Studies in the Literary Imagination最新文献

Inside Out: Early Modern Domestic Tragedy and the Dramaturgy of Extrusion 由内而外早期现代家庭悲剧与 "挤出 "戏剧学

Studies in the Literary Imagination Pub Date : 2024-01-13 DOI: 10.1353/sli.2021.a917129

Emma K. Atwood

{"title":"Inside Out: Early Modern Domestic Tragedy and the Dramaturgy of Extrusion","authors":"Emma K. Atwood","doi":"10.1353/sli.2021.a917129","DOIUrl":"https://doi.org/10.1353/sli.2021.a917129","url":null,"abstract":"In lieu of an abstract, here is a brief excerpt of the content:\u0000 <ul> <li> Inside Out: Early Modern Domestic Tragedy and the Dramaturgy of Extrusion </li> <li> Emma K. Atwood (bio) </li> </ul> Domestic tragedy has constituted a distinct genre of study for the past hundred years, beginning with a 1925 dissertation by Edward Ayers Taylor, who sought to categorize a number of largely forgotten and lost plays (Orlin, “Domestic” 390). Since the 1980s and into the twenty-first century, scholars like Catherine Belsey, Lena Cowen Orlin, Laura Gowing, Catherine Richardson, and Ann Christensen have offered a series of exciting approaches to the genre and its constitutive relationship to early modern culture. In her recent monograph Separation Scenes: Domestic Drama in Early Modern England, Christensen clearly defines the genre: <blockquote> popular at the end of the sixteenth century and most often set in contemporary England, domestic tragedy is a generic grouping that modern scholars have recognized for a number of innovations: chiefly the middling or bourgeois status of their characters and concerns (as distinct from the nobility and the poor); a “reduction in scale” from tragedies of state; and the violent, often “true” crimes depicted. (4) </blockquote> In short, she explains, these plays stage “domestic life in crisis” (Separation 5). This depiction of domestic crisis has proved especially useful for scholars invested in questions related to early modern gender, class, violence, and the economies of everyday life. As Orlin notes in her overview “Domestic Tragedy: Private Life on the Public Stage,” “in a growing body of scholarship, domestic tragedy has since proved itself to be a site in which historicist, feminist, and materialist approaches are profitably practiced” (“Domestic” 392). Entire seminars are now being offered on the topic, like Ellen MacKay’s 2022 course “Housekeeping: Domestic Drama and Material Culture” at the University of Chicago. And Emma Whipday’s recent monograph Shakespeare’s Domestic Tragedies: Violence in the Early Modern Home has sought to bring this genre into conversation with more mainstream Shakespearean plays such as Othello, Hamlet, The Taming of the Shrew, and King Lear. [End Page 1] Arden of Faversham, A Warning for Fair Women, Two Lamentable Tragedies 1 and 2, Edward IV, A Yorkshire Tragedy, A Woman Killed with Kindness, and The Witch of Edmonton make up the core canon of domestic tragedy (Orlin, “Domestic” 391). But despite the rich and persistent scholarly interest in the genre, these plays are rarely staged. Arden has perhaps had the most theatrical luck, likely stemming from its association with Shakespeare: the Royal Shakespeare Company offered an Arden in 1982 and again in 2014; the Boston Univ","PeriodicalId":501368,"journal":{"name":"Studies in the Literary Imagination","volume":"30 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139463356","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}

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The Role of the Reluctant Harbinger in Arden of Faversham and A Woman Killed with Kindness 法弗沙姆的阿登》和《一个被善良杀死的女人》中不情愿的预言家的角色

Studies in the Literary Imagination Pub Date : 2024-01-13 DOI: 10.1353/sli.2021.a917130

Joseph L. Kelly

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"Sworn to sweat": Witchcraft, Labor, and Wicked Consumption in Middleton's The Witch "发誓流汗"：米德尔顿《女巫》中的巫术、劳动和邪恶消费

Studies in the Literary Imagination Pub Date : 2024-01-13 DOI: 10.1353/sli.2021.a917131

Molly Hand

{"title":"\"Sworn to sweat\": Witchcraft, Labor, and Wicked Consumption in Middleton's The Witch","authors":"Molly Hand","doi":"10.1353/sli.2021.a917131","DOIUrl":"https://doi.org/10.1353/sli.2021.a917131","url":null,"abstract":"In lieu of an abstract, here is a brief excerpt of the content:\u0000 <ul> <li> “Sworn to sweat”: Witchcraft, Labor, and Wicked Consumption in Middleton’s The Witch </li> <li> Molly Hand (bio) </li> </ul> I am cooking as I write this, preparing dinner for my husband and me (with a morsel reserved for Beatrice, our “canine daughter,” of course). I can write while I cook because I have a device that does the work for me: I just place the ingredients in a slow cooker, turn it on, and set the timer. Now, we wait; now, I write. I do not have to spend my time sweating over a cauldron. Nor did I have to go out of my way to source ingredients: I purchased some from our local farmers’ market online (with convenient delivery to my home), others from the grocery store. So whose labor made my dinner possible? This is a question that Thomas Middleton’s play The Witch (c. 1616) calls our attention to.1 Who grew the things, or sourced them, raised them, killed them, packaged them, and brought them from elsewhere to a vendor for us to buy? In the sweat of whose faces do we eat our bread?2 We can read sweat as the saline solution through which The Witch’s themes are distilled. Though “sweat” and its variant “sweating” appear only four times in the play, it is evoked in each plotline, emblematic of the various types of labor and activity illuminated or elided throughout the play. Sweat attunes us to other repeated sounds and figures that haunt and conjure one another: “sweat,” “sweet,” “surfeit,” “sucket,” “sudden,” “subtle,” “swear,” “sister,” and their variants together constitute a hissy dialogue whose echoes evoke Hecate’s tangle of serpents (1.2.0.2n). Sweat is human effluvium, a bodily response to physical activity, heat, and hard work (like cooking over a kitchen fire, vigorous sex, and the labor of childbirth), and an ingredient in Hecate’s cauldron. In the ducal palace and Antonio’s household, labor is conspicuously absent: that is, the domestic labor of those responsible for producing the confections of the banquet table and other comestibles and concoctions, as well as the indentured and enslaved labor involved with producing or procuring the particular commodities—especially sugar and spice—that are key ingredients in banqueting stuff. This hidden sweat is revealed by contrast to the visible labor of Hecate’s realm, where we find her and her witchy kin “sweating at the vessel” (1.2.6). This essay, accordingly, offers a reappraisal of Middleton’s [End Page 111] play as a domestic drama that explicitly emphasizes domestic production and consumption, the circulation of items sourced and produced, and the often invisible labor of producers. The play juxtaposes wicked consumption, epitomized in surfeit and cannibalism, with effortful, sweaty labor in the witches’ careful preparation of receipts. Hecat","PeriodicalId":501368,"journal":{"name":"Studies in the Literary Imagination","volume":"167 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139463604","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}

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Death and Domesticity: Reassessing Domestic Dramas of the Renaissance 死亡与家庭生活重新评估文艺复兴时期的家庭戏剧

Studies in the Literary Imagination Pub Date : 2024-01-13 DOI: 10.1353/sli.2021.a917126

Brent Griffin

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Finding Her Conscience: Auditing Female Confession in A Warning for Fair Women 寻找她的良知：对《公平女性的警告》中女性忏悔的审计

Studies in the Literary Imagination Pub Date : 2024-01-13 DOI: 10.1353/sli.2021.a917127

Cheryl Birdseye

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Fair Women, Red Hands, Black Will(s): Domestic Tragedy's Racial Logic 公平的女人，红的手，黑的意志：家庭悲剧的种族逻辑

Studies in the Literary Imagination Pub Date : 2024-01-13 DOI: 10.1353/sli.2021.a917124

Ariane M. Balizet

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Interrogating Genre: Domestic Tragedy, Closet Drama, and the Case of Elizabeth Cary's The Tragedy of Mariam, Fair Queen of Jewry (1613) 拷问流派：家庭悲剧、橱窗戏剧和伊丽莎白-卡里的《犹太人的美丽女王玛丽亚姆的悲剧》（1613 年）案例

Studies in the Literary Imagination Pub Date : 2024-01-13 DOI: 10.1353/sli.2021.a917125

Barbara Sebek

{"title":"Interrogating Genre: Domestic Tragedy, Closet Drama, and the Case of Elizabeth Cary's The Tragedy of Mariam, Fair Queen of Jewry (1613)","authors":"Barbara Sebek","doi":"10.1353/sli.2021.a917125","DOIUrl":"https://doi.org/10.1353/sli.2021.a917125","url":null,"abstract":"In lieu of an abstract, here is a brief excerpt of the content:\u0000 <ul> <li> Interrogating Genre: Domestic Tragedy, Closet Drama, and the Case of Elizabeth Cary’s The Tragedy of Mariam, Fair Queen of Jewry (1613) </li> <li> Barbara Sebek (bio) </li> </ul> At the conference that was the genesis of this special issue, I deliberately discussed tragic plays that deviate from the key features of English domestic tragedy that scholars ordinarily use to describe the genre. With a non-English, non-contemporary setting in ancient Judea and a focus on a courtly milieu and dynastic politics rather than the middling ethos that usually inflects domestic tragedy, Elizabeth Cary’s The Tragedy of Mariam, Fair Queen of Jewry (1613) seems at first glance to be a complete outlier to the kind of play that we gathered in Atlanta to discuss, perform, and watch. The impetus to interrogate genre and test the boundaries of domestic tragedy via Cary’s play emerges from a notion of genre as something that is done, both by writers and performers and by critics, readers, and professors. By reflecting on the ways that an outlier-but-adjacent play does and does not align with plays that more fully evince the usual features of a genre, we can enact this notion of genre as a doing rather than a fixed or essential state of being. After all, an intensified interest in experimenting with dramatic genre characterized the early modern period itself, which Jean Howard describes as “one of intense generic theorization and experimentation” (Shakespeare 300). Kim Hall points out that the genre that we’ve come to call “domestic tragedy” emerged at a historical juncture when classic definitions of genre, especially tragedy, “fail to accommodate important groups and concerns” (17). It is with notable self-consciousness that early modern plays that fit the emergent schema for domestic tragedy enter the fray. Consider, for example, how the prologue to one of the period’s salient examples of domestic tragedy, A Warning for Fair Women (1599), attests to contemporary scrutiny of generic choice and subject matter. In this prologue, personified figures of Tragedy, History, and Comedy engage in what Ann Christensen rightly calls “a vicious insult exchange” (3) as Tragedy resorts to violence to stave off the challenges of the other genres to take over the stage.1 For early modern writers and audiences, the treatment of what Shakespeare’s Christopher Sly in the opening frame story of [End Page 97] The Taming of the Shrew calls “household stuff” (Induction 2.135) raises particularly pressing questions about genre. In comedies and tragedies alike, “household stuff” disrupts expectations about the appropriate style, theme, and matter of plays and points to the unsettled and unsettling status of the theatre more generally. In an essay a","PeriodicalId":501368,"journal":{"name":"Studies in the Literary Imagination","volume":"22 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139463666","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}

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Student-Friendly Editions—a Pedagogical and Scholarly Experiment with A Warning for Fair Women 学生友好版本--《给白皙女性的警告》的教学和学术实验

Studies in the Literary Imagination Pub Date : 2024-01-13 DOI: 10.1353/sli.2021.a917123

Ann Christensen

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Selected SLI Back Issues 部分 SLI 过期期刊

Studies in the Literary Imagination Pub Date : 2024-01-13 DOI: 10.1353/sli.2021.a917132

{"title":"Selected SLI Back Issues","authors":"","doi":"10.1353/sli.2021.a917132","DOIUrl":"https://doi.org/10.1353/sli.2021.a917132","url":null,"abstract":"In lieu of an abstract, here is a brief excerpt of the content:\u0000 <ul> <li> Selected SLI Back Issues </li> </ul> <table frame=\"void\" rules=\"none\"> <tr> <td align=\"left\" valign=\"top\">53.1 & 2</td> <td align=\"left\" valign=\"top\">The Mirror Trope in Contemporary Experimental Literature (Saloua Karoui-Elounelli)</td> </tr> <tr> <td align=\"left\" valign=\"top\">52.1 & 2</td> <td align=\"left\" valign=\"top\">Literature and Medicine (Shu-Fang Lai & Peih-Ying Lu)</td> </tr> <tr> <td align=\"left\" valign=\"top\">51.1</td> <td align=\"left\" valign=\"top\">Suicidal Romanticism: Origins and Influences (Michelle Faubert)</td> </tr> <tr> <td align=\"left\" valign=\"top\">51.2</td> <td align=\"left\" valign=\"top\">Reading Love with Murdoch: Philosophy and Literature in the Work of Iris Murdoch (Rossitsa Terzieva-Artemis)</td> </tr> <tr> <td align=\"left\" valign=\"top\">51.1</td> <td align=\"left\" valign=\"top\">Suicidal Romanticism: Origins and Influences (Michelle Faubert)</td> </tr> <tr> <td align=\"left\" valign=\"top\">50.2</td> <td align=\"left\" valign=\"top\">Twenty-First-Century American Crises: Reflections, Representations, Transformations (Part 2) (Anna M. Brígido-Corachán)</td> </tr> <tr> <td align=\"left\" valign=\"top\">50.1</td> <td align=\"left\" valign=\"top\">Twenty-First-Century American Crises: Reflections, Representations, Transformations (Part 1) (Ana Fernández-Caparrós)</td> </tr> <tr> <td align=\"left\" valign=\"top\">49.2</td> <td align=\"left\" valign=\"top\">Voice of Reason: The Literary Influence of John Henry Newman (Paul H. Schmidt)</td> </tr> <tr> <td align=\"left\" valign=\"top\">49.1</td> <td align=\"left\" valign=\"top\">New Criticisms on the Works of Ernest J. Gaines (Lillie Anne Brown)</td> </tr> <tr> <td align=\"left\" valign=\"top\">48.2</td> <td align=\"left\" valign=\"top\">Subterranean Histories: Constantine Cavafy and the Poetics of Memory (Louis A. Ruprecht, Jr.)</td> </tr> <tr> <td align=\"left\" valign=\"top\">48.1</td> <td align=\"left\" valign=\"top\">Representing and Expressing States of Mind (Anita O’Connel & Leigh Wetherall-Dickson)</td> </tr> <tr> <td align=\"left\" valign=\"top\">47.2</td> <td align=\"left\" valign=\"top\">Novel Genders: Women Writing Women in the Eighteenth Century (Kristine Jennings)</td> </tr> <tr> <td align=\"left\" valign=\"top\">47.1</td> <td align=\"left\" valign=\"top\">Reading with Kristeva: Philosophy, Literature, Psychoanalysis, and Twentieth-Century Women Writers (Rossitsa Terzieva-Artemis)</td> </tr> <tr> <td align=\"left\" valign=\"top\">46.1</td> <td align=\"left\" valign=\"top\">James Thomson’s The Seasons, Textuality, & Print Culture (Sandro Jung)</td> </tr> <tr> <td align=\"left\" valign=\"top\">45.2</td> <td align=\"left\" valign=\"top\">Ungovernable Hearts: Anarchism and Literature (Jeff Shantz)</td> </tr> <tr> <td align=\"left\" valign=\"top\">45","PeriodicalId":501368,"journal":{"name":"Studies in the Literary Imagination","volume":"28 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139463417","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

Contributors 贡献者

Studies in the Literary Imagination Pub Date : 2024-01-13 DOI: 10.1353/sli.2021.a917128

{"title":"Contributors","authors":"","doi":"10.1353/sli.2021.a917128","DOIUrl":"https://doi.org/10.1353/sli.2021.a917128","url":null,"abstract":"In lieu of an abstract, here is a brief excerpt of the content:\u0000 <ul> <li> Contributors </li> </ul> Emma K. Atwood Emma K. Atwood is Associate Professor of English at the University of Montevallo, Alabama’s only public liberal arts university. At Montevallo, she directs the graduate program in English and teaches courses on Shakespeare, Renaissance drama, and early modern women and gender. She has published articles in Comparative Drama, the Journal of Medieval and Early Modern Studies, Early Modern Women: An Interdisciplinary Journal, Borrowers and Lenders, and This Rough Magic. She is an editor of the forthcoming digital critical edition of The Court and Kitchin of Elizabeth Cromwell and is co-editor of the collection Teaching Shakespeare Beyond the Major. Ariane M. Balizet is Professor of English and Associate Dean for Faculty and DEI at Texas Christian University. Her teaching and research interests include games and colonial competition in the early modern literary Caribbean, Shakespeare in adaptation, and intersectional approaches to teaching Renaissance literature. She is the author of two monographs: Shakespeare and Girls’ Studies (2029) and Blood and Home in Early Modern Drama: Domestic Identity on the Renaissance Stage (2014). Cheryl Birdseye is an Associate Lecturer at Oxford Brookes University. Her research considers the performance and reception of female testimony on the early modern stage, particularly relating to texts that take real crimes as their source. Ann Christensen, professor of English at the University of Houston, is the author of Separation Scenes: Domestic Drama in Early Modern England 1590-1630 (U. Nebraska 2017) and A Warning for Fair Women: Adultery and Murder in Shakespeare’s Theater (U. Nebraska 2021), which is a modern critical edition of an anonymous 1599 play. Her work appears in Early Modern Studies Journal, Early Modern Literary Studies, Studies in English Literature, Marlowe Studies Annual, and Early Modern Women, as well as Gendered Routes and Spaces in the Early Modern World (Ashgate, 2015) and Global Traffic: Discourses and Practices of Trade in English Literature and Culture from 1550-1700 (Palgrave, 2008). Her most recent essays, “Editing the Renaissance for an Anti-Racist Classroom” with Laura B. Turchi appears in Teaching Race in the Renaissance, edited by Matthieu Chapman and Anna Wainwright and “Using Caste to Teach Intersectionality with Three Opening Scenes” is forthcoming in Design and Discomfort in Anti-Racist Shakespeare Classrooms both Arizona Center of Medieval and Renaissance Studies Press. Brent Griffin is the artistic director of Resurgens Theatre Company. A past member of the research","PeriodicalId":501368,"journal":{"name":"Studies in the Literary Imagination","volume":"2 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139463466","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