The Works of John Webster ;
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Laura Sumrall a Thesis Submitted to the Faculty of Science in Fulfillment
A STRANGE GUEST: THE DEMONOLOGICAL FRAMING OF THE PATHOLOGICAL IN HELMONTIAN MEDICINE Laura Sumrall A Thesis Submitted to the Faculty of Science in Fulfillment of the Requirements for the Degree of Doctor of Philosophy in History and Philosophy of Science The University of Sydney September 2020 CONTENTS ACKNOWLEDGMENTS .............................................................................................................................. iii LIST OF ILLUSTRATIONS ........................................................................................................................... iv ABSTRACT .................................................................................................................................................... v INTRODUCTION ........................................................................................................................................ 1 Jan Baptista van Helmont and His Histories ........................................................................... 3 Present Purposes .......................................................................................................................... 6 Descriptive Outline ...................................................................................................................... 6 PART I: DEMONS ...................................................................................................................................... 8 CHAPTER 1: THE REGURGITATED KNIFE: DEMONIC POWER AND THE BOUNDARIES OF NATURE ............................................................................................ -
Verse and Transmutation History of Science and Medicine Library
Verse and Transmutation History of Science and Medicine Library VOLUME 42 Medieval and Early Modern Science Editors J.M.M.H. Thijssen, Radboud University Nijmegen C.H. Lüthy, Radboud University Nijmegen Editorial Consultants Joël Biard, University of Tours Simo Knuuttila, University of Helsinki Jürgen Renn, Max-Planck-Institute for the History of Science Theo Verbeek, University of Utrecht VOLUME 21 The titles published in this series are listed at brill.com/hsml Verse and Transmutation A Corpus of Middle English Alchemical Poetry (Critical Editions and Studies) By Anke Timmermann LEIDEN • BOSTON 2013 On the cover: Oswald Croll, La Royalle Chymie (Lyons: Pierre Drobet, 1627). Title page (detail). Roy G. Neville Historical Chemical Library, Chemical Heritage Foundation. Photo by James R. Voelkel. Library of Congress Cataloging-in-Publication Data Timmermann, Anke. Verse and transmutation : a corpus of Middle English alchemical poetry (critical editions and studies) / by Anke Timmermann. pages cm. – (History of Science and Medicine Library ; Volume 42) (Medieval and Early Modern Science ; Volume 21) Includes bibliographical references and index. ISBN 978-90-04-25484-8 (hardback : acid-free paper) – ISBN 978-90-04-25483-1 (e-book) 1. Alchemy–Sources. 2. Manuscripts, English (Middle) I. Title. QD26.T63 2013 540.1'12–dc23 2013027820 This publication has been typeset in the multilingual “Brill” typeface. With over 5,100 characters covering Latin, IPA, Greek, and Cyrillic, this typeface is especially suitable for use in the humanities. For more information, please see www.brill.com/brill-typeface. ISSN 1872-0684 ISBN 978-90-04-25484-8 (hardback) ISBN 978-90-04-25483-1 (e-book) Copyright 2013 by Koninklijke Brill NV, Leiden, The Netherlands. -
Vermin, Literature, and the Sciences of Life, 1600-1740
Cole, Lucinda. Imperfect Creatures: Vermin, Literature, and the Sciences of Life, 1600-1740. E-book, Ann Arbor, MI: University of Michigan Press, 2016, https://doi.org/10.3998/mpub.4424519. Downloaded on behalf of Unknown Institution Revised Pages Imperfect Creatures Cole, Lucinda. Imperfect Creatures: Vermin, Literature, and the Sciences of Life, 1600-1740. E-book, Ann Arbor, MI: University of Michigan Press, 2016, https://doi.org/10.3998/mpub.4424519. Downloaded on behalf of Unknown Institution Revised Pages Cole, Lucinda. Imperfect Creatures: Vermin, Literature, and the Sciences of Life, 1600-1740. E-book, Ann Arbor, MI: University of Michigan Press, 2016, https://doi.org/10.3998/mpub.4424519. Downloaded on behalf of Unknown Institution Revised Pages Imperfect Creatures Vermin, Literature, and the Sciences of Life, 1600– 1740 Lucinda Cole University of Michigan Press Ann Arbor Cole, Lucinda. Imperfect Creatures: Vermin, Literature, and the Sciences of Life, 1600-1740. E-book, Ann Arbor, MI: University of Michigan Press, 2016, https://doi.org/10.3998/mpub.4424519. Downloaded on behalf of Unknown Institution Revised Pages Copyright © University of Michigan 2016 All rights reserved This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publisher. Published in the United States of America by the University of Michigan Press Manufactured in the United States of America c Printed on acid- free paper 2019 2018 2017 2016 4 3 2 1 A CIP catalog record for this book is available from the British Library. -
Duchess of Malfi, the White Devil, the Broken Heart and Tis Pity Shes a Whore Pdf, Epub, Ebook
DUCHESS OF MALFI, THE WHITE DEVIL, THE BROKEN HEART AND TIS PITY SHES A WHORE PDF, EPUB, EBOOK Revd Prof. John Webster,John Ford,Jane Kingsley-Smith | 640 pages | 29 Sep 2015 | Penguin Books Ltd | 9780141392233 | English | London, United Kingdom Duchess of Malfi, the White Devil, the Broken Heart and Tis Pity Shes a Whore PDF Book And we should be thankful to Ben Jonson for writing poetry such as this. Add to cart. In The Broken Heart , John Ford questions the value of emotional repression as his characters attempt to subdue their desires and hatreds in ancient Greece. Heart of Darkness Joseph Conrad. Together with the Penguin volume of Five Revenge Tragedies , edited by Emma Smith, this is the essential sourcebook for drama in the period. Are you happy to accept all cookies? Essential We use cookies to provide our services , for example, to keep track of items stored in your shopping basket, prevent fraudulent activity, improve the security of our services, keep track of your specific preferences e. Bookishjq rated it it was amazing Jun 01, Image Credit: Wikimedia Commons. Cancel Submit. Sign in to Purchase Instantly. Learn about new offers and get more deals by joining our newsletter. Discourses and Selected Writings Epictetus. Your subscription to Read More was successful. Product Details About the Author. Mikhail Bulgakov. Tragedies, vol. How was your experience with this page? You can learn more about how we plus approved third parties use cookies and how to change your settings by visiting the Cookies notice. These four plays, written during the reigns of James I and Charles I, took revenge tragedy in dark and ambiguous new directions. -
Early Modern Culture and Literature: Renaissance Drama
Carleton University Fall 2012 Department of English Language and Literature ENGL 4304A Renaissance Drama Thurs. 11:35-2:25 (Please confirm location on Carleton Central) Instructor: Dr. David Stymeist Office: 1819 DT Office Phone: TBA Email: [email protected] Office Hours: TBA, or by appointment. Course Description This course is designed to examine of a selection of drama from the English Renaissance. This course will include work by Christopher Marlowe, Thomas Dekker, William Shakespeare, John Webster, Francis Beaumont, and John Ford. These plays will encompass the major dramatic genres of History, Comedy, and Tragedy, as well as a number of sub-genres, such as City Comedy, Satire, Domestic Tragedy, and the Revenge play. The cultural, political and intellectual contexts of individual plays will be discussed in detail, as well as the social and economic place of the stage in early modern England. There will be an emphasis on the commercial development of drama in the period. The course will also investigate how playwrights represent transgression, femininity, homosexuality, social and economic class differences, and criminality in the period. The practice of drama in the period will be examined through various critical and theoretical methodologies, including Feminist historiography, Queer theory, Cultural Materialism, and New Historicism. Classes will consist of a combination of lectures and discussion. I expect every student to attend lectures and come prepared to engage in a lively discussion of the plays. As this is a fourth year course, classes will especially emphasize active learning. The more you are willing to put into the class, the more you will get out of it! Primary Texts Anonymous. -
2019 Seminar Abstracts: the King's Men and Their Playwrights
1 2019 Seminar Abstracts: The King’s Men and Their Playwrights Meghan C. Andrews, Lycoming College James J. Marino, Cleveland State University “Astonishing Presence”: Writing for a Boy Actress of the King’s Men, c. 1610-1616 Roberta Barker, Dalhousie University Although scholarship has acknowledged the influence of leading actors such as Richard Burbage on the plays created for the King’s Men, less attention has been paid to the ways in which the gifts and limitations of individual boy actors may have affected the company’s playwrights. Thanks to the work of scholars such as David Kathman and Martin Wiggins, however, it is now more feasible than ever to identify the periods during which specific boys served their apprenticeships with the company and the plays in which they likely performed. Building on that scholarship, my paper will focus on the repertoire of Richard Robinson (c.1597-1648) during his reign as one of the King’s Men’s leading actors of female roles. Surviving evidence shows that Robinson played the Lady in Middleton’s Second Maiden’s Tragedy in 1611 and that he appeared in Jonson’s Catiline (1611) and Fletcher’s Bonduca (c.1612-14). Using a methodology first envisioned in 1699, when one of the interlocutors in James Wright’s Historia Histrionica dreamt of reconstructing the acting of pre-Civil War London by “gues[sing] at the action of the Men, by the Parts which we now read in the Old Plays” (3), I work from this evidence to suggest that Robinson excelled in the roles of nobly born, defiant tragic heroines: women of “astonishing presence,” as Helvetius says of the Lady in The Second Maiden’s Tragedy (2.1.74). -
IL ISKO Encyclopedia
Vrije Universiteit Brussel Ideal language Laporte, Steven Published in: Knowledge Organization DOI: 10.5771/0943-7444-2018-7-586 Publication date: 2018 License: Unspecified Document Version: Final published version Link to publication Citation for published version (APA): Laporte, S. (2018). Ideal language. Knowledge Organization, 45(7), 586-608. https://doi.org/10.5771/0943-7444- 2018-7-586 General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 23. Sep. 2021 Ideal language by Steven Laporte Table of contents: 1. Introduction 2. Natural and ideal language 2.1 Ideal or merely universal? 2.2 Natural and artificial languages and semiotic systems 2.3 Key components of ideal language 2.4 Knowledge Organisation Systems (KOS) and ideal language 2.5 The Tower of Babel and the monogenetic hypothesis 2.6 A priori philosophical languages 3: Ideal languages in the Middle Ages and early Modern period 3.1 Ramon Llull and the Ars Magna: 3.1.1 A topical outline of Llullian combinatorics; 3.1.2 The Arbor scientiae; 3.1.3 Llull’s legacy 3.2 Leibniz and the Lingua Generalis: 3.2.1 Coding language; 3.2.2 Leibniz’s Legacy 4. -
Jacobean Drama (BA Part1 Eng Hons 2019-22)
Jacobean Drama (BA Part1 Eng Hons 2019-22) Dr. Vishnulok Bihari Srivastava Asso. Prof. Deptt. of English Rohtas Mahila College Sasaram, VKSU, Ara Jacobean drama presents the deglamourized vision of renaissance in the first half of the 17th century. It is marked by the reign period of James1 who was the successor of Queen Elizabeth to the throne of England. In Greek James is called Jacob from which the term Jacobean drama has been derived. The English society witnessed vital changes on socio-economic, political and religious front in the aftermath of the death of Queen Elizabeth. Peace and tranquillity in society was badly disturbed .Human relationships were receded to the lowest ebb. Nobody was thinking in terms of norms and principles. Reign of terror and anarchy loomed large which crippled the economy severely causing irreparable damage to the state exchequer. On the political horizon the situation further worsened following the differences emerged in the relationship between the king and the parliament. Queen Elizabeth succeeded in winning the confidence of parliament using her talent and insight which his successor lacked. It led to the rift between the two power centres. James1 had firm faith in the concept of divine rights of kingship and considered him the chief arbiter of justice with nobody showing dissent with his jurisdiction .He was even not ready to make any compromise with the parliament on this issue The relationship between the two forces receded to the lowest ebb . They locked horns which other affected the welfare program and created panic in society . The king`s growing apathy and negligence to the interest of the masses enhanced their Page | 1 apprehension that the welfare of the people did not enjoy top priority in his agenda. -
The Duchess of Malfi
© 2018 ARRÊT SUR SCÈNE / SCENE FOCUS (IRCL-UMR5186 du CNRS) ISSN 2268-977X. Tous droits réservés. Reproduction soumise à autorisation. Téléchargement et impression autorisés à usage personnel. www.ircl.cnrs.fr ”You are welcome to your country”: initiation and re-encounter in the dramatic world of John Webster's The Duchess of Malfi Andrew HISCOCK Bangor University, Wales The discussion which follows pursues one possible reading of the opening scene of John Webster’s most famous tragedy. Following the precedents of a whole sequence of modern editions of the play,1 this analysis will maintain the scene division given in the First Quarto (1623) of the play and view the rhyming couplet (“rearing” / “wearing”) at lines 78-79 as signalling the close of this particular cycle of dramatic action. In an early modern playhouse with no means of drawing a front curtain (a familiar practice now facilitated by subsequent changes to theatre architecture), dramatists might all too frequently exploit this poetic device in order to punctuate an intrigue in scenic terms. This can be the case with Webster’s contemporaries, such as Shakespeare and Middleton, and is certainly regularly (if not uniformly) the case in the tragedy by Webster under discussion and throughout his dramatic oeuvre.2 The structure of the exposition Before entering into the textual detail of the tragedy itself, it soon becomes apparent from the conventions of introduction and commentary being employed on the arrival onstage of Delio and Antonio at its beginning that we are being initiated into this dramatic world with the assistance of a framing device. -
Final Thesis
Courtly Mirrors: The Politics of Chapman’s Drama Shona McIntosh, M.A. (Hons), M.Phil. Submitted in fulfilment of the degree requirements for a Doctorate in Philosophy to the University of Glasgow Department of English Literature, Faculty of Arts November 2008 2 Contents Abstract .................................................................................................. 4 Acknowledgements.................................................................................. 5 Author’s declaration ................................................................................ 6 Abbreviations .......................................................................................... 7 Chapter 1................................................................................................ 8 ‘Spirit to Dare and Power to Doe’: George Chapman at the Jacobean Court ............................................................................................................... 8 Modern Literary Criticism and George Chapman’s Drama .................. 14 General Studies of Chapman’s Drama............................................. 14 Chapman’s Ethics and Philosophy .................................................. 19 Political Readings of Chapman’s Work............................................. 27 Court Masques and Court Politics ................................................... 35 Themes of Sexuality and Gender in Chapman Criticism .................. 36 Text and Canon: Authorship, Dating and Source Material ............... 38 Radical -
Why the Knight of the Burning Pestle Flopped at Blackfriars in 1607
Early Theatre 15.2 (2012) Brent E. Whitted Staging Exchange: Why The Knight of the Burning Pestle Flopped at Blackfriars in 1607 Early modern plays in London that didn’t make it — hopeful additions to a company’s repertory that evidently flopped at the first performance or had a reputedly short run — are receiving renewed interest. Scholars devote much attention to interpreting plays that had a documented popular following, but what is perhaps more revealing of a culture’s priorities and mores are its objects of scorn and derision, particularly when these are popular forms of entertainment. Some playwrights, such as John Webster, who had a cantan- kerous relationship with some of his audiences, expressed their grievances in print. In the introduction to the 1612 published version of The White Devil, Webster identifies a variety of reasons for its failure on stage aside from ‘the incapable multitude’ whose ‘breath’ was ‘able to poison’ its success: it was acted in so dull a time of winter, presented in so open and black a theatre, that it wanted (that which is the only grace and setting-out of a tragedy) a full and understanding auditory; and that since that time I have noted, most of the people that come to that playhouse resemble those ignorant asses (who, visiting stationers’ shops, their use is not to inquire for good books, but new books), I present it to the general view with this confidence: Nec rhoncos metues maligniorum, Nec scombris tunicas dabis molestas.1 This kind of negative publicity in print reappeared one year later with the first edition of Francis Beaumont’s play The Knight of the Burning Pestle.2 In this case, however, the apology was in the form of a prefatory letter from the play’s publisher, Walter Burre, to ‘HIS MANY WAIES ENDEERED FRIEND Maister Robert Keysar’, who managed the Blackfriars during the play’s fatal debut there in 1607.3 This letter shares Webster’s impatience with an audience ostensibly incapable of appreciating the play’s clever wit: 111 EET15-2.inddT15-2.indd 111111 112/07/122/07/12 11:20:36:20:36 PPMM 112 Brent E. -
John Webster - Poems
Classic Poetry Series John Webster - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive John Webster(1578 - 1632) John Webster was an English Jacobean dramatist best known for his tragedies The White Devil and The Duchess of Malfi, which are often regarded as masterpieces of the early 17th-century English stage. He was a contemporary of <a href="http://www.poemhunter.com/william-shakespeare/">William Shakespeare</a>. <b>Biography</b> Webster's life is obscure, and the dates of his birth and death are not known. His father, a coach maker also named John Webster, married a blacksmith's daughter named Elizabeth Coates on 4 November 1577, and it is likely that Webster was born not long after in or near London. The family lived in St. Sepulchre's parish. Father John, and Uncle, Edward Webster, were Freemen of the Merchant Taylors' Company and Webster attended Merchant Taylors' School in Suffolk Lane, London. On 1 August 1598, "John Webster, lately of the New Inn" was admitted to the Middle Temple, one of the Inns of Court; in view of the legal interests evident in his dramatic work; this is possibly the playwright. Webster married the 17-year-old Sara Peniall on 18 March 1606, and their first child, John, was baptised at the parish of St Dunstan-in-the-West on 8 March 1605 or 1606. Bequests in the will of a neighbour who died in 1617 indicate that other children were born to him. Most of what is otherwise known of him relates to his theatrical activities.