European Medieval Drama最新文献_第8页

Forms of Pretence in Pre-Modern Drama: From the Visitatio Sepulchri to Hamlet 前现代戏剧中的伪装形式:从《古墓丽影》到《哈姆雷特》

European Medieval Drama Pub Date : 2016-01-01 DOI: 10.1484/J.EMD.5.114454

S. Brazil

{"title":"Forms of Pretence in Pre-Modern Drama: From the Visitatio Sepulchri to Hamlet","authors":"S. Brazil","doi":"10.1484/J.EMD.5.114454","DOIUrl":"https://doi.org/10.1484/J.EMD.5.114454","url":null,"abstract":"The Visitatio Sepulchri sequence recorded in the tenth-century manuscript of the Regularis Concordia includes rubricated directives which have led critics to label its mechanisms of pretence as ‘mimetic’ or ‘representational’. Indeed, what else could be more appropriate to a text that exhorts the brothers to move ‘in likeness of ’ (ad similitudinem) the women seeking the tomb, and when all actions executed before the sung dialogue are to be in the manner of ‘a copying, an imitation’ (ad imitationem)? But it is possible, as I will argue throughout this article, that imitation does not always mean imitation, and that modern critical terminology is wholly unsuitable for the form of ‘agreed pretence’ at work not only in such liturgical performances, but also in other forms of pre-modern drama (I borrowed this expression from Butterworth, Staging Conventions in Medieval English Theatre). This paper will investigate the implications of the terms imitatio and similitudo within the context of sung liturgical performances, as well as considering how such instructions might complicate critical understandings of pre-modern drama. Furthermore, I will contend that these terms are employed with a flexibility that forces a wider and more accommodating engagement with pre-modern dramatic forms and practices.","PeriodicalId":39581,"journal":{"name":"European Medieval Drama","volume":"20 1","pages":"181-201"},"PeriodicalIF":0.0,"publicationDate":"2016-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66678602","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

Interludes as Stages of Faith 插曲作为信仰的阶段

European Medieval Drama Pub Date : 2016-01-01 DOI: 10.1484/J.EMD.5.114453

P. Happé

{"title":"Interludes as Stages of Faith","authors":"P. Happé","doi":"10.1484/J.EMD.5.114453","DOIUrl":"https://doi.org/10.1484/J.EMD.5.114453","url":null,"abstract":"The presentation of religion in many medieval and Tudor plays is minatory, dwelling upon the danger of damnation and offering sometimes terrifying warning about the consequences of wickedness for the afterlife. This apprehension was intensified by anxiety and uncertainty about which faith was the true one and the need to find a description of it. In an attempt to broaden the religious experience offered in some six interludes, this essay is concerned with rather more optimistic elements which would have helped to counterbalance the general apprehension. Because of the perceived need to train the young, it addresses the school and academic contexts of some interludes, and in doing so it shows how entertainment is made part of coming to terms with more sombre aspects. John the Evangelist is unusual in that it takes a Catholic approach and in so doing puts emphasis upon solitary devotion. The other interludes discussed here are strong in their advocacy of scripture as a guide and inspiration, and their emphasis upon the promises of God towards salvation. These features are perhaps more evident because for much of the time the authorities were sympathetic to the Protestant change rather that to the old religion. Individually the plays bring out measures of hope and thanksgiving. The existence of such aspects is directed towards making faith acceptable especially by means of pleasurable theatrical entertainment which spread widely across Tudor interludes. The mockery of the devil was a notable aspect of this strategy, as was the relationship between faith and education, as well as the possibility of worldly success and the proper use of wealth by the faithful. The elements identified here show a concern for making religious experience acceptable in the community and strengthening its place there in spite of the difficulties of belief which are apparent in the religious crises in the sixteenth century.","PeriodicalId":39581,"journal":{"name":"European Medieval Drama","volume":"20 1","pages":"163-180"},"PeriodicalIF":0.0,"publicationDate":"2016-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66678587","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

The Bal des Ardents (1393), Thomas of Woodstock (1397) and Richard II (1400): Three Medieval Conspiracy Rumours and the Scots’ Mine Play (1608). 《阿尔登斯舞会》(1393年)、《伍德斯托克的托马斯》(1397年)和《理查二世》(1400年):三个中世纪阴谋谣言和苏格兰人的矿井剧(1608年)。

European Medieval Drama Pub Date : 2016-01-01 DOI: 10.1484/J.EMD.5.114451

M. Katritzky

{"title":"The Bal des Ardents (1393), Thomas of Woodstock (1397) and Richard II (1400): Three Medieval Conspiracy Rumours and the Scots’ Mine Play (1608).","authors":"M. Katritzky","doi":"10.1484/J.EMD.5.114451","DOIUrl":"https://doi.org/10.1484/J.EMD.5.114451","url":null,"abstract":"Assassination vehicles in Elizabethan and Jacobean tragedies sometimes involve meta-theatrical court festival massacres: court performances embedded within full-length drama, resulting in violent death or trauma to characters in the play. During his career as a playwright (c. 1600–08), John Marston pioneered the masquerade-within as a popular sub-category of court festival massacre. Were such underhand festival appropriations wholly inspired by stage precedents? Or did they also occur in real life? Whether its deaths were accidental or resulted from a botched assassination plot, the 1393 Bal des Ardents was hugely culturally and politically influential. Its continuing cultural afterlives bear witness to the geographical, chronological and social shockwaves of a medieval event whose impact illuminates the persistent collective trauma generated by extreme modern assassinations. My researches identify the conspiracy rumours encouraged in the wake of the 1393 Paris disaster and two English conspiracies of 1397 and 1400 linked to court festivals, as key to a fresh approach to the meta-theatrical court festival massacre, and to interpretation of two plays traditionally discussed together, which refer to these English conspiracies, Shakespeare’s Richard II and the anonymous Thomas of Woodstock. My analysis supports a post-Elizabethan dating of Woodstock, and encourages the hypothesis that it could be the so-called Scots’ Mine Play of 1608, the lost Jacobean play thought by some to have ended Marston’s career as a playwright.","PeriodicalId":39581,"journal":{"name":"European Medieval Drama","volume":"20 1","pages":"105-139"},"PeriodicalIF":0.0,"publicationDate":"2016-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66679026","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Protestant Drama and the State in England 1535-75 新教戏剧与英格兰国家1535- 1575

European Medieval Drama Pub Date : 2015-01-01 DOI: 10.1484/J.EMD.5.110742

A. Johnston

引用次数: 0

Der Märtyrer und die Politik: Johann Agricolas Tragedia Johannis Huss - Zur Entstehung eines protestantischen Kampfdramas 1537 殉道者与政客:约翰•阿格里科拉•列吉大帝•约汉尼拔——1537年上演了一出新教战争剧

European Medieval Drama Pub Date : 2015-01-01 DOI: 10.1484/J.EMD.5.110743

Hans-Gert Roloff

引用次数: 0

The Reception of Hroswitha of Gandersheim in Hungary 匈牙利Gandersheim接待Hroswitha

European Medieval Drama Pub Date : 2015-01-01 DOI: 10.1484/J.EMD.5.110745

M. Pintér