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Corpus Christi College the Pelican Record
CORPUS CHRISTI COLLEGE THE PELICAN RECORD Vol. LI December 2015 CORPUS CHRISTI COLLEGE THE PELICAN RECORD Vol. LI December 2015 i The Pelican Record Editor: Mark Whittow Design and Printing: Lynx DPM Limited Published by Corpus Christi College, Oxford 2015 Website: http://www.ccc.ox.ac.uk Email: [email protected] The editor would like to thank Rachel Pearson, Julian Reid, Sara Watson and David Wilson. Front cover: The Library, by former artist-in-residence Ceri Allen. By kind permission of Nick Thorn Back cover: Stone pelican in Durham Castle, carved during Richard Fox’s tenure as Bishop of Durham. Photograph by Peter Rhodes ii The Pelican Record CONTENTS President’s Report ................................................................................... 3 President’s Seminar: Casting the Audience Peter Nichols ............................................................................................ 11 Bishop Foxe’s Humanistic Library and the Alchemical Pelican Alexandra Marraccini ................................................................................ 17 Remembrance Day Sermon A sermon delivered by the President on 9 November 2014 ....................... 22 Corpuscle Casualties from the Second World War Harriet Fisher ............................................................................................. 27 A Postgraduate at Corpus Michael Baker ............................................................................................. 34 Law at Corpus Lucia Zedner and Liz Fisher .................................................................... -
The Influence of Seneca on 1934) Pp. 33-54; Philip Edwards, Thomas Kyd
Notes CHAPTER ONE. COMMON ELEMENTS I. For Senecan influence, see John W. Cunliffe, The Influence of Seneca on Elizabethan Tragedy (London: Macmillan, 1893); F. L. Lucas, Seneca and Elizabethan Tragedy (Cambridge: Cambridge University Press, 1922); T. S. Eliot, 'Shakespeare and the Stoicism of Seneca', in Elizabethan Essays (London: Faber, 1934) pp. 33-54; Philip Edwards, Thomas Kyd and Early Elizabethan Tragedy, Writers and their Work Series (London: Longmans, 1966) pp. 10-11. The importance of Senecan influence has been denied by Howard Baker in Induction to Tragedy: A Study in Development ofForm in •Gorboduc', 'The Spanish Tragedy' and 'Titus Andronicus' (Baton Rouge: Louisiana State University Press, 1939), and by George Hunter in 'Seneca and the Elizabethans: A Case Study in "Influence"', ShS, XX (1967) 17-26. 2. Sir Philip Sidney, An Apology for Poetry, ed. Geoffrey Shepherd (London: Nelson, 1965) p. 118. 3. John Foxe, Actes and Monuments (London, 1583). For a pictorial anthology of 'sundrye kindes ofTormentes' (including blinding), see pp. 794f. at the end ofvol. 1. A chained copy of this immensely popular work was made available in every cathedral, and regular public readings were prescribed by Church ordinance. 4. This meaning has not been recorded by the OED. For examples, see Chapman, Hero and Leander, Ill. 59-64,146; Middleton and Rowley, The Changeling, I.i.l91; Hamlet, v.ii.289-90. 5. Romeo and Juliet, II.vi.9-15; Othello, I.iii.341-2, u.i.219-20. 6. On the Greek attitude to change, see J. B. Bury, The Idea ofProgress (London: Macmillan, 1932) pp. -
The North Face of Shakespeare: Activities for Teaching the Plays
Vol. XXIV Clemson University Digital Press Digital Facsimile Vol. XXIV THE • VPSTART • CROW• Contents Part One: Shakespeare's Jests and Jesters John R.. Ford • Changeable Taffeta: Re-dressing the Bears in Twelfth Night . 3 Andrew Stott • "The Fondness, the Filthinessn: Deformity and Laughter in Early-Modem Comedy........................................................................... 15 Tamara Powell and Sim Shattuck • Looking for Liberation and Lesbians in Shakespeare's Cross-Dressing Comedies ...................... ...................... 25 Rodney Stenning Edgecombe • "The salt fish is an old coar' in The Merry Wives of Windsor 1. 1 ................................•.....•..... .......•. ... ...... ......... ..... 34 Eve-Marie Oesterlen • Why Bodies Matter in Mouldy Tales: Material (Re)Tums in Pericles, Prince of Tyre .......................... ...... ...... ......... ... ................... 36 Gretchen E. Minton • A Polynesian Shakespeare Film: The Maori Merchant of Venice ............................................................................................... 45 Melissa Green • Tribal Shakespeare: The Federal Theatre Project's "Voo- doo Macbeth n(1936) ........................................ ...... ......... ... ............... .... 56 Robert Zaller • "Send the Head to Angelon: Capital Punishment in Measure for Measure ................................................................................:......... 63 Richard W. Grinnell • Witchcraft, Race, and the Rhetoric of Barbarism in Othello and 1 Henry IV......................................................................... -
Twelfth Night Study Guide — 2 Twelfth Night a Support Packet for Studying the Play and Attending the Shakespeare Theatre of New Jersey’S Main Stage Production
a study guide compiled and arranged by the Education Department of The Shakespeare Theatre of New Jersey The Shakespeare Theatre of New Jersey Twelfth Night study guide — 2 Twelfth Night a support packet for studying the play and attending The Shakespeare Theatre of New Jersey’s Main Stage production General Information p3- Using This Study Guide p16- Sources for this Study Guide (and Additional Resources) William Shakespeare p4- Shakespeare: Helpful Tips for Exploring & Seeing His Works p5- The Life of William Shakespeare p5- Shakespeare’s London p6- Are You SURE This Is English? About The Play p7- Twelfth Night: A Synopsis p8- Sources and History of the Play p10- Commentary and Criticism Studying Shakespeare’s Twelfth Night p9- Shakespeare’s Common Tongue p9- Terms and Phrases found in Twelfth Night p11- Aspects of Twelfth Night p12- Twelfth Night: Food For Thought p13- Additional Topics for Discussion Classroom Applications p13- Follow-Up Activities p14- What Did He Say? p14- Who Said That? p15- Meeting the Core Curriculum Content Standards p16- “Who Said That?” Answer Key About the Shakespeare Theatre of New Jersey p17- About The Shakespeare Theatre of New Jersey p17- Other Opportunities for Students... and Teachers The Shakespeare Theatre of New Jersey is an independent, professional theatre located on the Drew University campus. The Shakespeare Theatre of New Jersey’s programs are made possible, in part, by funding from the New Jersey State Council on the Arts/ Department of State, a Partner Agency of the National Endowment for the Arts, as well as funds from the National Endowment for the Arts. -
THE MODERATE SOPRANO Glyndebourne’S Original Love Story by David Hare Directed by Jeremy Herrin
PRESS RELEASE IMAGES CAN BE DOWNLOADED HERE Twitter | @ModerateSoprano Facebook | @TheModerateSoprano Website | www.themoderatesoprano.com Playful Productions presents Hampstead Theatre’s THE MODERATE SOPRANO Glyndebourne’s Original Love Story By David Hare Directed by Jeremy Herrin LAST CHANCE TO SEE DAVID HARE’S THE MODERATE SOPRANO AS CRITICALLY ACCLAIMED WEST END PRODUCTION ENTERS ITS FINAL FIVE WEEKS AT THE DUKE OF YORK’S THEATRE. STARRING OLIVIER AWARD WINNING ROGER ALLAM AND NANCY CARROLL AS GLYNDEBOURNE FOUNDER JOHN CHRISTIE AND HIS WIFE AUDREY MILDMAY. STRICTLY LIMITED RUN MUST END SATURDAY 30 JUNE. Audiences have just five weeks left to see David Hare’s critically acclaimed new play The Moderate Soprano, about the love story at the heart of the foundation of Glyndebourne, directed by Jeremy Herrin and starring Olivier Award winners Roger Allam and Nancy Carroll. The production enters its final weeks at the Duke of York’s Theatre where it must end a strictly limited season on Saturday 30 June. The previously untold story of an English eccentric, a young soprano and three refugees from Germany who together established Glyndebourne, one of England’s best loved cultural institutions, has garnered public and critical acclaim alike. The production has been embraced by the Christie family who continue to be involved with the running of Glyndebourne, 84 years after its launch. Executive Director Gus Christie attended the West End opening with his family and praised the portrayal of his grandfather John Christie who founded one of the most successful opera houses in the world. First seen in a sold out run at Hampstead Theatre in 2015, the new production opened in the West End this spring, with Roger Allam and Nancy Carroll reprising their original roles as Glyndebourne founder John Christie and soprano Audrey Mildmay. -
Shakespeare and Violence
SHAKESPEARE AND VIOLENCE R. A. FOAKES The Pitt Building, Trumpington Street, Cambridge , United Kingdom The Edinburgh Building, Cambridge, ,UK West th Street, New York, -, USA Williamstown Road, Port Melbourne, , Australia Ruiz de Alarc´on , Madrid, Spain Dock House, The Waterfront, Cape Town , South Africa http://www.cambridge.org C R. A. Foakes This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published Printed in the United Kingdom at the University Press, Cambridge Typeface Baskerville Monotype /. pt System LATEX ε [] A catalogue record for this book is available from the B ritish Library Library of Congress Cataloguing in Publication data Foakes, R. A. Shakespeare and Violence / R. A. Foakes. p. cm. Includes bibliographical references and index. --- – --- (pb.) . Shakespeare, William, – – Views on violence. Shakespeare, William, – – Views on war. Violence in literature. War in literature. Title. . –dc hardback paperback Contents List of illustrations page ix Preface xi . Introduction: ‘Exterminate all the brutes’ . Shakespeare’s culture of violence Shakespeare and classical violence Shakespeare and Christian violence . Shakespeare and the display of violence Marlowe and the Rose spectaculars Shakespeare’s chronicles of violence: Henry VI, Part Henry VI, Part Butchery in Henry VI, Part and the emergence of Richard III Torture, rape, and cannibalism: Titus Andronicus . Plays and movies: Richard III and Romeo and Juliet Richard III for a violent era Romeo and Juliet . Shakespeare on war: King John to Henry V Muddled patriotism in King John Model warriors and model rulers in Henry IV Henry V and the idea of a just war . -
Study Guide for DE Madameby Yukio Mishima SADE Translated from the Japanese by Donald Keene
Study Guide for DE MADAMEBy Yukio Mishima SADE Translated from the Japanese by Donald Keene Written by Sophie Watkiss Edited by Rosie Dalling Rehearsal photography by Marc Brenner Production photography by Johan Persson Supported by The Bay Foundation, Noel Coward Foundation, 1 John Lyon’s Charity and Universal Consolidated Group Contents Section 1: Cast and Creative Team Section 2: An introduction to Yukio Mishima and Japanese theatre The work and life of Yukio Mishima Mishima and Shingeki theatre A chronology of Yukio Mishima’s key stage plays Section 3: MADAME DE SADE – history inspiring art The influence for Mishima’s play The historical figures of Madame de Sade and Madame de Montreuil. Renée’s marriage to the Marquis de Sade Renee’s life as Madame de Sade Easter day, 1768 The path to the destruction of the aristocracy and the French Revolution La Coste Women, power and sexuality in 18th Century France Section 4: MADAME DE SADE in production De Sade through women’s eyes The historical context of the play in performance Renée’s ‘volte-face’ The presence of the Marquis de Sade The duality of human nature Elements of design An interview with Fiona Button (Anne) Section 5: Primary sources, bibliography and endnotes 2 section 1 Cast and Creative Team Cast Frances Barber: Comtesse de Saint-Fond For the Donmar: Insignificance. Theatre includes: King Lear & The Seagull (RSC), Anthony and Cleopatra (Shakespeare’s Globe), Aladdin (Old Vic), One Flew Over the Cuckoo’s Nest (Edinburgh Festival & Gielgud). Film includes: Goal, Photographing Fairies, Prick Up Your Ears. Television includes: Hotel Babylon, Beautiful People, Hustle, The I.T. -
The Dramatic Space of Hamlet's Theatre
Acta Universitatis Sapientiae, Philologica, 4, 1 (2012) 59-75 “The Play’s the Thing” The Dramatic Space of Hamlet’s Theatre Balázs SZIGETI Eötvös Loránd University Department of English Studies [email protected] Abstract. In my paper I investigate the use of the dramatic space in Shakespeare’s Hamlet. The tragedy will be observed with the method of “pre-performance criticism,” which first and foremost makes use of the several potentials a play contains and puts on display before an actual performance; it offers, also in the light of the secondary literature, various ways of interpretation, resulting from the close-reading of the play and considers their possible realizations in the space of the stage both from the director’s and the actor’s point of view, including the consequences the respective lines of interpretation may have as regards the play as a whole. Hamlet does not only raise the questions of the theatrical realization of a play but it also reflects on the ontology of the dramatic space by putting the performance of The Mousetrap-play into one of its focal points and scrutinises the very interaction between the dramatic space and the realm of the audience. I will discuss the process how Hamlet makes use of his private theatre and how the dramatic space is transformed as The Murder of Gonzago turns into The Mousetrap-performance. Keywords: Hamlet; The Mousetrap; dramatic space; pre-performance criticism Shakespeare’s Hamlet1 does not only raise the questions of the theatrical realization of a play but it also reflects on the ontology of the dramatic space by putting the performance of The Mousetrap-play into one of its focal points and 1 In the present paper I quote the play according to the Norton Shakespeare edition (Greenblatt et. -
Sources of Lear
Meddling with Masterpieces: the On-going Adaptation of King Lear by Lynne Bradley B.A., Queen’s University 1997 M.A., Queen’s University 1998 A dissertation submitted in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY in the Department of English © Lynne Bradley, 2008 University of Victoria All rights reserved. This dissertation may not be reproduced in whole or in part, by photo-copying or other means, without the permission of the author. ii Meddling with Masterpieces: the On-going Adaptation of King Lear by Lynne Bradley B.A., Queen’s University 1997 M.A., Queen’s University 1998 Supervisory Committee Dr. Sheila M. Rabillard, Supervisor (Department of English) Dr. Janelle Jenstad, Departmental Member (Department of English) Dr. Michael Best, Departmental Member (Department of English) Dr. Annalee Lepp, Outside Member (Department of Women’s Studies) iii Supervisory Committee Dr. Sheila M. Rabillard, Supervisor (Department of English) Dr. Janelle Jenstad, Departmental Member (Department of English) Dr. Michael Best, Departmental Member (Department of English) Dr. Annalee Lepp, Outside Member (Department of Women’s Studies) Abstract The temptation to meddle with Shakespeare has proven irresistible to playwrights since the Restoration and has inspired some of the most reviled and most respected works of theatre. Nahum Tate’s tragic-comic King Lear (1681) was described as an execrable piece of dementation, but played on London stages for one hundred and fifty years. David Garrick was equally tempted to adapt King Lear in the eighteenth century, as were the burlesque playwrights of the nineteenth. In the twentieth century, the meddling continued with works like King Lear’s Wife (1913) by Gordon Bottomley and Dead Letters (1910) by Maurice Baring. -
March 18, 2011
RESNICOW SCHROEDER March 18, 2011 RSC: How Stratford got its bite back Vibrant, sexy and ensconced in a swish new home, as it reaches its 50th year the Royal Shakespeare Company is buzzing. But just a while ago, it looked doomed. Charles Spencer meets Michael Boyd, the man who pulled an institution back from the brink Michael Boyd strikes me as one of the great unsung heroes of our cultural life. With dogged determination, the artistic director has pulled the Royal Shakespeare Company back to the commanding heights of British theatre. As the company prepares to celebrate its 50th anniversary season in Stratford, in a building that has been spectacularly transformed, I can’t remember a time when it seemed in more exuberant form, or more sharply focused. The rise in its fortunes seems to be encapsulated by its joyous smash hit Matilda, based on the Roald Dahl story, which opened last December. It’s the best new musical since Billy Elliot and will transfer to the West End this autumn, with Broadway almost certain to follow. Suddenly the RSC seems vibrant and sexy again. Last week the critics were invited to see productions of King Lear and Romeo and Juliet in the newly remodelled Royal Shakespeare Theatre. Very wisely, Boyd is opening the new building with shows that were already in the rep of the temporary Courtyard Theatre, a massive metal box that provided both a home, and the prototype for the new RST, during the three and a half years of the building project – which finished on time and on budget. -
Dympna Callaghan's CV
DYMPNA C. CALLAGHAN Department of English | 435 Hall of Languages | Syracuse, NY | 13244 | 315.450.3704 | [email protected] EDUCATION 1986 D.Phil. Sussex University 1982 MA, Renaissance Literature, Sussex University 1981 MA, American Studies, Bowling Green State University 1980 BA (Hons.), English Literature, University of Newcastle Upon Tyne EMPLOYMENT 2011-present William L. Safire Professor of Modern Letters, Syracuse University 2013-14 Interim Director of the Humanities Center, Syracuse University 2003- Dean’s Professor in the Humanities, Syracuse University 1999-2003 William P. Tolley Distinguished Teaching Professor in the Humanities, Syracuse University 1999 Full Professor, Department of English, Syracuse University 1994-99 Associate Professor, Syracuse University 1990-94 Assistant Professor, Syracuse University 1989-90 Fred L. Emerson Faculty Fellow in Modern Letters, Syracuse University 1987-89 Interim Director of Women’s Studies, Bowling Green State University 1998 Cambridge University Shakespeare Summer School 1999 Cambridge University Shakespeare Summer School 2002 Cambridge University Shakespeare Summer School VISITING PROFESSORSHIPS 2014-15 Claremont Graduate University 1995 Women’s Studies, Queen’s University Belfast, November-December 2004 May-June, British Academy Visiting Professorship, Magdalen College, Oxford University OTHER INSTITUTIONAL AFFILIATIONS 1995-present Life Member, Clare Hall, Cambridge University HONORS AND AWARDS 2015 Lloyd Davis Memorial Visiting Professor in Shakespeare, University of Queensland, Australia (August) 2014 Bogliasco Arts and Humanities Center Fellowship (April-May), Bogliasco, Italy 2012 Hudson Strode lecture at the University of Alabama, Tuscaloosa 2012 President, Shakespeare Association of America 2011 Vice President, Shakespeare Association of America 2009-10 Andrew W. Mellon long-term fellowship, The Folger Shakespeare Library, Washington, DC 1 2009 Francis Bacon Foundation and Andrew W. -
Julius Caesar
BAM 2013 Winter/Spring Season Brooklyn Academy of Music BAM, the Royal Shakespeare Company, Alan H. Fishman, and The Ohio State University present Chairman of the Board William I. Campbell, Vice Chairman of the Board Adam E. Max, Julius Vice Chairman of the Board Karen Brooks Hopkins, President Joseph V. Melillo, Caesar Executive Producer Royal Shakespeare Company By William Shakespeare BAM Harvey Theater Apr 10—13, 16—20 & 23—27 at 7:30pm Apr 13, 20 & 27 at 2pm; Apr 14, 21 & 28 at 3pm Approximate running time: two hours and 40 minutes, including one intermission Directed by Gregory Doran Designed by Michael Vale Lighting designed by Vince Herbert Music by Akintayo Akinbode Sound designed by Jonathan Ruddick BAM 2013 Winter/Spring Season sponsor: Movement by Diane Alison-Mitchell Fights by Kev McCurdy Associate director Gbolahan Obisesan BAM 2013 Theater Sponsor Julius Caesar was made possible by a generous gift from Frederick Iseman The first performance of this production took place on May 28, 2012 at the Royal Shakespeare Theatre, Leadership support provided by The Peter Jay Stratford-upon-Avon. Sharp Foundation, Betsy & Ed Cohen / Arete Foundation, and the Hutchins Family Foundation The Royal Shakespeare Company in America is Major support for theater at BAM: presented in collaboration with The Ohio State University. The Corinthian Foundation The Gladys Krieble Delmas Foundation Stephanie & Timothy Ingrassia Donald R. Mullen, Jr. The Fan Fox & Leslie R. Samuels Foundation, Inc. Post-Show Talk: Members of the Royal Shakespeare Company The Morris and Alma Schapiro Fund Friday, April 26. Free to same day ticket holders The SHS Foundation The Shubert Foundation, Inc.