Renaissance Drama最新文献_第7页

Closed Heart, Open Secret: Exposing Private Liberty in Pierre Corneille’s Last Tragedy 封闭的心，公开的秘密:揭露皮埃尔·高乃依最后的悲剧中的私人自由

Renaissance Drama Pub Date : 2018-09-01 DOI: 10.1086/699625

A. Rosensweig

{"title":"Closed Heart, Open Secret: Exposing Private Liberty in Pierre Corneille’s Last Tragedy","authors":"A. Rosensweig","doi":"10.1086/699625","DOIUrl":"https://doi.org/10.1086/699625","url":null,"abstract":"n the final scene of Pierre Corneille’s Suréna, the hero dies. Like most acts of violence in seventeenth-century French tragedy, Suréna’s death is not depicted onstage. Instead, news of Suréna’s death is brought to the women who survive him: his lover, Eurydice, and his sister, Palmis. Eurydice’s lady-in-waiting tells them that three arrows have struck Suréna down just as he entered a public square. Although the identity of the archer remains a mystery, the characters assume that he has acted on the king’s behalf. The lady-in-waiting reports that after Suréna fell she thinks she heard a voice cry out that subjects should make sure to respect their kings: “Et je pense avoir même entendu quelque voix / Nous crier qu’on apprît à dédaigner les Rois” (5.5.1719–20; And I e’en thought I heard some voice cry out / To us that one is taught thus to flout monarchs). Suréna’s death is meant to serve as an example. The hero falls because he has become a threat to his king. Once celebrated as a strong military general and trusted ambassador, Suréna dies an enemy of the state. The king’s arrows do not merely strike down Suréna; they alsomark the end of the Cornelian hero as such. Suréna would be Corneille’s last tragedy. Corneille’s","PeriodicalId":53676,"journal":{"name":"Renaissance Drama","volume":"46 1","pages":"231 - 252"},"PeriodicalIF":0.0,"publicationDate":"2018-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/699625","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43536394","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

Gendered Circulation and the Marital Ship of State in Jonson’s The Staple of News 《新闻的支柱》中的性别循环与国家的婚姻船

Renaissance Drama Pub Date : 2018-09-01 DOI: 10.1086/699623

D. J. Taff

引用次数: 3

Jane Shore, Edward IV, and the Politics of Publicity 爱德华四世与宣传政治

Renaissance Drama Pub Date : 2018-09-01 DOI: 10.1086/699621

Joseph Mansky

引用次数: 0

King Lear and the Art of Fathoming 《李尔王与探知的艺术》

Renaissance Drama Pub Date : 2018-09-01 DOI: 10.1086/699622

Laurence J W Publicover

引用次数: 1

The Mobile Queen: Observing Hecuba in Renaissance Europe 移动女王：观察文艺复兴时期的欧洲赫库巴

Renaissance Drama Pub Date : 2018-03-01 DOI: 10.1086/697172

Ivan Lupić

{"title":"The Mobile Queen: Observing Hecuba in Renaissance Europe","authors":"Ivan Lupić","doi":"10.1086/697172","DOIUrl":"https://doi.org/10.1086/697172","url":null,"abstract":"t has become customary for critical discussions of Euripides’sHecuba to mention the famous scene in Shakespeare’s Hamlet where the leading player of the troupe visiting Elsinore, upon Hamlet’s urging, delivers a speech featuring the “mobled” queen, as the early quarto editions call her, or the “inobled” queen, as the first folio would have it. Even the most recent general introduction to Hecuba opens not with Euripides but with Shakespeare. Not just to Renaissance scholars, it seems, but to all readers and spectators the figure of the grief-stricken Trojan queen must arrive mediated by her brief Shakespearean appearance. In Shakespeare’sHamlet, her misfortunes are described to us by an actor who is, in fact, quoting Aeneas as he is telling the story of his misfortunes to Dido, and the actor speaks the speech while observed byHamlet, who is in turn carefully observed by Polonius, all of them observed by an audience, real or imagined. If we encounter Shakespeare’s Hecuba at all, it is at a considerable distance and through several mediating agents. If we resemble Hamlet at all, it is because, like him, we are unable to answer the question of what Hecuba is to us without","PeriodicalId":53676,"journal":{"name":"Renaissance Drama","volume":"46 1","pages":"25 - 56"},"PeriodicalIF":0.0,"publicationDate":"2018-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/697172","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46783059","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: 2

Christian Revenge in Chapman’s The Revenge of Bussy D’Ambois 查普曼的《布西·丹布瓦的复仇》中的基督教复仇

Renaissance Drama Pub Date : 2018-03-01 DOI: 10.1086/697175

Kim Hedlin

引用次数: 0

William Shakespeare’s Mucedorus and the Market of Forms 威廉·莎士比亚的《墨西多罗斯与形式市场》

Renaissance Drama Pub Date : 2018-03-01 DOI: 10.1086/697174

J. Lamb

{"title":"William Shakespeare’s Mucedorus and the Market of Forms","authors":"J. Lamb","doi":"10.1086/697174","DOIUrl":"https://doi.org/10.1086/697174","url":null,"abstract":"he anonymous comedyMucedorus, the most reprinted playbook of early modern England, follows a simple plot: the titular prince Mucedorus, t disguised as a shepherd, overcomes a series of obstacles to gain the hand of his beloved, Amadine. These obstacles include a bear, a jealous and cowardly rival, an assassination attempt, unjust banishment, and a “wild man” who abducts Amadine. Interspersed amid these mock-serious scenes appear nonserious scenes featuring Mouse, the clown who engages in fulsome wordplay, drinking, and bear-themed physical comedy. Spectators and readers of Mucedorus experience something like fun, or what the title page of the play’s first edition (1598) calls “mirth” and the 1610 edition’s title page calls “conceited mirth.” Probably written sometime in the early 1590s, Mucedorus first appeared in print in 1598. The second edition (1606) featured minor alterations reflecting the change from Queen Elizabeth to King James. The third edition, published in 1610, included significant changes to the play. Someone—presumably the King’sMen, who asserted ownership on the title page—introduced two new scenes and substantially revised the final scene, a reconciliation followed by a showdown between thefigures of Comedy and Envy. Not without reason, scholars have argued for Shakespeare’s authorship of the additions. This third, augmented version was","PeriodicalId":53676,"journal":{"name":"Renaissance Drama","volume":"46 1","pages":"57 - 86"},"PeriodicalIF":0.0,"publicationDate":"2018-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/697174","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49002038","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: 3

What Is Everyman? 什么是普通人？

Renaissance Drama Pub Date : 2018-03-01 DOI: 10.1086/697173

Katherine C. Little

引用次数: 1

Wonder and Spectatorship in Early Seventeenth-Century Desseins 17世纪早期德森的惊奇与旁观

Renaissance Drama Pub Date : 2018-03-01 DOI: 10.1086/697171

Catherine A. Viano

{"title":"Wonder and Spectatorship in Early Seventeenth-Century Desseins","authors":"Catherine A. Viano","doi":"10.1086/697171","DOIUrl":"https://doi.org/10.1086/697171","url":null,"abstract":"n seventeenth-century France, desseins (literally, “designs”) were documents published to accompany plays making extensive use of stage design and machine effects. The desseins are descriptive accounts of the pleasurable effects of the visual and musical parts of the performance. Spectators often purchased them at the entrance to machine plays and operas and read them during the performance as an aid to follow the plot and to appreciate the special effects and stage décor. The desseins were also souvenirs, and they further served as advertisements of the play for anyone who had not yet seen the show. The authorship of these documents varied. Sometimes the playwright wrote them, as did Pierre Corneille forAndromède (1650) and La Toison d’Or (1660), and sometimes the author was the machinist, such as Denis Buffequin of the Marais theater, for the dessein of Claude Boyer’s La tragedie des amours de Jupiter et de Sémélé (1666). Often, the author remains unknown but is presumed to be an actor or other artisan working for the theater. This is the case for two of the earliest surviving desseins: one written to accompany François de Chapoton’s La Grande journée des machines: Descente d’Orphée aux Enfers (1647) and the other to accompany Jean Rotrou’s La Naissance d’Hercule (1649), a new production of Rotrou’s Les Sosies (1638). A dessein also existed in 1648 for Boyer’s spectacular production,Ulysse dans l’Ile de Circé, ou Euriloche foudroyé, but it has since disappeared. It was published by René Baudry, the same publisher of Chapoton’s dessein, and only an account of the","PeriodicalId":53676,"journal":{"name":"Renaissance Drama","volume":"46 1","pages":"113 - 137"},"PeriodicalIF":0.0,"publicationDate":"2018-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/697171","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42286227","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

Performing Blackface Pregnancy at the Stuart Court: The Masque of Blackness and Love’s Mistress, or the Queen’s Masque 在斯图尔特宫廷表演黑脸怀孕:黑人和爱情情妇的假面舞会，或女王的假面舞会

Renaissance Drama Pub Date : 2017-09-01 DOI: 10.1086/694326

Sara B. T. Thiel

引用次数: 3