Renaissance Drama最新文献

Cosmic Conversion and Timon’s Block 宇宙转换和提莫的阻挡

Renaissance Drama Pub Date : 2023-09-01 DOI: 10.1086/727188

Jean E. Feerick

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Affective Ecologies: Afterword 情感生态学：后记

Renaissance Drama Pub Date : 2023-09-01 DOI: 10.1086/727189

T. Werth

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Female Masquers and Ambiguity in Timon of Athens 雅典的提蒙》中的女性戏曲演员与模糊性

Renaissance Drama Pub Date : 2023-09-01 DOI: 10.1086/727041

E. Kolkovich

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Imaginary Puissance: Historicizing “Setting” and Discourses of Control 想象中的权力：将 "设置 "和控制话语历史化

Renaissance Drama Pub Date : 2023-09-01 DOI: 10.1086/727185

Kristen Poole

{"title":"Imaginary Puissance: Historicizing “Setting” and Discourses of Control","authors":"Kristen Poole","doi":"10.1086/727185","DOIUrl":"https://doi.org/10.1086/727185","url":null,"abstract":"t his essay takes up a literary concept that is so familiar it might seem trite: the idea of setting . Over the last century or so, setting has migrated from a relatively new literary term that was introduced to high school and college students to a concept that is taught to beginner readers at the start of literacy education. (That has been the trajectory of the term in the United States, at least.) Taught to us at a very young age, setting has become so ingrained in our processing of narrative that we most likely take this awareness for granted. But as with most concepts that have become naturalized to the point of invisibility, setting is not value-neutral. The idea of setting emerges from a particular historical moment and discourse, and it carries forth certain assumptions — ideological, aesthetic, narratological — about the workings of story. A survey of educational materials about setting suggests that one of its implied values is stability, or a distinct sense of location and emplacement. We might consider, for example, this de ﬁ nition from the online source Literary Devices: “ Setting is a literary device that allows the writer of a narrative to establish the time, location, and environment in which it takes place . . . . The setting of a narrative or story helps the reader picture clear and relevant details. In addition, setting enhances the development of a story ’ s plot and characters by providing a distinct background. ” 1 The modern concept of setting is about clarity of image in the mind ’ s eye. And it is not just that a story ’ s background is distinct in itself; there is an implied distinction between characters/agents and background/environment. Characters exist within a setting but are ontologically","PeriodicalId":53676,"journal":{"name":"Renaissance Drama","volume":"69 1","pages":"159 - 173"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139344671","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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Tamburlaine, Able-Bodiedness, and the Skills of the Early Modern Player 唐伯伦、健全人和早期现代球员的技能

Renaissance Drama Pub Date : 2023-09-01 DOI: 10.1086/727039

E. D. Gainey

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Against Editing “Whitely”: Restoring Shakespeare’s Interracial Comedic Couple to Love’s Labour’s Lost 反对编辑“白色”:将莎士比亚的跨种族喜剧夫妇还原为爱的徒劳

Renaissance Drama Pub Date : 2023-03-01 DOI: 10.1086/725195

Scott Maisano

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Botched Labor and Secondhand Craft in Arden of Faversham 法弗舍姆阿登的拙劣劳动和二手工艺

Renaissance Drama Pub Date : 2023-03-01 DOI: 10.1086/725175

Margo Kolenda-Mason

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Textual Transmission and the Enterprising Plagiarist: George Powell, The Treacherous Brothers, and The Dumb Knight 文本传递与进取的剽窃者:乔治·鲍威尔、奸诈的兄弟和愚笨的骑士

Renaissance Drama Pub Date : 2023-03-01 DOI: 10.1086/725178

C. Cathcart

{"title":"Textual Transmission and the Enterprising Plagiarist: George Powell, The Treacherous Brothers, and The Dumb Knight","authors":"C. Cathcart","doi":"10.1086/725178","DOIUrl":"https://doi.org/10.1086/725178","url":null,"abstract":"t his essay tells a story. It features a tragedy of 1690 — George Powell ’ s The Treacherous Brothers — in which the author commandeers long passages of dialogue from plays ﬁ rst printed between 1602 and 1680 and uses those passages to ﬂ esh out the speeches of his own characters. At least eight such plays contribute to the text of The Treacherous Brothers . In examining Powell ’ s practice, I draw special attention to one of these sources: Lewis Machin and Gervase Markham ’ s The Dumb Knight . This comedy of 1607 or 1608 supplied the plot — and frequently the words — with which Powell presents his play ’ s cru-cial deception: a trick that induces the King of Cyprus to believe that his Queen has been unfaithful. I examine a speech in which Powell melds his ﬁ rst appropriation from The Dumb Knight with another, from John Marston ’ s Antonio ’ s Revenge . The ﬁ rst line of that speech — “ Night Clad in black, mourns for the loss of day ” — careered across the seventeenth century. Its appearances in The Dumb Knight and The Treacherous Brothers constitute two moments in what was a sustained progress featuring not only dramatic dialogue but also erotic narrative verse, acrostic tribute, and a sequence of miscellanies. That single web of in ﬂ uence and appropriation offers a vivid illustration of Powell ’ s preference for material that itself possessed a complex intertextual history. It points to the sources and the afterlife of The Dumb Knight as subjects of interest in their own right. And it sketches a transmission history that may be val-ued and appreciated on its own terms, prioritizing neither the origin, the end-point, nor the various intervening stations. These claims re ﬂ ect the threefold subject of this essay. First, it is a tale of Powell ’ s acquisitive practice, and in that","PeriodicalId":53676,"journal":{"name":"Renaissance Drama","volume":"51 1","pages":"89 - 108"},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42312809","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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Front Matter 前页

Renaissance Drama Pub Date : 2023-03-01 DOI: 10.1086/726329

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The Botany of Colonization in John Fletcher’s The Island Princess 约翰·弗莱彻的《岛公主》中的植物学殖民

Renaissance Drama Pub Date : 2022-09-01 DOI: 10.1086/722938

Roya Biggie

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