DOCSLIB.ORG

Your Change Is Still Behind: Futurity in Early Modern Literature

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Loyola University Chicago Loyola eCommons Dissertations Theses and Dissertations 2010 Your Change Is Still Behind: Futurity in Early Modern Literature Tripthi Pillai Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_diss Part of the Literature in English, British Isles Commons Recommended Citation Pillai, Tripthi, "Your Change Is Still Behind: Futurity in Early Modern Literature" (2010). Dissertations. 175. https://ecommons.luc.edu/luc_diss/175 This Dissertation is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Dissertations by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 2010 Tripthi Pillai LOYOLA UNIVERSITY CHICAGO ‘YOUR CHANGE IS STILL BEHIND’: FUTURITY IN EARLY MODERN LITERATURE A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY PROGRAM IN ENGLISH BY TRIPTHI PILLAI CHICAGO, IL MAY, 2010 Copyright by Tripthi Pillai, 2010 All rights reserved. TABLE OF CONTENTS ACKNOWLEDGEMENTS viii ABSTRACT xi CHAPTER ONE: INTRODUCTION 1 CHAPTER TWO: “THE HOUR MUST HAVE HER PORTION”: 56 MATERIAL FUTURITY IN EARLY MODERN DRAMA CHAPTER THREE: “YOUR CHANGE IS STILL BEHIND: 85 APPROPRIATED BODIES AND BIOLOGICAL FUTURITY IN MARLOWE AND MIDDLETON CHAPTER FOUR: “IN HOPE TO ALTER KINDE”: 116 MAPPING POLITICAL FUTURITY IN LANYER AND MORE CHAPTER FIVE: “NOW I WILL BELIEVE THAT THERE ARE UNICORNS”: 137 DISRUPTIVE VISIONS AND POLITICAL FUTURITY IN SHAKESPEARE’S ROMANCES CHAPTER SIX: “IF WISHES WERE HORSES, BEGGARS WOULD RIDE”: DESIRE, ARTICULATION, AND MOVEMENT IN EVERYDAY PERFORMANCES OF FUTURITY 187 BIBLIOGRAPHY 249 VITA 264 vii ACKNOWLEDGMENTS I could not have written this dissertation without the invaluable criticism and nourishing intellectual support of my director, Dr. Suzanne Gossett. Dr. Christopher Kendrick and Dr. Wendy Wall provided me with consistent and productive feedback, engaging my work at each point with rigorous enthusiasm. I am thankful to my committee for their brilliant insights and knowledge, their generosity, and for their tireless support of my ideas. Various faculty members and colleagues have helped me navigate my graduate student experiences at Loyola. Their mentorship has been priceless, and I hope in future to emulate their pedagogy and model/s of companionship. Dr. David Chinitz was the Graduate Programs’ Director when I joined the English department. I want to thank him especially for standing by me through thick and thin. Without his support, none of this could have materialized. Dr. Andrew Cutrofello of the Philosophy department has helped me better understand Deleuze in the context of futurity. His enthusiasm for Shakespeare is infectious, and he has made me a better reader and appreciator of literature and theory. Dr. Jack Kerkering has advised me on matters ranging from the teaching of close reading practices to the all-important realities of the academic “job market.” I will never be able to thank him enough for his help and his ceaseless generosity toward me. Dr. Paul Jay’s support during this difficult year on the “market” has made my application process both enjoyable and successful. I want to thank him for his optimistic spirit, which combines wonderfully with his critical insight to the academic profession. As Chairs of the English viii department during my graduate student years, Dean Frank Fennell and Dr. Joyce Wexler ensured that I received ample teaching experience; it is because of their help that I consistently have been able to improve myself as a teacher of literature and writing. As Graduate Programs’ Director during my dissertation writing years, Dr. Pamela Caughie did everything she possibly could to make the administrative processes smooth-sailing. Loyola libraries have been my home away from home and have sustained me, both intellectually and economically. In particular, I want to thank Jeannette Pierce, Niamh McGuigan, and Brenda Overton of the Reference department for having made work a delight. My respect for the centrality of libraries within university culture is doubly solidified owing to the tireless efforts of the librarians and student workers at Loyola, who embrace their responsibilities with admirable dignity. My friends have lifted me out of some of my most painful experiences of loss while at Loyola, notably the times of my divorce and the death of my father. They have also listened with patience to my ideas about futurity, and have helped me give shape to my project. My heartfelt thanks to Kanika Batra, Donovan Braud, Matthew Clarke, Roger McNamara, and Mark Owen. Natalie and Matt have been wonderful roommates; they have, moreover, been true friends. Two other friends, Karthik Krishnaswamy and Sherri Saltzman, have taught me by their examples that it is possible to be both courageous and fabulous. My thanks to them for being there for me. There is not space enough here to express my love and respect for Eric Byville; he is my best friend, and I would not have it any other way. ix Finally, my humblest and greatest thanks are reserved for my family at home in Delhi—Momma, Chechi, Mohan Chetta, Proni, and Binsu. They make my happiness meaningful. x ABSTRACT A study of Renaissance literature’s engagement with temporality, my project is a critical evaluation of the concept of early modern futurity, of which I propose three categories: “Material futurity”; “Biological futurity”; and “Political futurity.” In the moments that I identify in texts composed during the Tudor and early Stuart reigns in England, I demonstrate that the future—as an idea—structures individuals’ actions and ruptures social formations. Futurity, which I define as a play of multiple desires that exist simultaneously within our present beings, is a volatile agent of imagination in early modern literature. Futurity collides with the cultural sites of memory and pulls characters in different directions, destabilizing the organized spaces defined by their bodies, kingdoms, and locations. While the characters in these texts may return to regulated forms of thought and being, it is in their moments of flux, I argue, that they present the most complex engagement with futurity. In A Midsummer Night’s Dream, for example, Helena initiates a material futurity when she chases down the scornful Demetrius in the woods outside Athens and promises him that she will write a “story” that “shall” change the future of female lovers (2.1.230). It is precisely because Helena resists material conditions—the silence and immobility imposed upon Athenian women, who “cannot” act and “fight for love as men may do”— that she strives to transform the future of female subjectivity and citizenship (2.1.241). The Changeling’s Beatrice-Joanna, on the other hand, appropriates a futurity that is xi biological, when she plans carefully to avoid the virginity and pregnancy tests designed for her by her new husband Alsemero. Having lost to De Flores her virginity, that “loved and loathed” passage to the site for the generation of patriarchal futures (1.1.125), Beatrice-Joanna sabotages her own marriage bed as well as others’ bodies, thereby avoiding her fundamental sexual responsibility to patriarchs—her husband and her father—of legitimate biological propagation. In my third example, Paulina in The Winter’s Tale relies on political futurity to topple Leontes’ absolutist monarchy. As she orders the king to “[c]are not for issue” but follow the example of the “Great Alexander,” who died and left his kingdom to no particular heir (5.1.46-47), Paulina instigates in Sicilia such a politics of unpredictability as will culminate in the succession of a new kind of political leadership. Through these and other examples, I establish the various means by which characters in Renaissance literature operate within one or more categories of futurity, and I argue that the future in these works is a persistent if problematic source of inspiration and agency. Futurity, that condition of our present experience in which we want, need, wish, hope, and plan for diverse objects and states to be realized in our future, initiates in characters such as Helena, Beatrice-Joanna, and Paulina a contradictory desire that often leads to their perverting (making monstrous) the social apparatuses of their past and present. Through such manipulations, characters in early modern literature not only imagine the future as a controllable component of time, but also amend the seemingly concrete elements of temporality—their historical past and present—in order to propel change. xii CHAPTER ONE INTRODUCTION: TEMPORALITY, DELEUZE, AND EARLY MODERN FUTURITY The topic of my study is Renaissance futurity. An interplay of multiple desires that exist simultaneously within our present beings, futurity is a volatile agent of imagination in early modern literature. In the moments that I identify in texts composed during the Tudor and early Stuart reigns in England, I demonstrate that the future—as an idea—structures individuals‟ actions and ruptures social formations. Futurity, that condition of our present experience in which we want, need, wish, hope, and plan for diverse objects and states to be realized in our future, initiates in characters a contradictory desire that often leads to their perverting and making monstrous the social apparatuses of their past and present. Simply put, futurity is an unstable condition and it disturbs the institutions within which we function as beings organized by linear temporality. Our experiences of the past and present apply force to our construction of our ideas of the future; these forces pull in unpredictable ways, often in opposing directions, thereby destabilizing the basis of linear temporality and organization, of progress. Futurity, moreover, collides with the cultural sites of memory and pulls characters in different directions, destabilizing the organized spaces defined by their bodies, kingdoms, and locations.
Recommended publications
  • Camora 1.Pdf

    Camora 1.Pdf

    The Function of the Rhetoric of Maternity in the Representation of Female Sexuality, Religion, Nationality, and Race in Early Modern English Literature and Culture by Cecilia Morales 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 2020 Doctoral Committee: Professor Michael Schoenfeldt, Chair Dr. Neeraja Aravamudan, Edward Ginsberg Center, University of Michigan Professor Peggy McCracken Professor Catherine Sanok Professor Valerie Traub Cecilia Morales [email protected] ORCID iD: 0000-0001-7428-3777 © Cecilia Morales 2020 Acknowledgements Throughout my doctoral studies, I have been fortunate to have the love and support of countless individuals, to whom I owe a great deal of gratitude. I’d like to begin by thanking my committee members. Cathy and Peggy taught me valuable lessons not only about my work but about being a thoughtful and compassionate scholar and teacher. Valerie’s reminders to always be as generous as possible when discussing the work of other scholars has kept me sane and stable in this competitive world of academia. Mike helped me, a displaced Texan, to feel at home in Michigan from our first meeting, during which we chatted about both Shakespearean scholarship and Tex Mex. Finally, the most recent addition to my committee is Neeraja Aravamudan, who I consider my most active mentor and supporter. One of the best decisions I made during graduate school was accepting an internship at the Edward Ginsberg Center, where Neeraja became my supervisor. Neeraja and the other Ginsberg staff remind me it’s possible to take my work very seriously without taking myself too seriously.
  • The History of the Relationship Between the Concept and Treatment of People with Down's Syndrome in Britain and America from 1866 to 1967

    The History of the Relationship Between the Concept and Treatment of People with Down's Syndrome in Britain and America from 1866 to 1967

    THE HISTORY OF THE RELATIONSHIP BETWEEN THE CONCEPT AND TREATMENT OF PEOPLE WITH DOWN'S SYNDROME IN BRITAIN AND AMERICA FROM 1866 TO 1967. BY Lilian Serife ZihniB.Sc. P.G.C.E. FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN THE HISTORY OF MEDICINE UNIVERSITY COLLEGE LONDON 1 Abstract This thesis fills a gap in the history of mental handicap by focusing on a specific mentally handicapping condition, Down's syndrome, in Britain and America. This approach has facilitated an examination of how various scientific and social developments have actually affected a particular group of people with handicaps. The first chapter considers certain historiographical problems this research has raised. The second analyses the question of why Down's syndrome, which has certain easily identifiable characteristics associated with it, was not recognised as a distinct condition until 1866 in Britain. Subsequent chapters focus on the concept and treatment of Down's syndrome by the main nineteenth and twentieth century authorities on the disorder. The third chapter concentrates on John Langdon Down's treatment of 'Mongolian idiots' at the Royal Earlswood Asylum. The fourth chapter examines Sir Arthur Mitchell's study of 'Kalmuc idiots' in private care. The fifth considers how Down's and Mitchell's theories were developed by later investigators, with particular reference to George Shuttleworth's work. Archive materials from the Royal Albert, Royal Earlswood and Royal Scottish National Institutions are used. The sixth focuses on the late nineteenth century American concept and treatment of people with Down's syndrome through an analysis of the work of Albert Wilmarth.
  • Prenatal Care

    Prenatal Care

    Prenatal ar @ftffi#a\ffiffi Provided by the Maternal and Child Health Library, Georgetown University SeeThat the Birth of Your Baby Is Registered The birth of your baby should be registered promptly and properly. This is of utmost importance and should be done within 36 hours after the baby's birth. The physician, midwife, nurse, or other attendant is required in. every State to report the birth to the local registrar, who will see that the date of birth and the child's name, together with other related facts, are made matters of perhanent record. Birth registration is necessary in order to prove the date of your child's birth and his citizenship. His right to enter school, to go to work, to inherit property, to marry, to enter the armed forces, and to hold office depend upon proof of age or citizenship or both, and this proof is most readily established by means of a birth certificate. Proof of age is also necessary in order to obtain certain benefits under the Social Security Act, such as aid to dependent children and old age and survivors insurance. If there is any doubt about whether the birth of a child has been registered,an inquiry may be sent to the State board of health where the records are filed. By making sure that the birth of every child born to them is registered, parents are protecting the fundamental rights of their children. It is suggested that the parents keep a memorandum of certain facts recorded in the birth certificate: Baby's name Father's name.
  • The Performing Mother: Maternal Ethics Beyond

    The Performing Mother: Maternal Ethics Beyond

    THE PERFORMING MOTHER: MATERNAL ETHICS BEYOND EMBODIMENT by CHARLES HICKS Presented to the Faculty of the Graduate School of The University of Texas at Arlington in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY THE UNIVERSITY OF TEXAS AT ARLINGTON May 2015 Copyright © by Charles Hicks 2015 All Rights Reserved ii Acknowledgements I am indebted to the plethora of individuals that have made this work possible. My committee – Penelope Ingram, Tim Richardson, and Neill Matheson – has worked tirelessly in order to encourage the progress of this project at all stages. Penelope Ingram especially has fostered an environment of intellectual growth throughout and offered invaluable advice at all junctures. As a mentor she has surpassed all imaginable expectations and, as a scholar, has provided an exceptional and admirable model of academic prowess. The exigence of this project and my academic thought lies primarily in the three classes of hers that I was fortunate enough to attend and her work, Signifying Body offered me the opportunity to find my voice in a complex and challenging discourse. Peers and mentors from within the English Department at the University of Texas at Arlington have helped tremendously with the completion of this project. It would be remiss not acknowledge the tremendous guidance provided by Bruce Krajewski, whose insight and experience were invaluable. Bethany Shaffer provided not only kindness during my most stressful times, but encouragment that was essential. In addition, Peggy Kulesz’s support to not only this project, but my academic career in its entirety, cannot be quantified. There are few people that have had a more profoundly positive influence on my life.
  • Travel Writing 1700–1830 an Anthology

    Travel Writing 1700–1830 an Anthology

    OXFORD WORLD’ S CLASSICS TRAVEL WRITING, 1700–1830 DURING the eighteenth century British travellers fanned out to every corner of the world, driven by diverse motives: scientific curi- osity, exploration, colonization, trade, diplomacy, and tourism, which began to flourish during this period. Those at home read voraciously in travel literature, which informed curious Britons about their nation’s activities overseas. The Empire, already estab- lished in the Caribbean and North America, was expanding in India and Africa and founding new outposts in the Pacific. Readers also enjoyed reports of travel closer to home: tours of the Continent and the British Isles themselves, whose beauty spots fuelled the rising fashion for picturesque and sublime scenery. Travel writing fed readers’ desire for adventure and exoticism and reinforced their pride in their nation’s achievements. It addressed scientific questions and gave philosophers food for thought. Political controversies were fought out in travel books, including the slavery question and the French Revolution debate. Above all, travellers’ descriptions of the wider world reveal their perception of themselves. Selected authors include Daniel Defoe, Joseph Addison, Mary Wortley Montagu, Samuel Johnson, James Boswell, James Cook, William Bartram, Mary Wollstonecraft, Dorothy Wordsworth, Walter Scott, Olaudah Equiano, Mungo Park, Ann Radcliffe, Matthew ‘Monk’ Lewis, and Frances Trollope. ELIZABETH A. BOHLS is Associate Professor of English at the University of Oregon. She is the author of Women Travel Writers and the Language of Aesthetics, 1716–1818, recently translated into Japanese, and of articles on travel writing and the novel. She is currently finishing a book on identity and place in writings from the colonial British Caribbean.
  • The Pregnant Imagination, Fetal Rights, and Women's Bodies: a Historical Inquiry

    The Pregnant Imagination, Fetal Rights, and Women's Bodies: a Historical Inquiry

    The Pregnant Imagination, Fetal Rights, and Women's Bodies: A Historical Inquiry Julia Epstein* Competing historical and cultural understandings of the human body make clear that medicine and the law construe bodily truths from differing knowledge bases. Jurists rely virtually entirely on medical testimony to analyze biological data, and medical profes- sionals are not usually conversant with the legal ramifications of their diagnoses. In early modern Europe, both physicians and jurists recognized that their respective professions were governed by different epistemological standards, a view articulated by F6lix Vicq d'Azyr (1748-1794), anatomist and secretary to the Royal Society of Medicine in France from 1776. Vicq d'Azyr noted that while lawyers were required to make unyielding decisions based on conflicting laws, customs, and decrees, physicians were permitted more latitude for uncertainty.' In the late twentieth century, Western medicine and law have become inextricably entwined as technologies have produced new ethical dilemmas facing medicolegal jurisprudence. The authority of women to voice and explain their experiences of pregnancy and childbirth before and during the eighteenth century contrasts powerfully with the twentieth century's reliance on medicolegal decisions to define these experiences. In early modern Europe, women controlled information, experience, and beliefs concerning reproduction, and women held authority over it. A woman only became officially and publicly pregnant when she felt her * The author would like to thank Robert Kieft, Reference Librarian at Haverford College, and the librarians at the Historical Collections of the College of Physicians of Philadelphia for research assistance. Estelle Cohen, Ruth Colker, Kathryn Kolbert, Linda McClain, Nigel Paneth, Reva Siegel, and M.
  • Courtly Love in Shakespeare's Sonnets and Plays

    Courtly Love in Shakespeare's Sonnets and Plays

    University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 5-1921 Courtly love in Shakespeare's sonnets and plays. Rebbie Doty University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Recommended Citation Doty, Rebbie, "Courtly love in Shakespeare's sonnets and plays." (1921). Electronic Theses and Dissertations. Paper 368. https://doi.org/10.18297/etd/368 This Master's Thesis is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. UNIVERSITY OF LOUISVILlE COURTLY LOVE IN SHAKESPEARE'S SONNETS AND PIA YS. A Dissertation Submitted to the Faculty Of the Graduate School of Arts and Sciences In Partial Fulfillment of the Requirementa..1'or the Degree Of Master of Arts , Department of English , ! ": ':'"' . ~ ".,.- by "",) '}" , Rebbie Doty 1921 TABLE OF CONTENTS. -" , , ," Table of Contents. Chapter I. The System of Courtly Love. Page 1. Chapter II. Modifications of Courtly Love in the Age of" Elizabeth. 12. Chapter III. The Element of Courtly Love in Shakespeare's Sonnets and Plays. 24. " Sonnets. Love's Labour's Lost. " The Two"Gentlemen of Verona. Romeo and Juliet. A MidsUBner Night's Dream. The Merchant of ¥enice. The Taming of the Shrew. The MerrY'Wives of Windsor. Much Ado About Nothing.
  • The Magic Casement : an Anthology of Fairy Poetry

    The Magic Casement : an Anthology of Fairy Poetry

    THE MAGIC CASEMENT A BOOK OF FAERY POEMS GIVING GLIMPSES OF THE WORLD BEYOND THE CASEMENT: SELECTED AND ARRANGED WITH INTRODUCTION AND NOTES BY ALFRED NOYES Of THE UNIVERSITY/ or / sgALjf^ PHn REVO tyai/TTTO JM! KH l"| V'^^^W^IW\^5% 'V A Midsummer's Night: The Quarrel ANTHOLOGY P PAIRY POETRY DITED-WTnAflMDUCTIOH- ALFRED /10YES NOTE Ti/TY thanks are due to the authors and publishers whose !** kindness has permitted the use of copyright poems in this book: to Mr. Swinburne, Mr. Watts-Dunton, Mr. G. K. Chesterton (and Messrs. Dent), Mr. Rudyard Kipling, Mr. R. C. Lehmann (and the proprietors of Punch], Sir Theodore Martin (and Messrs. William Black- wood and Sons), Mrs. William Sharp (for extracts from " the poems of Fiona Macleod "), Mr. W. B. Yeats, and Dr. John Todhunter. ALFRED NOYES VII " AND IF THAT THE BOWLE OF CURDS AND CREAME WERE NOT DULY SET OUT FOR ROBIN GOOD-FELLOW, WHY, THEN, 'WARE OF BULL-BEGGARS, SPIRITS," ETC. " FROM GHOULIES AND GHOOSTIES, LONG- LEGGETY BfrASTIKS, AND THINGS THAT GO BUMP IN THE NIGHT, " GOOD LORD, DELIVER us ! Quaint Old Litany Vlll CONTENTS THE FAIRY LIFE PAGE I KNOW A BANK Wit/lam Shakespeare 3 THE URCHINS' DANCE John Ly/y 4 WHERE THE BEE SUCKS William Shakespeare 5 NURSLINGS OF IMMORTALITY "Percy Bysshe Shelley 6 NIMPHIDIA Michael Dray ton 7 MORGANA George Darky 3 1 PUCK'S SONG Rudyard Kipling 33 MODERN ELFLAND G. K. Chesterton 35 A FAIRY TALE Tom Hood 37 A FAIRY MUSTER George Darley 41 THE ELF-KING'S VICTORY R.
  • A Midsummer Night's Dream Adaptation by Francis Xavier Norton

    A Midsummer Night's Dream Adaptation by Francis Xavier Norton

    A Midsummer Night's Dream Adaptation by Francis Xavier Norton DRAMATIS PERSONAE THESEUS, Duke of Athens EGEUS, father to Hermia LYSANDER, in love with Hermia DEMETRIUS, in love with Hermia PHILOSTRATE, Mistress of the Revels to Theseus QUINCE, a carpenter SNUG, a joiner BOTTOM, a weaver FLUTE, a bellows-mender SNOUT, a tinker STARVELING, a tailor HIPPOLYTA, Queen of the Amazons, bethrothed to Theseus HERMIA, daughter to Egeus, in love with Lysander HELENA, in love with Demetrius OBERON, King of the Fairies TITANIA, Queen of the Fairies PUCK, or ROBIN GOODFELLOW, head fairy to Oberon PEASEBLOSSOM, fairy COBWEB, fairy MOTH, fairy MUSTARDSEED, fairy PROLOGUE, PYRAMUS, THISBY, WALL, MOONSHINE, LION are presented by: QUINCE, BOTTOM, FLUTE, SNOUT, STARVELING, AND SNUG Other Fairies attending their King and Queen Attendants on Theseus and Hippolyta UNIT 1 (To begin as the audience approaches the gates of our world) PUCK If we shadows shall offend, Think but this, and all will mend, That you will but slumber here While these visions do appear. And this weak and idle theme, No more yielding but a dream! A knock of Puck’s creation, a knock back in response. The gates open. PROLOGUE (to be developed with moment work) The fairies grant the human spectators the gift of sight. The audience enters a room that was once a theatre, but is now overrun by nature in her various forms. The fairies play. The child sleeps. The Lovers sleep, hands locked together. A woman of light blesses the space. The roles are given. The sleeping wake and depart. The storm approaches.
  • Core Classics® Edition of a Midsummer Night's Dream

    Core Classics® Edition of a Midsummer Night's Dream

    Unit 5 Drama A Midsummer Night’s Dream by William Shakespeare Teacher Guide Core Knowledge Language Arts® Knowledge Core GRADE 5 GRADE Unit 5 Drama A Midsummer Night’s Dream by William Shakespeare Teacher Guide GRADE 5 Core Knowledge Language Arts® A Midsummer Night’s Dream Teacher Guide was made possible with support from the Charles and Lynn Schusterman Family Foundation. We would also like to thank Dr. Emily Chiariello (http://www.chiariello-consulting.com/) and Dr. Ebony Thomas (http://scholar.gse.upenn.edu/thomas) for their review of this Teacher Guide and for their insights and recommendations for resources and revisions, which have greatly enhanced this Teacher Guide. We also thank Robin McClellan and the teachers and coaches of Sulllivan County. This OER unit is offered as a supplement to the core CKLA program developed by the Core Knowledge Foundation. The unit is not part of the current CKLA print program available for purchase from Amplify. However, as we gather more feedback on how this unit works in classrooms, Amplify and the Core Knowledge Foundation will consider how this unit may be incorporated into future iterations of the core CKLA program sold by Amplify. Creative Commons Licensing This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License. You are free: to Share—to copy, distribute, and transmit the work to Remix—to adapt the work Under the following conditions: Attribution—You must attribute the work in the following manner: This work is based on an original work of the Core Knowledge® Foundation (www.coreknowledge.org) made available through licensing under a Creative Commons Attribution-NonCommercial- ShareAlike 4.0 International License.
  • Within Midsummer Nights: Dichotomies in the Collective Dream

    Within Midsummer Nights: Dichotomies in the Collective Dream

    The Corinthian Volume 9 Article 6 2008 Within Midsummer Nights: Dichotomies in the Collective Dream Cheryl New Georgia College & State University Follow this and additional works at: https://kb.gcsu.edu/thecorinthian Part of the English Language and Literature Commons Recommended Citation New, Cheryl (2008) "Within Midsummer Nights: Dichotomies in the Collective Dream," The Corinthian: Vol. 9 , Article 6. Available at: https://kb.gcsu.edu/thecorinthian/vol9/iss1/6 This Article is brought to you for free and open access by the Undergraduate Research at Knowledge Box. It has been accepted for inclusion in The Corinthian by an authorized editor of Knowledge Box. Within Midsummer Nights: Dichotomies in the Collective Dream Within Midsummer Nights: Dichotomies in the Collective Dream Cheryl New Dr. Wayne Glowka Faculty Sponsor Generations of readers have recognized William Shakespeare’s A Midsummer Night’s Dream as a light-hearted comedy that delights and engages. Its subject appears straight-forward and winningly superficial: love—love that conquers all—and how it affects the lives of four Athenian youths. But if we are to look to the title to receive some direction, we would notice a succession of nouns: summer, night, and dream. What do these things mean? Each of them has an opposite, an archetypical antithesis that rules one aspect of the play. These pairs, as well as the pairs of lovers them- selves, enforce an extended series of dichotomies on the play which in turn veil wonderlands of meaning and symbolic significance. The unconscious interpretation of these meanings echoes the nature of dreams—that which we recall as a perpetual memory but never experience.
  • Queering the Shakespeare Film Ii Queering the Shakespeare Film Gender Trouble, Gay Spectatorship and Male Homoeroticism

    Queering the Shakespeare Film Ii Queering the Shakespeare Film Gender Trouble, Gay Spectatorship and Male Homoeroticism

    Queering the Shakespeare Film ii Queering the Shakespeare Film Gender Trouble, Gay Spectatorship and Male Homoeroticism Anthony Guy Patricia Bloomsbury Arden Shakespeare An imprint of Bloomsbury Publishing Plc Bloomsbury Arden Shakespeare An imprint of Bloomsbury Publishing Plc Imprint previously known as Arden Shakespeare 50 Bedford Square 1385 Broadway London New York WC1B 3DP NY 10018 UK USA www.bloomsbury.com BLOOMSBURY, THE ARDEN SHAKESPEARE and the Diana logo are trademarks of Bloomsbury Publishing Plc First published 2017 © Anthony Guy Patricia, 2017 Anthony Guy Patricia has asserted his right under the Copyright, Designs and Patents Act, 1988, to be identified as author of this work. All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage or retrieval system, without prior permission in writing from the publishers. No responsibility for loss caused to any individual or organization acting on or refraining from action as a result of the material in this publication can be accepted by Bloomsbury or the author. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. ISBN: HB: 978-1-4742-3703-1 ePDF: 978-1-4742-3705-5 ePub: 978-1-4742-3704-8 Library of Congress Cataloging-in-Publication Data A catalog record for this book is available from the Library of Congress. Cover image: Imogen Stubbs as Viola and Toby Stephens as Orsino,