Shakespeare's characterization of Cleopatra may dominate the collective consciousness, but he was only one of several 16th-century writers fascinated by the enigmatic queen of Egypt. Early modern conceptions of Cleopatra offer a rich, complex, and variable set of models for understanding the period's responses to race, female sovereignty, and classical antiquity. This interdisciplinary study investigates images of Cleopatra in the early modern period and examines how her story was mediated and used - from drawing lessons from history to being a symbol of female heroism. It draws on early historiographical works, political and philosophical treatises, coterie dramatic productions, and gender, race and performance studies, as well as evidence from material culture, to consider what was known and thought about Cleopatra in the period
This book provides a new literary and cultural history of one of the world's most contested and politically-charged iconic female figures. It combines a close reading of literary and dramatic works with historical and political contexts, paying particular attention to the three major early modern Cleopatra plays: Mary Sidney's translation of Robert Garnier's Marc Antoine, Samuel Daniel's The Tragedie of Cleopatra, and Shakespeare's Antony and Cleopatra. By examining these conflicting historical and fictional identities, Yasmin Arshad offers a diverse and ground-breaking study of Cleopatra's 'infinite variety'.
Popular English travel guides from the sixteenth and seventeenth centuries asserted that women who wandered too far afield were invariably suspicious, dishonest, and unchaste. As the essays in Travel and Travail reveal, however, early modern women did travel, often quite extensively, with no diminution of their moral fiber. Female travelers were also frequently represented on the English stage and in other creative works, both as a reproach to the ban on female travel and as a reflection of historical women’s travel, whether intentional or not.
Travel and Travail conclusively refutes the notion of female travel in the early modern era as “an absent presence.” The first part of the volume offers analyses of female travelers (often recently widowed or accompanied by their husbands), the practicalities of female travel, and how women were thought to experience foreign places. The second part turns to literature, including discussions of roving women in Shakespeare, Margaret Cavendish, and Thomas Heywood. Whether historical actors or fictional characters, women figured in the wider world of the global Renaissance, not simply in the hearth and home.
Автор: Hobgood Название: Passionate Playgoing in Early Modern England ISBN: 1107041287 ISBN-13(EAN): 9781107041288 Издательство: Cambridge Academ Рейтинг: Цена: 14256.00 р. Наличие на складе: Есть у поставщика Поставка под заказ.
Описание: How were early modern playgoers emotionally moved by theatre performances, and how did their reactions in turn influence the stage? Through detailed case studies of canonical plays by Shakespeare, Jonson and others, Allison P. Hobgood tells a new story of emotional encounters between playgoers and the Renaissance stage.
Автор: Streete Название: Protestantism and Drama in Early Modern England ISBN: 1107402778 ISBN-13(EAN): 9781107402775 Издательство: Cambridge Academ Рейтинг: Цена: 6018.00 р. Наличие на складе: Есть у поставщика Поставка под заказ.
Описание: Drawing on a range of important thinkers and literary writers from the early modern period, this book argues for a new critical and historical understanding of the connections between early modern theology and drama. Streete demonstrates how widely and pervasively the ideas of Reformed theology impacted in early modern England.
Автор: Williamson, Elizabeth Название: Religion and drama in early modern england ISBN: 1138260886 ISBN-13(EAN): 9781138260887 Издательство: Taylor&Francis Рейтинг: Цена: 8114.00 р. Наличие на складе: Есть у поставщика Поставка под заказ.
Описание: Offering fuller understandings of both dramatic representations and the complexities of religious culture, this collection reveals the ways in which religion and performance were inextricably linked in early modern England. Its readings extend beyond the interpretation of straightforward religious allusions and suggest new avenues for theorizing the dynamic relationship between religious representations and dramatic ones. By addressing the particular ways in which commercial drama adapted the sensory aspects of religious experience to its own symbolic systems, the volume enacts a methodological shift towards a more nuanced semiotics of theatrical performance. Covering plays by a wide range of dramatists, including Shakespeare, individual essays explore the material conditions of performance, the intricate resonances between dramatic performance and religious ceremonies, and the multiple valences of religious references in early modern plays. Additionally, Religion and Drama in Early Modern England reveals the theater's broad interpretation of post-Reformation Christian practice, as well as its engagement with the religions of Islam, Judaism and paganism.
Автор: Christensen Ann C. Название: Separation Scenes: Domestic Drama in Early Modern England ISBN: 0803290659 ISBN-13(EAN): 9780803290655 Издательство: Mare Nostrum (Eurospan) Рейтинг: Цена: 7524.00 р. Наличие на складе: Есть у поставщика Поставка под заказ.
Описание:
This analysis of five exemplary domestic plays—the anonymous Arden of Faversham and A Warning for Fair Women (1590s), Thomas Heywood’s A Woman Killed with Kindness (1607), Thomas Middleton’s Women Beware Women (ca. 1613), and Walter Mountfort’s The Launching of the Mary, or The Seaman’s Honest Wife (1632)—offers a new approach to the emerging ideology of the private and public, or what Ann C. Christensen terms “the tragedy of the separate spheres.” Feminist scholarship has identified the fruitful gaps between theories and practices of household government in early modern Europe, while work on the global Renaissance attends to commercial expansion, cross-cultural encounters, and colonial settlements. Separation Scenes brings these critical concerns together to expose the intimate and disruptive relationships between the domestic culture and business culture of early modern England.
Separation Scenes argues that domestic plays make the absence of husbands for business the subject of tragedy by focusing not on where men traveled but on whom and what they left behind. Elements that critics have rightly associated with domestic tragedy—adultery, sensational murders, and the lavishly articulated operations of domestic life—define this world, which, Christensen argues, was equally shaped by the absence of husbands. Her interpretations of these domestic plays invite us to historicize and further complicate the seemingly universal binary between a feminine “private sphere” and a masculine “public sphere.”
Separation Scenes demonstrates how domestic drama played an active, dynamic, and critical role in deliberating the costs of commercial travel as it disrupted domestic conduct and prompted realignments within the home.
Автор: Steggle Название: Digital Humanities and the Lost Drama of Early Modern England ISBN: 1409444147 ISBN-13(EAN): 9781409444145 Издательство: Taylor&Francis Рейтинг: Цена: 22202.00 р. Наличие на складе: Есть у поставщика Поставка под заказ.
Описание: This book establishes new information about the likely content of ten lost plays from the period 1580-1642. These plays’ authors include Nashe, Heywood, and Dekker; and the plays themselves connect in direct ways to some of the most canonical dramas of English literature, including Hamlet, King Lear, The Changeling, and The Duchess of Malfi. The lost plays in question are: Terminus & Non Terminus (1586-8); Richard the Confessor (1593); Cutlack (1594); Bellendon (1594); Truth's Supplication to Candlelight (1600); Albere Galles (1602); Henry the Una (c. 1619); The Angel King (1624); The Duchess of Fernandina (c. 1630-42); and The Cardinal's Conspiracy (bef. 1639). From this list of bare titles, it is argued, can be reconstructed comedies, tragedies, and histories, whose leading characters included a saint, a robber, a Medici duchess, an impotent king, at least one pope, and an angel. In each case, newly-available digital research resources make it possible to interrogate the title and to identify the play's subject-matter, analogues, and likely genre. But these concrete examples raise wider theoretical problems: What is a lost play? What can, and cannot, be said about objects in this problematic category? Known lost plays from the early modern commercial theatre outnumber extant plays from that theatre: but how, in practice, can one investigate them? This book offers an innovative theoretical and practical frame for such work, putting digital humanities into action in the emerging field of lost play studies.
A Monster with a Thousand Hands makes visible a figure that has been largely overlooked in early modern scholarship on theater and audiences: the discursive spectator, an entity distinct from the actual bodies attending early modern English playhouses. Amy J. Rodgers demonstrates how the English commercial theater's rapid development and prosperity altered the lexicon for describing theatergoers and the processes of engagement that the theater was believed to cultivate. In turn, these changes influenced and produced a cultural projection—the spectator—a figure generated by social practices rather than a faithful recording of those who attended the theater. The early modern discursive spectator did not merely develop alongside the phenomenological one, but played as significant a role in shaping early modern viewers and viewing practices as did changes to staging technologies, exhibition practices, and generic experimentation. While audience and film studies have theorized the spectator, these fields tend to focus on the role of twentieth-century media (film, television, and the computer) in producing mass-culture viewers. Such emphases lead to a misapprehension that the discursive spectator is modernity's creature. Fearing anachronism, early modern scholars have preferred demographic studies of audiences to theoretical engagements with the "effects" of spectatorship. While demographic work provides an invaluable snapshot, it cannot account for the ways that the spectator is as much an idea as a material presence. And, while a few studies pursue the dynamics that existed among author, text, and audience using critical tools sharpened by film studies, they tend to obscure how early modern culture understood the spectator. Rather than relying exclusively on historical or theoretical methodologies, A Monster with a Thousand Hands reframes spectatorship as a subject of inquiry shaped both by changes in entertainment technologies and the interaction of groups and individuals with different forms of cultural production.
Автор: Allison P. Hobgood Название: Passionate Playgoing in Early Modern England ISBN: 1108438725 ISBN-13(EAN): 9781108438728 Издательство: Cambridge Academ Рейтинг: Цена: 5069.00 р. Наличие на складе: Есть у поставщика Поставка под заказ.
Описание: How were early modern playgoers emotionally moved by theatre performances, and how did their reactions in turn influence the stage? Through detailed case studies of canonical plays by Shakespeare, Jonson and others, Allison P. Hobgood tells a new story of emotional encounters between playgoers and the Renaissance stage.
Описание: Ellen Wayles Coolidge arrived in London in June 1838 at the advent of Queen Victoria’s reign. During her nine-month stay, Coolidge kept a diary that reveals the uncommon education of her youth, when she lived and studied at Monticello with her grandfather, Thomas Jefferson. London’s docks, theatres, parks, public buildings, and museums all come under Coolidge’s astute gaze as she travels the city and gradually gains entry into some of the most coveted drawing rooms of the time.
ООО "Логосфера " Тел:+7(495) 980-12-10 www.logobook.ru
