|
Showing 1 - 15 of
15 matches in All Departments
Richard Hillman applies to tragic patterns and practices in early
modern England his long-standing critical preoccupation with
English-French cultural connections in the period. With primary,
though not exclusive, reference on the English side to Shakespeare
and Marlowe, and on the French side to a wide range of dramatic and
non-dramatic material, he focuses on distinctive elements that
emerge within the English tragedy of the 1590s and early 1600s.
These include the self-destructive tragic hero, the apparatus of
neo-Senecanism (including the Machiavellian villain) and the
confrontation between the warrior-hero and the femme fatale. The
broad objective is less to "discover" influences - although some
specific points of contact are proposed - than at once to enlarge
and refine a common cultural space through juxtaposition and
intertextual tracing. The conclusion emerges that the powerful, if
ambivalent, fascination of the English for their closest
Continental neighbours expressed itself not only in but through the
theatre. -- .
Presenting a broad spectrum of reflections on the subject of female
transgression in early modern Britain, this volume proposes a
richly productive dialogue between literary and historical
approaches to the topic. The essays presented here cover a range of
'transgressive' women: daughters, witches, prostitutes, thieves;
mothers/wives/murderers; violence in NW England; violence in
Scotland; single mothers; women as (sexual) partners in crime.
Contributions illustrate the dynamic relation between fiction and
fact that informs literary and socio-historical analysis alike,
exploring female transgression as a process, not of crossing fixed
boundaries, but of negotiating the epistemological space between
representation and documentation.
The fifteen articles in this volume highlight the richness,
diversity, and experimental nature of French and Francophone drama
before the advent of what would become known as neoclassical French
theater of the seventeenth century. In essays ranging from
conventional stage plays (tragedies, comedies, pastoral, and
mystery plays) to court ballets, royal entrances, and meta- and
para-theatrical writings of the period from 1485 to 1640, French
Renaissance and Baroque Drama: Text, Performance, Theory seeks to
deepen and problematize our knowledge of texts, co-texts, and
performances of drama from literary-historical, artistic,
political, social, and religious perspectives. Moreover, many of
the articles engage with contemporary theory and other disciplines
to study this drama, including but not limited to psychoanalysis,
gender studies, anthropology, and performance theory. The diversity
of the essays in their methodologies and objects of study, none of
which is privileged over any other, bespeaks the various types of
drama and the numerous ways we can study them.
Presenting a broad spectrum of reflections on the subject of female
transgression in early modern Britain, this volume proposes a
richly productive dialogue between literary and historical
approaches to the topic. The essays presented here cover a range of
'transgressive' women: daughters, witches, prostitutes, thieves;
mothers/wives/murderers; violence in NW England; violence in
Scotland; single mothers; women as (sexual) partners in crime.
Contributions illustrate the dynamic relation between fiction and
fact that informs literary and socio-historical analysis alike,
exploring female transgression as a process, not of crossing fixed
boundaries, but of negotiating the epistemological space between
representation and documentation.
In exploring links between the early modern English theatre and
France, Richard Hillman focuses on Shakespeare's deployment of
genres whose dominant Italian models and affinities might seem to
leave little scope for French ones. The author draws on specific
and unsuspected points of contact, whilst also pointing out a broad
tendency by the dramatist, to draw on French material, both
dramatic and non-dramatic, to inflect comic forms in potentially
tragic directions. The resulting internal tensions are evident from
the earliest comedies to the latest tragicomedies (or 'romances').
While its many original readings will interest specialists and
students of Shakespeare, this book will have broader appeal: it
contributes significantly, from an unfamiliar angle, to the
contemporary discourse concerned with early modern English culture
within the European context. At the same time, it is accessible to
a wide range of readers, with translations provided for all
non-English citations. -- .
Hillman explores English tragedy in relation to France with a frank
concentration on Shakespeare. He sets out to theorise more abstract
tragic qualities (such as nostalgia, futility and heroism) with
reference to specific French texts and contexts. Three
manifestations of the 'Shakespearean tragic' are singled out:
Hamlet, Antony and Cleopatra and All's Well That Ends Well, a
comedy with melancholic overtones whose French setting is shown to
be richly significant. Hillman brings to bear on each of these
central works a cluster of French intertextual echoes, sometimes
literary in origin (whether dramatic or otherwise), sometimes
involving historical texts, memoirs or contemporary political
documents which have no obvious connection with the plays but prove
capable of enriching interpretation of them Now available in
paperback this study will be of interest not only to scholars
specialising in early modern English theatre, but also to both
specialists and students concerned with the circulation of
information and the production of meaning within early modern
European culture. -- .
This collection of essays applies the postmodernist theory of
intertextuality to the romantic drama of the English Renaissance,
including work by Heywood, Beaumont and Fletcher, Ford and
especially Shakespeare. Placing the plays into dynamic relation
with a wide variety of literary, cultural and political
"intertexts", ranging from Chaucer's "Canterbury Tales" to the
mythology surrounding King James' son, Prince Henry, causes them to
signify in ways not previously appreciated, as well as to
illuminate neglected features of the staged romances of the period,
chiefly the complex element of nostalgia.;Equally important is the
objective of experimenting with intertextuality, originally
conceived by French theorists to be a condition of textuality
itself, as a critical methodology - one with a particular affinity
for the genre and the period. A theoretical introduction reviews
various understandings of intertextuality and suggests how the
concepts may be adapted to the specific intellectual and social
contexts of Renaissance drama.
These essays apply the postmodernist theory of intertextuality to
romantic drama of the English Renaissance, including work by
Heywood, Beaumont and Fletcher, Ford, and especially Shakespeare.
Placing the plays into dynamic relation with a wide variety of
literary, cultural, and political 'intertexts' causes them to
signify in ways not previously appreciated, as well as to define
neglected features of the staged romance of the period. Equally
important is the development of intertextuality as a critical
methodology with a particular affinity for the genre and the
period.
Richard Hillman applies to tragic patterns and practices in early
modern England his long-standing critical preoccupation with
English-French cultural connections in the period. With primary,
though not exclusive, reference on the English side to Shakespeare
and Marlowe, and on the French side to a wide range of dramatic and
non-dramatic material, he focuses on distinctive elements that
emerge within the English tragedy of the 1590s and early 1600s.
These include the self-destructive tragic hero, the apparatus of
neo-Senecanism (including the Machiavellian villain) and the
confrontation between the warrior-hero and the femme fatale. The
broad objective is less to 'discover' influences - although some
specific points of contact are proposed - than at once to enlarge
and refine a common cultural space through juxtaposition and
intertextual tracing. The conclusion emerges that the powerful, if
ambivalent, fascination of the English for their closest
Continental neighbours expressed itself not only in but through the
theatre. -- .
This is a new release of the original 1941 edition.
Kessinger Publishing is the place to find hundreds of thousands of
rare and hard-to-find books with something of interest for
everyone!
Kessinger Publishing is the place to find hundreds of thousands of
rare and hard-to-find books with something of interest for everyone
Kessinger Publishing is the place to find hundreds of thousands of
rare and hard-to-find books with something of interest for
everyone!
|
You may like...
Fiela se Kind
Dalene Matthee
Paperback
R370
R318
Discovery Miles 3 180
One Last Kill
Desmond McGrath
Paperback
R486
Discovery Miles 4 860
|