Middleton's Appropriation of the Masque
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Art and Nature in Women Beware Women
Art and nature in Women Beware Women HOPKINS, Lisa <http://orcid.org/0000-0001-9512-0926> Available from Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/2534/ This document is the author deposited version. You are advised to consult the publisher's version if you wish to cite from it. Published version HOPKINS, Lisa (1996). Art and nature in Women Beware Women. Renaissance forum, 1 (2). Copyright and re-use policy See http://shura.shu.ac.uk/information.html Sheffield Hallam University Research Archive http://shura.shu.ac.uk RENAISSANCE forum Volume 1 Number 2, September 1996: Lisa Hopkins, ‘Art and Nature in Women Beware Women’ LISA HOPKINS SHEFFIELD HALLAM UNIVERSITY It has often been observed that during the course of the play, Middleton's Women Beware Women appears to undergo something of a genre shift. It begins very much in the vein of a domestic tragedy, with a tight-knit, bourgeois family group discussing their concerns about money, work, and the suitability or otherwise of a recently contracted marriage alliance - Inga- Stina Ewbank comments that 'the themes of the play are the favourite domestic and social ones of love, money and class' (Ewbank 1969, 197). By the end, it has been transformed almost beyond recognition: the two most obviously middle-class ofthe characters, Leantio and his mother, have both disappeared from the story,one of them dead and the other simply forgotten about, and the domestic setting has given place to a courtly one, where the most elaborate of elite entertainments, complete with complex special effects and arcane mythological and allegorical resonances, rounds off the play with a spectacularly artificial finale. -
Reading Jonson Historically
CORE Metadata, citation and similar papers at core.ac.uk Provided by The University of Sydney: Sydney eScholarship Journals online SYDNEY STUDIES Invading Interpreters and Politic Picklocks: Reading Jonson Historically IAN DONAIDSON A central problem in the methodology ofboth the new and 'old' historicism turns on the nature ofthe link that is assumed to exist between historical description and literary interpretation. The monolithic accounts ofElizabethan systems ofbelief assembled by so-called old historicists such as E.M.W. Tillyard (it is common these days to complain) seem often quite at variance with the diverse and at times rebellious energies ofthe literary texts which they are apparently devised to illuminate. Even inthe work of a more sophisticated old historicist such as L.C. Knights the supposedly related activities ofhistorical and literary investigation seem often to tug in contrary directions. The divergence is apparent, for example, in the very structure of Knights's influential study of Drama and Society in the Age of Jonson, the first half of which offers a stolid, Tawney-derived historical account ofeconomic conditions inEngland during the late Elizabethan, early Jacobean period (entitled 'The Background'), while the second half ('The Dramatists') advances livelier readings ofthe work ofindividual authors. The connections here between foreground and 'background', text and context, 'drama' and 'society', literature and history are quite loosely articulated and theoretically undeveloped.l A similar disjunction is often evident in the work of a new historicist such as Stephen Greenblatt, as he turns from a closely-worked meditation upon a particular and highly intriguing historical incident - often quirky in nature, but assumed also to be in some way exemplary - to ponder the particularities of a literary text. -
Jonson's Masque of Blackness and Multicultural Approaches to Early Modern English Literature Kristin Mcdermott
Language Arts Journal of Michigan Volume 18 Article 5 Issue 1 Diversity 2002 "To blanch an Ethiop": Jonson's Masque of Blackness and Multicultural Approaches to Early Modern English Literature Kristin McDermott Follow this and additional works at: https://scholarworks.gvsu.edu/lajm Recommended Citation McDermott, Kristin (2002) ""To blanch an Ethiop": Jonson's Masque of Blackness and Multicultural Approaches to Early Modern English Literature," Language Arts Journal of Michigan: Vol. 18: Iss. 1, Article 5. Available at: https://doi.org/10.9707/2168-149X.1301 This Article is brought to you for free and open access by ScholarWorks@GVSU. It has been accepted for inclusion in Language Arts Journal of Michigan by an authorized editor of ScholarWorks@GVSU. For more information, please contact [email protected]. "To blanch an Ethiop": Jonson's Masque of Blackness and Multicultural Approaches to Early Modern English Literature Kristin McDermott Before joining the faculty ofCentral Michigan of Blackness, even though one would assume it University, I taught for eight years at Spelman offered an important chance to explore one of the College, a historically black college for women in earliest treatments of race in English Literature, Atlanta, Georgia. Teaching Early Modern English is not often studied in any but the most advanced Literature (which encompasses both the Medieval classes, for obvious reasons. Briefly, a masque is period and the 16th _17th centuries in England) a form of dramatic entertainment in which poetic presented some exciting challenges in a setting praises ofthe monarch, the court, and their values whose mission included both Women's Studies and are presented in a setting of music, dance, and an African-Diasporic approach to culture and elaborate scenery. -
Bibliography
206 Fletcherian Dramatic Achievement Bibliography Primary sources Apology for Actors Thomas Dekker, An Apology for Actors (1612), ed. Richard H. Per- kinson, New York 1941 Aristotle Poetics, tr. W. Hamilton Fyfe, The Loeb Classics Library, Cam- bridge, Mass., London 1927 St Augustine St Augustine, The Teacher, in Against the Academicians; and, The Teach- er, trans. Peter King, Indianapolis, Cambridge 1995 Bellenden The Chronicles of Scotland: Compiled by Hector Boece: Translated into Scots by John Bellenden, 1531, ed. R. W. Chambers and Edith C. Batho, vol. I, Edinburgh and London 1938 Bowers I-X The Dramatic Works in the Beaumont and Fletcher Canon, gen. ed. Fredson Bowers, 10 vols, Cambridge UP 1966–1996 [Cicero] Ad Herennium, tr. Harry Caplan; The Loeb Classical Library, Cambridge, Mass., London 1954 Demetrius and Enanthe MS John Fletcher, Demetrius and Enanthe, ed. Margaret McLaren Cook and F. P. Wilson, The Malone Society Reprints 1950 (1951) Dio Dio Cassius, Dio’s Roman History, tr. Earnest Cary, vol. vii, The Loeb Classical Library, Cambridge, Mass., London 1961 Faithful Friends The Faithful Friends, ed. G. R. Proudfoot and G. M. Pinciss, The Malone Society Reprints 1970 (1975) Henslowe’s Diary Henslowe’s Diary, ed. R. A. Foakes, 2nd edition, Cambridge UP 2002. Howard-Hill (1980) Sir John Van Olden Barnavelt: by John Fletcher and Philip Massinger, ed. T. H. Howard-Hill, The Malone Society Reprints 1979 (1980) Bonduca MS Bonduca: by John Fletcher, ed. W. W. Greg, The Malone Society Re- prints, 1951 Mann Thomas Mann, Doctor Faustus, tr. H. T. Lowe-Porter, Everyman’s Library, vol.80, 1992 Masque of Queens Ben Jonson, The Masque of Queens (1609), published in his Workes (1616): 945–964 Meres Francis Meres, Palladis Tamia (1598), Scholars’ Facsimiles & Re- prints, New York 1938 Metrical Boece (1858) The Buik of the Chroniclis of Scotland; or, A Metrical Version of the History of Hector Boece; By William Stewart (1535), ed. -
Ben Jonson and the Mirror: Folly Knows No Gender
Western Michigan University ScholarWorks at WMU Dissertations Graduate College 6-2001 Ben Jonson and The Mirror: Folly Knows No Gender Sherry Broadwell Niewoonder Western Michigan University Follow this and additional works at: https://scholarworks.wmich.edu/dissertations Part of the Classical Literature and Philology Commons, English Language and Literature Commons, and the Feminist, Gender, and Sexuality Studies Commons Recommended Citation Niewoonder, Sherry Broadwell, "Ben Jonson and The Mirror: Folly Knows No Gender" (2001). Dissertations. 1382. https://scholarworks.wmich.edu/dissertations/1382 This Dissertation-Open Access is brought to you for free and open access by the Graduate College at ScholarWorks at WMU. It has been accepted for inclusion in Dissertations by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. BEN JONSON AND THE MIRROR: FOLLY KNOWS NO GENDER by Sherry Broadwell Niewoonder A Dissertation Submitted to the Faculty of The Graduate College in partial fulfillment of the requirements for the Degree of Doctor of Philosophy Department of English Western Michigan University Kalamazoo, Michigan June 2001 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. BEN JONSON AND THE M IR R O R : FO LLY KNOWS NO GENDER Sherry Broadwell Niewoonder, Ph.D. Western Michigan University, 2001 Ben Jonson, Renaissance poet and playwright, has been the subject of renewed evaluation in recent scholarship, particularly new historicism and cultural materialism. The consensus among some current scholars is that Jonson overtly practices and advocates misogyny in his dramas. Such theorists suggest that Jonson both embodies and promulgates the anti woman rhetoric of his time, basing their position on contemporary cultural material, religious tracts, and the writings of King James I. -
Guide to the Michigan Dance Archives: Harriet Berg Papers UP001608
Guide to the Michigan Dance Archives: Harriet Berg Papers UP001608 This finding aid was produced using ArchivesSpace on June 11, 2018. English Describing Archives: A Content Standard Walter P. Reuther Library 5401 Cass Avenue Detroit, MI 48202 URL: https://reuther.wayne.edu Guide to the Michigan Dance Archives: Harriet Berg Papers UP001608 Table of Contents Summary Information .................................................................................................................................... 3 History ............................................................................................................................................................ 4 Scope and Content ......................................................................................................................................... 4 Arrangement ................................................................................................................................................... 6 Administrative Information ............................................................................................................................ 6 Related Materials ........................................................................................................................................... 7 Controlled Access Headings .......................................................................................................................... 7 Collection Inventory ...................................................................................................................................... -
Actes Des Congrès De La Société Française Shakespeare, 33 | 2015 Middleton Beyond the Canon 2
Actes des congrès de la Société française Shakespeare 33 | 2015 Shakespeare 450 Middleton beyond the Canon Daniela Guardamagna Electronic version URL: http://journals.openedition.org/shakespeare/3394 DOI: 10.4000/shakespeare.3394 ISSN: 2271-6424 Publisher Société Française Shakespeare Electronic reference Daniela Guardamagna, « Middleton beyond the Canon », Actes des congrès de la Société française Shakespeare [Online], 33 | 2015, Online since 10 October 2015, connection on 08 June 2020. URL : http://journals.openedition.org/shakespeare/3394 ; DOI : https://doi.org/10.4000/shakespeare.3394 This text was automatically generated on 8 June 2020. © SFS Middleton beyond the Canon 1 Middleton beyond the Canon Daniela Guardamagna 1 The old canon of Thomas Middleton1 has been deeply modified in the last forty years by attribution studies, by the analysis of philologists and the work of MacDonald P. Jackson, David Lake and Roger Holdsworth,2 and especially after the issue of what has been defined as “Middleton’s First Folio”, that is his Collected Works and Textual Companion, edited by Gary Taylor and John Lavagnino.3 2 Critics are now aware that there are many clues hinting at the fact that the ‘new Middleton’ is very different from the author that was proposed till the last decades of the 20th century, that is the cold, misogynist, clinical analyst of the society around him (“a 17th-century Ibsen or Zola”, as he was defined4), and that the new figure presents striking features which greatly modify our perception of his work. 3 In this paper I will concentrate on a specific instance concerning the new canon: the modification of female characters that becomes apparent in Middleton’s writing, considering the new plays, the tragedies in particular, that have been definitely attributed to him in the 2007 Collected Works. -
Why Does Plato's Laws Exist?
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2017 Why Does Plato's Laws Exist? Harold Parker University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Philosophy Commons Recommended Citation Parker, Harold, "Why Does Plato's Laws Exist?" (2017). Publicly Accessible Penn Dissertations. 2515. https://repository.upenn.edu/edissertations/2515 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/2515 For more information, please contact [email protected]. Why Does Plato's Laws Exist? Abstract If the ideal city described at length in Plato’s Republic is a perfect and philosophically attractive encapsulation of Plato’s political philosophy, why does Plato go on to write the Laws – which also describes an ideal city, albeit one very different from the Republic? The fundamental challenge of scholarship concerning the Laws is to supply a comprehensive account of the dialogue that explains all aspects of it while also distinguishing the Laws from the Republic in a way that does not devalue the Laws as a mere afterthought to the Republic. Past attempts at meeting this challenge, I argue, can be classified under the headings of the democratic, legal, and demiurgic approaches. Although each is prima facie plausible, each also faces its own set of problems. Furthermore, none are truly capable of explaining the Laws in its full specificity; the intricate array of customs, regulations, and practices making up the life of the city described form a complex totality not reducible to the concept of democracy, the rule of law, or demiurgy. -
The Prosecution and Punishment of Animals and Lifeless Things in the Middle Ages and Modern Times
THE PROSECUTION AND PUNISHMENT OF ANIMALS AND LIFELESS THINGS IN THE MIDDLE AGES AND MODERN TIMES. The Prytaneum was the Hotel de Ville of Athens as of every Greek town. In it was the common hearth of the city, which represented the unity and vitality of the community. From its perpetual fire, colonists, like the American Indians, would carry sparks to their new homes, as a symbol of fealty to the mother city, and here in very early times the prytanis or chief- tain probably dwvelt. In the Prytaneum at Athens the statues of Eirene (Peace) and Hestia (Ilearth) stood; foreign ambassa- dors, famous citizens, athletes, and strangers were entertained there at the public expense; the laws of the great law-giver Solon were displayed within it and before his day the chief archon made it his home. One of the important features of the Prytaneum at Athens were the curious murder trials held in its immediate vicinity. Many Greek writers mention these trials, which appear to have comprehended three kinds of cases. In the first place, if a murderer was unknown or could not be found, he was never- theless tri'ed at this court.' Then inanimate things-such as stones, beams, pliece of iron, ctc.,-which had caused the death of a man by falling upon him-were put on trial at the Pry- tancuni ;2 and lastly animals, which had similarly been the cause 3 of death. Though all these trials were of a ceremonial character, they were carried on with due process of law. Thus, as in all murder trials at Athens, because of 'the religious feeling back of them that such crimes were against the gods as much as against men, they took place in the open air, that the judges might not be contaminated by the pollution supposed to exhale from the 'Aristotle, Constitulion (if :thens, 57, 4; Pollux, Vill, x2o; cf. -
The Economics of Gender Relations in London City Comedy
THE ECONOMICS OF GENDER RELATIONS IN LONDON CITY COMEDY BY KRISTIN WEISSE A Thesis Submitted to the Graduate Faculty of WAKE FOREST UNIVERSITY GRADUATE SCHOOL OF ARTS AND SCIENCES in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS English May, 2015 Winston-Salem, North Carolina Approved By: Sarah Hogan, Ph.D., Advisor Olga Valbuena, Ph.D., Chair Susan Harlan, Ph.D. ACKNOWLEDGEMENTS First and foremost, I would like to thank Dr. Hogan— not only for her helpful input and guidance throughout the process of writing this thesis, but also for inspiring my interest in Elizabethan and Jacobean literature through her remarkable energy and enthusiasm. In addition, a special thanks to Dr. Harlan and Dr. Valbuena, whose Renaissance drama classes further solidified my desire to research London city comedy and whose suggestions were also integral to the completion of this project. I am immensely grateful to have had the opportunity to work with such an intelligent and lively group of women. Moreover, I would like to thank my friends and teammates for their constant love and encouragement throughout my entire time as a graduate student at Wake Forest. Thank you especially to my “soulmates” Lizzie and Kelly for the endless trips to Camino (which made thesis writing so much more enjoyable), the ice cream dates, the epic road-trips, and for always being there for me to lean on and to learn from. Thank you also to Sam, Kaitlyn, Kathleen, Aubrey, and Chandler for the constant motivation both intellectually and physically (whether out on the trails, on the track, or even just lounging around the kitchen of 1022 Polo), and for the much-needed distractions from writing and reading. -
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). -
The New Changeling 1 Leaders: Gordon Mcmullan, King’S College London Kelly Stage, University of Nebraska-Lincoln
2018 SAA Seminar: The New Changeling 1 Leaders: Gordon McMullan, King’s College London Kelly Stage, University of Nebraska-Lincoln Seminar Respondent: Professor Suzanne Gossett, Loyola University Chicago Seminar summary It is ten years since the publication of Gary Taylor and John Lavagnino’s landmark Oxford Middleton edition – time, we feel, for reflection on the impact of the edition and of other recent developments in Middleton studies, as well as in early modern drama more generally, on the study and teaching of The Changeling, the most frequently taught play in the Middleton canon and thus a valuable test case. Our working premise is that critical fields, especially in respect of plays prominent in the teaching canon, tend to change more glacially than we might wish, and our plan for the seminar is to assess the current state of play in Changeling studies. We aim to provoke new work in light of developments over the last decade, both those prompted by the Oxford edition and those that are freestanding by virtue of being under way before 2007. The former include Annabel Patterson’s elegant introduction to the Oxford edition and a range of related engagements with the play by, e.g., Tanya Pollard, Michael Neill, Carol Thomas Neely, Courtney Lehmann, Pascale Aebischer and Barbara Ravelhofer, as well, most recently, as essays by Jay Zysk, Brad Ryner and Jennifer Panek rethinking issues of embodiment, sexuality and religion that were hallmarks of an earlier phase of Changeling criticism. The latter include, inter alia, David Nicol’s Middleton & Rowley (2012), which directly addresses the collaborative nature of the play and throws down the gauntlet to critics' persistent tendency to ignore collaboration or downplay the scenes thought to be Rowley’s.