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For the first time, a group of distinguished authors come together
to provide an authoritative exploration of the cultural history of
tragedy in the Middle Ages. Reports of the so-called death of
medieval tragedy, they argue, have been greatly exaggerated; and,
for the Middle Ages, the stakes couldn’t be higher. Eight essays
offer a blueprint for future study as they take up the extensive
but much-neglected medieval engagement with tragic genres, modes,
and performances from the vantage points of gender, politics,
theology, history, social theory, anthropology, philosophy,
economics, and media studies. The result? A recuperated medieval
tragedy that is as much a branch of literature as it is of
theology, politics, law, or ethics and which, at long last, rejoins
the millennium-long conversation about one of the world’s most
enduring art forms. Each chapter takes a different theme as its
focus: forms and media; sites of performance and circulation;
communities of production and consumption; philosophy and social
theory; religion, ritual and myth; politics of city and nation;
society and family, and gender and sexuality.
For the first time, a group of distinguished authors come together
to provide an authoritative exploration of the cultural history of
tragedy in the Middle Ages. Reports of the so-called death of
medieval tragedy, they argue, have been greatly exaggerated; and,
for the Middle Ages, the stakes couldn't be higher. Eight essays
offer a blueprint for future study as they take up the extensive
but much-neglected medieval engagement with tragic genres, modes,
and performances from the vantage points of gender, politics,
theology, history, social theory, anthropology, philosophy,
economics, and media studies. The result? A recuperated medieval
tragedy that is as much a branch of literature as it is of
theology, politics, law, or ethics and which, at long last, rejoins
the millennium-long conversation about one of the world's most
enduring art forms. Each chapter takes a different theme as its
focus: forms and media; sites of performance and circulation;
communities of production and consumption; philosophy and social
theory; religion, ritual and myth; politics of city and nation;
society and family, and gender and sexuality.
The past generation has been an extraordinarily active one in
medieval drama scholarship; our appreciation of the range of
medieval drama has been significantly broadened, and our
understanding of certain medieval genres-most notably, biblical
drama-has been fundamentally altered. The Broadview Anthology of
British Literature has been widely praised for the degree to which
it has taken this scholarship into account in its selection of and
presentation of medieval plays. Now Broadview launches a new
anthology that takes those plays as its base while expanding very
substantially beyond them to represent the full range of drama in
English (and, where strong connections exist, in French, Latin,
Cornish, and Welsh as well) through to 1576. In all, over forty
plays are included. Each work has been fully annotated and is
prefaced by a substantial introduction. In many cases the language
is to some extent modernised in order to make the plays more
accessible to readers today.
The York Corpus Christi Play as we know it consists of 47 surviving
individual plays or "pageants," 27 of which are included in this
volume. (The whole is always referred to in the singular, following
the usage of medieval York itself.) This cycle of plays was
produced by the York civic government and its occupational
guilds-called "crafts"-and performed annually for nearly 200 years
on Corpus Christi day, a mid-summer feast with a movable date that
could fall between May 23 and June 24. The York Corpus Christi play
is the only extant and complete cycle of plays performed on Corpus
Christi day in England throughout the play's life. The earliest
record we have of the York play is from 1376; the last performance
until the 20th century was in 1569. Together these 27 plays
represent the cycle's core narrative of creation, fall, and
salvation. In addition to 27 of the pageants, this new edition
includes extensive annotation (both marginal glosses and
explanatory footnotes), a wide-ranging introduction, and a helpful
selection of background contextual materials.
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