gender Violence in Post-War Nicaragua DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Alicia Zoe Miklos, M.A. Graduate Program in Spanish and Portuguese The Ohio State University 2015 Dissertation Committee: Ileana Rodríguez, Advisor Ignacio Corona Laura Podalsky Copyright by Alicia Zoe Miklos 2015 Abstract My dissertation examines representations of femicide as gender violence in legal, journalistic, literary, and online cultural production in contemporary post-war Nicaragua. I begin with the passing of Law 779, the Integral Law Against Violence Towards Women, approved by the Nicaraguan National Assembly in February 2012. The law fills a legal vacuum in the country by codifying femicide, as well as sexual, psychological, patrimonial, and labor abuse into Nicaraguan law as gender specific crimes. Prohibiting the long-standing practice of police and judicial mediation between accusers and aggressors, Law 779 set out to endow women with judicial agency in what had been largely hostile and re-victimizing institutional spaces. The focus of the project is cultural, examining representations of gender violence as part of a social dialogue about Law 779, covering a variety of textual realms. The goal of the project is to explain how different mediums and social actors explain gender violence by studying discourse and narrative modes. The debate centered on Law 779’s re-balancing of power relations and its controversy stemmed from its challenge to existing family structures, which disguise masculine authority and impunity. The inertia of the status quo proved strong, with Law 779 being reformed and regulated between 2012 and 2014, reverting its original radical spirit. -
Antitheatricality and the Body Public. by Lisa A. Freeman
Books Antitheatricality and the Body Public. By Lisa A. Freeman. Philadelphia: University of Pennsylvania Press, 2017; 376 pp.; illustrations. $55.00 cloth, e-book available. In the summer of 2017, nearly two and a half millennia after Plato banished players from his Republic, a kerfuffle over a familiarly coiffured Julius Caesar in New York’s Central Park reminded us that performance can still pose a threat to the pub- lic. In her dazzlingly ambitious and meticulously researched second book, Lisa A. Freeman gives us the historical con- text and methodological tools to understand why. The Public Theater’s production of Julius Caesar — which angered conser- vatives in featuring the assassination of a sovereign who bore a striking resemblance to Donald Trump (see Paulson and Deb 2017) — debuted after Antitheatricality and the Body Public was already in print (though Freeman has written about the incident elsewhere — see Freeman [2017]). Yet it is a testament to the perspicacity of Freeman’s thought that her ideas shed light not only on the theatre as a key to understanding how societies have defined and debated their con- stituents in the near and distant past, but also on how we might use the theatre to think through the constitutional crises of the present and the future. Freeman opens the book by questioning an underlying assumption made by previous schol- ars of antitheatricality, from Jonas Barish to Martin Puchner — that is, that antitheatricality is as “endemic” to Western culture as theatricality, a natural reaction to “a fundamental distrust of representation and an equally strong discomfiture with the bodies that lend themselves to the art of performance” (1). -
Going Commercial: Agency in 17Th Century English Drama
GOING COMMERCIAL: AGENCY IN 17TH CENTURY ENGLISH DRAMA by KARL F. MCKIMPSON A DISSERTATION Presented to the Department of English and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Philosophy March 2016 DISSERTATION APPROVAL PAGE Student: Karl F. McKimpson Title: Going Commercial: Agency in 17th Century English Drama This dissertation has been accepted and approved in partial fulfillment of the requirements for the Doctor of Philosophy degree in the Department of English by: Dianne Dugaw Chairperson George Rowe Core Member Ben Saunders Core Member Alexandre Albert-Galtier Institutional Representative and Scott L. Pratt Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded March 2016 ii © 2016 Karl F. McKimpson This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs (United States) License. iii DISSERTATION ABSTRACT Karl F. McKimpson Doctor of Philosophy Department of English March 2016 Title: Going Commercial: Agency in 17th Century English Drama This dissertation’s aim is to reveal how essential economic mechanics were to playwrights when it came to depicting agency. Rising commercialization in the seventeenth century prompted playwrights to appropriate market behaviors in London as a new discourse for agency. Commerce serves as a metaphor for every part of daily life, and a new kind of “commercial” agency evolves that predicates autonomy upon the exchange networks in which a person participates. Initially, this new agency appears as a variation on the trickster. By the end of the century, playwrights have created a new model for autonomy and a new kind of hero to employ it: the entrepreneur. -
Disordered Appetites: Female Flesh in the Works of Thomas Middleton
DISORDERED APPETITES: FEMALE FLESH IN THE WORKS OF THOMAS MIDDLETON A dissertation submitted by Gregory M. Schnitzspahn in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English TUFTS UNIVERSITY May 2015 Copyright © 2015 by Gregory M. Schnitzspahn Advisor: Judith Haber ii Abstract This dissertation contends that Thomas Middleton’s plays and poetry exploit an early modern psychocultural anxiety focused on the insubstantiality of symbolic or linguistic constructs. More specifically, Middleton’s works consistently examine the manipulability and immateriality of patriarchally prescribed female social identities––such as maid, wife, and widow––that are based entirely upon a woman’s sexual or marital relations with men. Employing principles drawn from psychoanalysis and ecofeminism, I argue that this Middletonian preoccupation bespeaks a more widespread uncertainty in the period about symbolic structures intended to control or contain female bodies and the natural world. My analysis of Thomas Middleton’s work therefore points to conceptual technologies that were emergent in the early modern period and which continue to exert influence in the present day. In the introduction, I describe my guiding principles and theoretical apparatus by reading the typically Middletonian complications of marital and sexual identity in two plays, The Witch and The Phoenix. Chapter One moves to a discussion of female virginity in The Changeling, Middleton’s famous collaboration with William Rowley, and argues that the play taps into cultural anxieties about the potential unreliability of symbolic technologies for controlling female bodies and appetites. Chapter Two examines Middleton’s early work, The Ghost of Lucrece, and contends that this poem’s plaintive ghost uses images of iii female corporeality as a rhetorical weapon, unleashing great floods of blood, milk, and tears that strain the written language of the poem itself. -
Antitheatricality and the Body Public. by Lisa A. Freeman
Books Antitheatricality and the Body Public. By Lisa A. Freeman. Philadelphia: University of Pennsylvania Press, 2017; 376 pp.; illustrations. $55.00 cloth, e-book available. Downloaded from http://direct.mit.edu/dram/article-pdf/62/2 (238)/172/1824771/dram_r_00762.pdf by guest on 28 September 2021 In the summer of 2017, nearly two and a half millennia after Plato banished players from his Republic, a kerfuffle over a familiarly coiffured Julius Caesar in New York’s Central Park reminded us that performance can still pose a threat to the pub- lic. In her dazzlingly ambitious and meticulously researched second book, Lisa A. Freeman gives us the historical con- text and methodological tools to understand why. The Public Theater’s production of Julius Caesar — which angered conser- vatives in featuring the assassination of a sovereign who bore a striking resemblance to Donald Trump (see Paulson and Deb 2017) — debuted after Antitheatricality and the Body Public was already in print (though Freeman has written about the incident elsewhere — see Freeman [2017]). Yet it is a testament to the perspicacity of Freeman’s thought that her ideas shed light not only on the theatre as a key to understanding how societies have defined and debated their con- stituents in the near and distant past, but also on how we might use the theatre to think through the constitutional crises of the present and the future. Freeman opens the book by questioning an underlying assumption made by previous schol- ars of antitheatricality, from Jonas Barish to Martin Puchner — that is, that antitheatricality is as “endemic” to Western culture as theatricality, a natural reaction to “a fundamental distrust of representation and an equally strong discomfiture with the bodies that lend themselves to the art of performance” (1). -
The Antitheatrical Paradox in Michel Marc Bouchard’S Les Feluettes, Ou La Répétition D’Un Drame Romantique1
Can Lit 188 Spring 2006-#3x 22/06/06 08:21 Page 47 JohnR. Darren Reibetanz Gobert The Antitheatrical Paradox in Michel Marc Bouchard’s Les Feluettes, ou La Répétition d’un drame romantique1 As Jonas Barish’s still indispensable book documents, a vital tradition of antitheatrical prejudice has marked the history of Christ- ianity. Theatre has been condemned, in many different historical contexts and under various denominational guises, as a serpent in the garden, offer- ing God’s subjects pleasure while ultimately leading them to sin. But reli- gious practice has meanwhile been consistently shadowed by its attraction and resemblance to theatrical performance. Barish provides an evocative analogy from Paradise Lost: like Milton’s Adam and Eve, having to impro- vise their prayers so as not to fall into ritualistic repetition and yet also having to repeat the improvisation each morning (Milton V.145-152, Barish 95-96), Christian religous practice is characterized by its paradoxical relationship to theatre—falling into theatricality with seeming inevitability even while trying to assert the theatre’s blasphemous implications. The subtitle of Michel Marc Bouchard’s play Les Feluettes, ou La Répétition d’un drame romantique (19872, published 1988) plays on these associations, emphasizing the connections between “répétition” (as both reiteration and rehearsal) and “drame” (as playscript and in the pejorative sense of hypertheatrical behaviour). The play enacts the mutual attraction and deep suspicion between Christianity and theatre—and it does -
Winners BAFTA Children's Awards Announced Big CBS Prime Wants To
Inside TV International 280 November 26 - December 2, 2010 weekly magazine with a focus on content www.insidetv.info [email protected] I N T INTERNATIONAL E Winners BAFTA Children’s FremantleMedia ap- R points Kim Ardal as MD N A Awards announced of Blu in T The British Academy of Film and Television Arts has Denmark - p. 2 I NBC Universal Interna- Body Of Proof 4 unveiled the winners of the 2010 Children’s Awards. In O the Animation category Aardman Animations’ ‘Shaun The tional signs deal with N Sheep’ (CBBC) won. The BAFTA for best Comedy went to Canadian Lark A L ‘Horrible Histories’ (Lion TV/Citrus TV/CBBC) and best Productions - p. 3 Drama was CBBC’s ‘Tracy Beaker Returns’; while in the 2 Entertainment category CBBC’s ‘Relic: Guardians of the Museum’ was the winner. At the International front Nick- elodeon’s ‘The Penguins of Madagascar’ won the BAFTA. F (cont. page 2) FICTION Archer 5 Acorn Media acquires I Greenlit shows - p. 5 C Dexter close to renewal T Big CBS Prime wants to - p. 6 I Endemol signs distribu- O Indianise international shows tion deal for Leverage N Big CBS Networks, a joint venture between Reliance - p. 6 Broadcast Network Limited and CBS Studios Interna- 3 7 tional launches this week Big CBS Prime, an English general entertainment television channel for the Indian sub-continent.A key component of BIG CBS Networks’ programming strategy is to Indianise international shows KIDS for its Indian viewers. There is hardly any localization of Galaxy Pop is working K international formats in India, considerably limiting the on new comedy series I potential of consumer engagement. -
Levin 1 Representations of Victims, Suspects and Offenders: a Content
Levin 1 Representations of Victims, Suspects and Offenders: A Content Analysis of Four Television Crime Shows Jessica Levin University of Colorado at Boulder Sociology Department Spring 2013 Honors Committee Members: Dr. Joanne Belknap, Sociology (Chair) Dr. Liam Downey, Sociology Dr. Tracy Ferrell, Program for Writing and Rhetoric Levin 2 ABSTRACT This study draws on Social Learning Theory and uses a content analysis to critically examine the representations of victims, suspects and offenders on fictional crime television shows. Specifically, four such shows were studied: Law and Order: Special Victims Unit, Criminal Minds, Body of Proof and Rizzoli & Isles. Although some previous research assessed the representations of suspects and offenders on fictional crime television series, examination of the representations of victims is rare, and to date, no study has included such an extensive list of variables. There were two units of analysis used while coding. Coding of the entire show included the year of the episode, number of victims, number of suspects, number of offenders, type of crime and time of the crime. The second unit of analysis included individual victims, suspects and offenders. An extensive range of demographic data was recorded for each victim, suspect and offender. The results from this study indicate that a very narrow lens is used in television fictional crime show portrayals of victims, suspects and offenders. The findings include a relationship between the type of crime and the television show, the victims’ gender and survival rate, the victims’ race/ethnicity and socioeconomic status, the victims’ hair color and whether they were drugged, and the victims’ survival and whether they had children with the defendant. -
The Antitheatrical Paradox in Michel Marc Bouchard's Les Feluettes, Au La Repetition D'un Drame Romantique1
R. Darren G'obert The Antitheatrical Paradox in Michel Marc Bouchard's Les Feluettes, au La Repetition d'un drame romantique1 As jonas Barish's still indispensable book documents, a vital tradition of antitheatrical prejudice has marked the history of Christ ianity. Theatre has been condemned, in many different historical contexts and under various denominational guises, as a serpent in the garden, offer ing God's subjects pleasure while ultimately leading them to sin. But reli gious practice has meanwhile been consistently shadowed by its attraction and resemblance to theatrical performance. Barish provides an evocative analogy from Paradise Lost: like Milton's Adam and Eve, having to impro vise their prayers so as ·not to fall into ritualistic repetition and yet also having to repeat the improvisation each morning (Milton V.145-152, Barish 95-96), Christian religous practice is characterized by its paradoxical relationship to theatre-falling into theatricality with seeming inevitability even while trying to assert the theatre's blasphemous implications. The subtitle of Michel Marc Bouchard's play Les Feluettes, ou La Repetition d'un drame romantique (1987', published 1988) plays on these associations, emphasizing the connections between "repetition, (as both reiteration and rehearsal) and "drame" (as playscript and in the pejorative sense ofhypertheatrical behaviour). The play enacts the mutual attraction and deep suspicion between Christianity and theatre-and it does so in a way which resonates with the history of antitheatrical prejudice in French Canada, where public theatre was banned in 1694 by the bishop of Quebec, Monsignor de Saint-Vallier, and has been threatened many times since.' Bouchard's play stages a 1952 performance by a group of prisoners of a series of events that occurred in 1912 Roberval-chief among these events Bouchard a staging of Gabriele d' Annunzio's (real) play Le Martyre de Saint Sebastien at the (fictional) College Saint-Sebastien.