Renaissance Drama最新文献_第3页

The Will and Testament in English Renaissance Drama: Paper Props, Property, and Ulpian Fulwell’s Like Will to Like 英国文艺复兴戏剧中的遗嘱与遗嘱：纸道具、财产与富尔威尔的同类遗嘱

Renaissance Drama Pub Date : 2022-03-01 DOI: 10.1086/719472

Douglas J Clark

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Bodies and Voices in Coriolanus 科里奥兰纳斯的身体和声音

Renaissance Drama Pub Date : 2022-03-01 DOI: 10.1086/719468

K. Lehnhof

引用次数: 1

Contradiction and Allegorization: Middleton’s A Game at Chess and Althusser’s Theatrical Thought 矛盾与寓言:米德尔顿的《一盘棋》与阿尔都塞的戏剧思想

Renaissance Drama Pub Date : 2022-03-01 DOI: 10.1086/719470

Martin Moraw

{"title":"Contradiction and Allegorization: Middleton’s A Game at Chess and Althusser’s Theatrical Thought","authors":"Martin Moraw","doi":"10.1086/719470","DOIUrl":"https://doi.org/10.1086/719470","url":null,"abstract":"hat does the game of chess in Thomas Middleton’s A Game at Chess mean? How does it mean what it means? A Game, first performed in w August 1624, is the rare case of an early modern history play that represents not the past but the present. It dramatizes, albeit freely and with significant alterations, Anglo-Spanish relations between 1620 and 1624, especially events surrounding the Spanish Match, the proposed marriage of Prince Charles and Maria, infanta of Spain, which had collapsed after long negotiations only months before the play was staged. Strikingly, Middleton represents these events in the form of a chess game, and their protagonists—including James I; Felipe IV; Charles; George Villiers, Duke of Buckingham; and Diego Sarmiento de Acuña, Conde de Gondomar and the Spanish ambassador to James’s court from 1613 to 1622—as chess pieces. The dramatization of affairs of state brought instant notoriety and popular success. Performed on nine consecutive days at the Globe, A Game had the longest uninterrupted run of any English play before the Restoration, which came to an end only because the Privy Council, prompted by a Spanish diplomat’s letter of complaint objecting to the impersonation of his king on stage, shut down the production. The council issued a warrant for Middleton’s arrest. A Game was","PeriodicalId":53676,"journal":{"name":"Renaissance Drama","volume":"50 1","pages":"73 - 102"},"PeriodicalIF":0.0,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49039989","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

Caliban at the Fair: Figuring Nonhumanity in The Tempest and Bartholomew Fair 卡利班在博览会上：在暴风雨和巴塞洛缪博览会中塑造非人性

Renaissance Drama Pub Date : 2022-03-01 DOI: 10.1086/719933

Toria Johnson

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Mousetrap or Honey Trap? Genre, Counterplot, and Hamlet’s Lover’s Complaint 捕鼠器还是蜂蜜陷阱？体裁、反情节与哈姆雷特的情人怨

Renaissance Drama Pub Date : 2022-03-01 DOI: 10.1086/719471

Marjorie B. Garber

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King Lear and the Duty to Die 《李尔王与死亡的责任

Renaissance Drama Pub Date : 2021-09-01 DOI: 10.1086/716757

H. Bui

引用次数: 0

Witty City Boys: Urban Masculinity and Citizen Gallants in The City Wit, Greene’s Tu Quoque, and The City Madam 机智的城市男孩：《城市机智》、格林的《屠》和《城市夫人》中的城市男子气概和公民气概

Renaissance Drama Pub Date : 2021-09-01 DOI: 10.1086/716758

R. Arab

{"title":"Witty City Boys: Urban Masculinity and Citizen Gallants in The City Wit, Greene’s Tu Quoque, and The City Madam","authors":"R. Arab","doi":"10.1086/716758","DOIUrl":"https://doi.org/10.1086/716758","url":null,"abstract":"he activities, services, entertainments, and goods available in earlymodern London were not enjoyed and consumed exclusively by the gentle classes. t Nor were wit, ingenuity, and performative prowess—pinpointed by critics as London-based competencies—the exclusive purview of London’s gentlemen gallants. Nevertheless, the dominant narrative offered by seventeenth-century plays, a narrative reinforced by decades of literary criticism, emphasizes the London gentry, and particularly young urban gallants, as the primary consumers of London culture and holders of London-based cultural capital. As this narrative goes, when citizens do engage in the pleasures on offer in London or display sophisticated wit and London-based knowledges, they do so aspirationally, as a means of finding or cementing their place among the urban gentry. This dominant narrative is not, of course, inaccurate, but it is incomplete. In “Witty City Boys,” I work from the premise that culturally valued London-based competencies did not belong solely to the elite; more specifically, I argue that they were an integral element in the emergence of a youthful urban masculine ethos that was adopted by youngmale Londoners of both citizen and gentle rank. To young citizen men, the status such cultural capital accrued was by no means always linked to class mobility; on the contrary, select seventeenth-century London comedies present young citizen men who display pride both in their citizen status and in their urban sophistication. To these characters, urban competencies are part of their identity as citizens; they are not ameans of transcending their class and climbing into the gentry. These characters suggest that a keen understanding of and ability tomaneuverwithin London’s sophisticated cultural pleasures and complex social relations was an achievement of an urbane masculine status, a form of gender status that could be and was increasingly delaminated from class, even while class awareness and pride continued to be salient elements of early modern English identity.","PeriodicalId":53676,"journal":{"name":"Renaissance Drama","volume":"49 1","pages":"155 - 177"},"PeriodicalIF":0.0,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48821780","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

Does Affection Turn Apostata? Female Agency, Rhetorical Cannibalism, and the Romance of Conversion in The Travels of the Three English Brothers 情感会变成使徒吗？《三兄弟游记》中的女性代理、修辞食人主义与皈依浪漫

Renaissance Drama Pub Date : 2021-09-01 DOI: 10.1086/716766

Andie Barrow

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“With much labour out of scattered papers”: The Caroline Reprints of Thomas Heywood’s 1 and 2 If You Know Not Me You Know Nobody “用大量的劳动从散落的纸张中”:托马斯·海伍德的第一部和第二部的卡罗琳重印版，如果你不认识我，你就不认识任何人

Renaissance Drama Pub Date : 2021-09-01 DOI: 10.1086/716760

Amy Lidster

引用次数: 1

Old Plays: Shakespeare, Robert Dodsley, and the Early Modern Dramatic Canon 老戏剧:莎士比亚，罗伯特·多斯利，和早期现代戏剧佳能

Renaissance Drama Pub Date : 2021-09-01 DOI: 10.1086/716759

Cyrus Mulready

{"title":"Old Plays: Shakespeare, Robert Dodsley, and the Early Modern Dramatic Canon","authors":"Cyrus Mulready","doi":"10.1086/716759","DOIUrl":"https://doi.org/10.1086/716759","url":null,"abstract":"oday we readily assert the timeless relevance of Shakespeare’s works, yet before the plays and playwright becamemodern, they were first outdated. t Indeed, following the close of the theaters in the seventeenth century, printers, readers, and spectators of Shakespeare’s plays regularly cast the works as part of an older time. There was a textual reality to those judgments. After the successful printing of a second edition ofMr. William Shakespeare’s Comedies, Histories, and Tragedies in 1632, a new edition of the folio would not follow until the 1660s. And the most widely available imprint of that third edition (1664’s second issue) was padded out by the inclusion of six apocryphal titles (plus Pericles), advertised for their newness: “And unto this Impression is added seven Playes, never before Printed in Folio.” The printing of quarto editions also declined in the period following Shakespeare’s death in 1616, and especially once the folios were issued. Although a dozen single-play editions came into print between 1623 and 1637, only two quartos were printed after that through the interregnum—TheMerchant of Venice (1652) andOthello (1655).Therewere a few singleplay editions that circulated in the late seventeenth century: Othello remained","PeriodicalId":53676,"journal":{"name":"Renaissance Drama","volume":"49 1","pages":"229 - 257"},"PeriodicalIF":0.0,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43561754","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