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Showing 1 to 20 of 39 for “"early modern drama"”.
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Unhuman Encounters in Early Modern Drama
… uses contemporary posthumanist and media theory, early modern educational and literary humanist texts, and the dramatic work of Christopher Marlowe, Ben Jonson, John Webster, and William Shakespeare to chart the variety of theatrical response to early modern ideas of “humanity” in the wake of …
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Displacing Desires in Early Modern Drama
… to demonstrate affinities between Lacanian and early modern theories of a constitutively displaced desire, a perspective often overlooked by ostensibly more historicist approaches. The first chapter looks at the triangular jealous rivalries of Shakespeare and Fletcher's The Two Noble Kinsmen, in …
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Adventuring Men and Changeable Women in Early Modern Drama
… 1 introduces the various and often contradictory early modern texts and contexts in which Western supremacy was produced, promoted, and/or contested in terms of white Christian masculinity. Chapter 2 investigates the collusion with patriarchy in Middleton and Rowley's The Changeling , and explains …
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DEAD MEN TELL NO TALES: MEDICAL DIATRIBES IN EARLY MODERN DRAMA
… deeply embedded in society. Even more so in early modern England, at a time when people saw physicians as suspicious and vice-ridden individuals, medicine could easily turn into something grotesque, and kitchen physics was one step away from being labelled as witchcraft. The cultural terrors …
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Playing Dead: Staging Corpses, Ghosts, and Statues in Early Modern Drama
… serve a powerful metatheatrical purpose in early modern drama. Such liminal bodies, which I define as figures caught between the fictional body and the living actor, model the relation between playgoer, actor, and playwright as they work together to produce theatrical fictions. The …
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Cultivating Difference in Early Modern Drama and the Literature of Travel
This dissertation argues that the early modern discourse of conduct, which produced social difference within English households and communities, took on greater importance in a newly global world. In the conduct-obsessed culture of early modern England, two competing and contradictory beliefs about …
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Corpses revealed: The staging of the theatrical corpse in early modern drama
… speculation and as performance phenomena of the early modern English stage. Investigating popular drama on the London stage from 1587 -- 1683, I demonstrate that the performance of the dead body by the living actor (what I term the "theatrical corpse") is informed by early modern secular and …
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Silence, speech and gender in early modern drama : a presentist, Palestinian perspective
Silence, Speech and Gender in Early Modern Drama: A Presentist, Palestinian Perspective considers the dialogue between male-and female-authored dramas in early modern England and the competing ideologies on speech, silence, hearing and gender they enact. Following the methodology of presentism, the …
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This Prison Where I Live: Authority and Incarceration in Early Modern Drama
The image of the prison looms large in early modern literature. By the sixteenth century, the prison was as much a part of everyday life as the public theatre. Although scholars have recently focused on the prison as a cite of cultural production, the depictions of fictionalized prison have not …
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Women who wreak havoc: a new perspective on early modern drama, 1603-1642
… of women in the non-Shakespearean plays of early Stuart England (1603-1642). The chapters progress chronologically, locating common themes of the period, which I analyse independently in each chapter, and consider in the conclusion comprehensively. The introduction serves to present these …
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Need Not Necessity: Purgatorial Torment and Healing in Medieval and Early Modern Drama
… Purgatory and purgatorial suffering on the early modern stage in Britain. Le Goff asserts in The Birth of Purgatory that "Purgatory, though a prominent if elusive feature of Christian thinking about the afterlife, seems to have been a perishable rather than an enduring idea" (358). I choose …
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Stages of Belief: The Nature of Audience Response in Medieval and Early Modern Drama
Medieval theatrical audiences expected that dramatic performances would have some element of truth: they believed that what they saw performed was in some sense factual, and this belief was due in large part to their participation in the dramatic spectacle. By the end of the sixteenth century, …
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Let His Conscience be her Guide: Ethical Self-Fashionings of Woman in Early-Modern Drama
Female characters in early-modern drama, even when following the dictates of conscience, appear inextricably bound to patriarchal expectations. This paradoxical situation is explained by two elements that have affected the Renaissance playwright's depiction of woman as moral agent. First, the …
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Less than ideal? The intellectual history of male friendship and its articulation in early modern drama
… through its articulation in non-Shakespearean early modern drama; and considers how dramatic texts engage with the classical ideals of male friendship. Cicero’s \(De amicitia\) provided the theoretical model for perfect friendship for the early modern period; and this thesis argues for the …
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Tragedy With a Vengeance: Violence, Vengeance and Identity From Attic Tragedy to Shakespeare
… Attica, through Senecan tragedy, and into early modern drama in English. Classical and early modern tragedy is seductive in its sophisticated, savage portrayals of the relations between violence and who we are as human beings. In this study I explore these relations from a perspective that …
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Rumor, gender, and authority in English Renaissance drama
<p>The dramatic works of Christopher Marlowe, William Shakespeare, and Ben Jonson register a certain type of male character who is capable of discerning listening, an action that becomes an agent of specific masculine authority and identity. However, rumor's inherent ambiguity and indeterminacy …
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Calling All Cast Members: Elevating Material Objects and Ambient Environments to Non-Human Rhetorical Actors in Arden of Faversham
… offer a unique lens to view the materiality in early modern drama. Using these principles, as well as Actor-Network Theory and Affect Theory, objects and environments can be elevated to non-human actors in a play’s rhetorical situation. Arden of Faversham engages heavily with the material world …
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The Lesser of Two Evils: The Figure of the Jew in Elizabethan Literature
… of three attitudes towards the Jewish figure in Early Modern drama: either a) the depiction is intended to be anti-Semitic; b) philo-Semitic; c) that the playwrights are merely observing and documenting the anti-Semitism prevalent in Elizabethan London. This reductive view oversimplifies our …
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La mandragola
… of formal and familiar language, a feat no other modern translation has attempted. In my opinion. Machiavelli’s use of tu and voi forms are critical to understanding his overall comment on contemporary religious, civil, and sexual power structures. Though there is still work to be done, I am …
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The self and self-conscious theatre on the Renaissance stage
… emerging notions of the intersubjective self in early modern culture. It proposes that the self-conscious theatre of Shakespeare and his contemporaries produces a concomitant self-consciousness within its audiences that situates identity on the theatrical boundary, highlighting the performativity …
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