Exploring the significance of visual things that are 'under construction' in works by playwrights. Illustrated with examples, it opens up new interpretations of the place of aesthetic form in the ...early modern imagination.Why are early modern English dramatists preoccupied with unfinished processes of "making" and "unmaking"? And what did "finished" or "incomplete" mean for spectators of plays and visual works in this period? Making and unmaking in early modern English drama is about the prevalence and significance of visual things that are "under construction" in early modern plays. Contributing to challenges to the well-worn narrative of "iconophobic" early modern English culture, it explores the drama as a part of a lively post-Reformation visual world. Interrogating the centrality of concepts of "fragmentation" and "wholeness" in critical approaches to this period, it opens up new interpretations of the place of aesthetic form in early modern culture. An interdisciplinary study, this book argues that the idea of "finish" had transgressive associations in the early modern imagination. It centres on the depiction of incomplete visual practices in works by playwrights including Shakespeare, John Lyly, and Robert Greene. The first book of its kind to connect dramatists' attitudes to the visual with questions of materiality, Making and Unmaking in Early Modern English Drama draws on a rich range of illustrated examples. Plays are discussed alongside contexts and themes, including iconoclasm, painting, sculpture, clothing and jewellery, automata, and invisibility. Asking what it meant for Shakespeare and his contemporaries to "begin" or "end" a literary or visual work, this book is invaluable for scholars and students of early modern English literature, drama, visual culture, material culture, theatre history, history and aesthetics. This title was made Open Access by libraries from around the world through Knowledge Unlatched.
Richard Hillman applies to tragic patterns and practices in early modern England his long-standing critical preoccupation with English-French cultural connections in the period. With primary, though ...not exclusive, reference on the English side to Shakespeare and Marlowe, and on the French side to a wide range of dramatic and non-dramatic material, he focuses on distinctive elements that emerge within the English tragedy of the 1590s and early 1600s. These include the self-destructive tragic hero, the apparatus of neo-Senecanism (including the Machiavellian villain) and the confrontation between the warrior-hero and the femme fatale. The broad objective is less to "discover" influences – although some specific points of contact are proposed – than at once to enlarge and refine a common cultural space through juxtaposition and intertextual tracing. The conclusion emerges that the powerful, if ambivalent, fascination of the English for their closest Continental neighbours expressed itself not only in but through the theatre.
Modern Greek national and cultural identities consist, to a considerable extent, of clusters of cultural memory, shaped by an ongoing dialogue with the classical past. Within this dialogue between ...modern Greece and classical antiquity, Greek tragedy takes pride of place. In this volume, ten scholars from Cyprus, Greece, the United Kingdom and the United States explore the various ways in which Greek tragedy and tragic myth have been reimagined and rewritten in modern Greek drama and poetry. The book's extensive coverage includes major modern Greek authors, such as Cavafy, Seferis, and Ritsos, as well as less well-known, but equally rich and rewarding, 20th- and 21st-century texts.
Offering a unique historical perspective to the study of medieval English drama, Heather Hill-Vásquez in Sacred Players argues that different treatments of audience and performance in the early drama ...indicate that the performance life of the drama may have continued well beyond its traditional placement in medieval history and into the Reformation and Renaissance eras.
This is my body Kobialka, Michal Andrzej
This Is My Body,
1999., 20091222, 1999, 2003, 20030701
eBook, Book, Book Chapter
The recipient of the annual Award for Outstanding Book in Theatre Practice and Pedagogy from the Association for Theatre in Higher Education, This Is My Body realigns representational practices in ...the early Middle Ages with current debates on the nature of representation. Michal Kobialkai's study views the medieval concept of representation as having been in flux and crossed by different modes of seeing, until it was stabilized by the constitutions of the Fourth Lateran Council in 1215. Kobialka argues that the concept of representation in the early Middle Ages had little to do with the tradition that considers representation in terms of Aristotle or Plato; rather, it was enshrined in the interpretation of Hoc est corpus meum This is my body—the words spoken by Christ to the apostles at the Last Supper—and in establishing the visibility of the body of Christ that had disappeared from view.
Under the Tudor monarchy, English law expanded to include the category of "treason by words." Rebecca Lemon investigates this remarkable phrase both as a legal charge and as a cultural event. English ...citizens, she shows, expressed competing notions of treason in opposition to the growing absolutism of the monarchy. Lemon explores the complex participation of texts by John Donne, Ben Jonson, and William Shakespeare in the legal and political controversies marking the Earl of Essex's 1601 rebellion and the 1605 Gunpowder Plot.
Lemon suggests that the articulation of diverse ideas about treason within literary and polemical texts produced increasingly fractured conceptions of the crime of treason itself. Further, literary texts, in representing issues familiar from political polemic, helped to foster more free, less ideologically rigid, responses to the crisis of treason. As a result, such works of imagination bolstered an emerging discourse on subjects' rights.Treason by Wordsoffers an original theory of the role of dissent and rebellion during a period of burgeoning sovereign power.
This book explores contemporary African adaptations of classical Greek tragedies. Six South African and Nigerian dramatic texts - by Yael Farber, Mark Fleishman, Athol Fugard, Femi Osofisan, and Wole ...Soyinka - are analysed through the thematic lens of resistance, revolution, reconciliation, and mourning.The opening chapters focus on plays that mobilize Greek tragedy to inspire political change, discussing how Sophocles' heroine Antigone is reconfigured as a freedom fighter and how Euripides' Dionysos is transformed into a revolutionary leader.The later chapters shift the focus to plays that explore the costs and consequences of political change, examining how the cycle of violence dramatized in Aeschylus' Oresteia trilogy acquires relevance in post-apartheid South Africa, and how the mourning of Euripides' Trojan Women resonates in and beyond Nigeria.Throughout, the emphasis is on how playwrights, through adaptation, perform a cultural politics directed at the Europe that has traditionally considered ancient Greece as its property, foundation, and legitimization. Van Weyenberg additionally discusses how contemporary African reworkings of Greek tragedies invite us to reconsider how we think about the genre of tragedy and about the cultural process of adaptation.Against George Steiner's famous claim that tragedy has died, this book demonstrates that Greek tragedy holds relevance today. But it also reveals that adaptations do more than simply keeping the texts they draw on alive: through adaptation, playwrights open up a space for politics. In this dynamic between adaptation and pre-text, the politics of adaptation is performed.
The comic playwright Menander was one of the most popular writers throughout antiquity. This book reconstructs his life and the legacy of his work until the end of antiquity employing a broad range ...of sources such as portraits, illustrations of his plays, papyri preserving their texts and inscriptions recording their public performances. These are placed within the context of the three social and cultural institutions which appropriated his comedy, thereby ensuring its survival: public theatres, dinner parties and schools. Dr Nervegna carefully reconstructs how each context approached Menander's drama and how it contributed to its popularity over the centuries. The resultant, highly illustrated, book will be essential for all scholars and students not just of Menander's comedy but, more broadly, of the history and iconography of the ancient theatre, ancient social history and reception studies.