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A Concise Companion to English Renaissance Literature
This Concise Companion launches students into the study of English Renaissance literature through the central contexts that informed it. Places the poetry within contexts such as: economics; religion; empire and exploration; education, humanism and rhetoric; censorship and patronage; royal marriage and succession; treason and rebellion; “others” in England; private lives; cosmology and the body; and life-writing. Incorporates recent developments in the field, as well as work soon to be published. Entices students to explore the subject further. Provides new syntheses that will be of interest to scholars. All the contributors are highly regarded scholars and teachers.
Bodies, Politics and Transformations: John Donne's Metempsychosis
Since the beginning of the twentieth century, critics have predominantly offered a negative estimate of John Donne’s Metempsychosis. In contrast, this study of Metempsychosis re-evaluates the poem as one of the most vital and energetic of Donne’s canon. Siobhán Collins appraises Metempsychosis for its extraordinary openness to and its inventive portrayal of conflict within identity. She situates this ludic verse as a text alert to and imbued with the Elizabethan fascination with the processes and properties of metamorphosis. Contesting the pervasive view that the poem is incomplete, this study illustrates how Metempsychosis is thematically linked with Donne’s other writings through it...
Why Vergil?
Why Vergil? is a collection of forty-three exemplary, classic pieces that demonstrate Vergil's genius or illustrate his enduring influence: a veritable feast for Vergilian scholars, students, and humanists.
Magical Transformations on the Early Modern English Stage
Magical Transformations on the Early Modern Stage furthers the debate about the cultural work performed by representations of magic on the early modern English stage. It considers the ways in which performances of magic reflect and feed into a sense of national identity, both in the form of magic contests and in its recurrent linkage to national defence; the extent to which magic can trope other concerns, and what these might be; and how magic is staged and what the representational strategies and techniques might mean. The essays range widely over both canonical plays-Macbeth, The Tempest, The Winter’s Tale, The Merry Wives of Windsor, Doctor Faustus, Bartholomew Fair-and notably less can...
A Musicall Banquet of Daintie Conceits
In 1588 Anthony Munday published A Banquet of Daintie Conceits, containing twenty-two new moral poems in various verse forms. Ranked with the best comic playwrights of his day, including Shakespeare, he was also a travel-writer, religious spy, actor, translator, royal messenger, deviser of civic entertainments, and historian. Munday confessed that he was not knowledgeable in music, yet he named a tune for singing each poem. Intriguingly, unlike typical broadside ballad tunes, most of Munday’s tunes are dances, and of the twenty-two named, fourteen are known from solo instrumental arrangements. Despite that survival, despite the poet’s fame, and despite an 1812 edition of the poems from the unique extant copy, this is the first attempt to set Munday’s Banquet lyrics to their respective music. Poems with unidentified melodies are set to period tunes that fit their versifications, making all the lyrics singable for the first time in over 400 years.
Narcissism and Suicide in Shakespeare and his Contemporaries
The subjects of this book are the subjects whose subjects are themselves. Narcissus so himself himself forsook, And died to kiss his shadow in the brook. In accusing the introspective Adonis of narcissistic self-absorption, Shakespeare's Venus employs a geminative construction - 'himself himself' - that provides a keynote for this study of Renaissance reflexive subjectivity. Through close analysis of a number of Shakespearean texts - including Venus and Adonis, Romeo and Juliet, Julius Caesar, Hamlet, and Othello - his book illustrates how radical self-reflection is expressed on the Renaissance page and stage, and how representations of the two seemingly extreme figures of the narcissist and...
Neo-historicism
Essays on English Renaissance culture make a major contribution to the debate on historical method.
Shakespeare Survey: Volume 54, Shakespeare and Religions
Shakespeare Survey is a yearbook of Shakespeare studies and production. Since 1948 Survey has published the best international scholarship in English and many of its essays have become classics of Shakespeare criticism. Each volume is devoted to a theme, or play, or group of plays; each also contains a section of reviews of the previous year's textual and critical studies and of major British performances. The books are illustrated with a variety of Shakespearean images and production photographs. The current editor of Survey is Peter Holland. The first eighteen volumes were edited by Allardyce Nicoll, numbers 19-33 by Kenneth Muir and numbers 34-52 by Stanley Wells. The virtues of accessible scholarship and a keen interest in performance, from Shakespeare's time to our own, have characterised the journal from the start. For the first time, numbers 1-50 are being reissued in paperback, available separately and as a set
Theatre and Religion
Publisher Description
Devil Theatre
The so-called "Devil Theatre" is here set against its context of non-dramatic texts on possession and exorcism, providing many new insights. Representations of demonic possession and exorcism rituals abound in English Renaissance drama, an area which this book seeks to illuminate by comparison with non-dramatic works. The author investigates stage images of possessionin relation to a range of early modern demonological, theological and medical prose texts on the subject, looking specifically at how the theatre responded to these texts. He argues that the stage appropriated debates over demonicpossession to explore the competing roles of the inner life and the body in early modern definitions of selfhood. The theatre also employed the contemporary controversy over possession and exorcism to investigate the politics ofreligion, and to consider the nature of monarchic power. Moreover, because demonic possession cases and exorcism rituals were frequently dismissed by conformist writers as a piece of theatre, they offered an opportunity to reflecton the nature of drama and role-playing. JAN FRANS VAN DIJKHUIZEN is lecturer and research fellow at the University of Leiden.
