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Revisiting Revenge Tragedy
Revisiting Revenge Tragedy explores one of the most popular and influential genres of early modern theatre. Revenge tragedies resonated with audiences and authors because of their explicit and often horrific depictions of political instability, religious violence, and affective distress. In innovative and provocative ways, this book situates the political, religious, and affective dimensions of such plays within the transnational dynamics of their inception and dissemination across a conflicted Europe, raising questions for us now about authority, tyranny, and justice. Moreover, detailed case studies demonstrate how depicting revenge questioned or evinced sometimes radical sexual, cultural, and political identities and positions. Contributors include Karoline Johanna Baumann, Sarah I. Fengler, Anne Graham, Adam Hansen, Tom Laureys, Vanessa Lim, Marco Prandoni, Cornelis van der Haven, Tim Vergeer, Helen Watanabe-O'Kelly, and Dinah Wouters.
Sex and Satiric Tragedy in Early Modern England
Drawing upon recent scholarship in Renaissance studies regarding notions of the body, political, physical and social, this study examines how the satiric tragedians of the English Renaissance employ the languages of sex – including sexual slander, titillation, insinuation and obscenity – in the service of satiric aggression. There is a close association between the genre of satire and sexually descriptive language in the period, author Gabriel Rieger argues, particularly in the ways in which both the genre and the languages embody systems of oppositions. In exploring the various purposes which sexually descriptive language serves for the satiric tragedian, Rieger reviews a broad range of texts, ancient, Renaissance, and contemporary, by satiric tragedians, moralists, medical writers and critics, paying particular attention to the works of William Shakespeare, Thomas Middleton and John Webster
Private Honour and Noble Masculine Image in Early Modern England
Robert Sidney, the first Earl of Leicester (1563–1626), serves as an exemplar of an Elizabethan nobleman who had in his collection a body of work pertinent to the subject of masculine honour in the private realm. Understanding the nuances and evolution of the term private honour as it is represented in Sidney’s artefacts, as well as in the public discourse of the era, is the work and contribution of this book. The permeability between the private and public spheres led to an emergence of new forms of masculine representation. In a time when manhood was intertwined with militaristic qualities (such as courage, strength and fortitude), my investigation shows that in the domestic sphere, a gentler version of masculinity, encouraging humility, constancy and modesty, was fostered amongst the nobility. While worries of effeminacy certainly existed, there also was a strong discourse that encourage men to adopt so-called feminine virtues within the private sphere.
Performing Economic Thought
This study examines the structural similarities between English mercantile treatises and drama c1600-1642. Bradley D. Ryner analyses the representational conventions of plays and mercantile treatises written between the chartering of the English East India Company in 1600 and the closing of the public playhouses at the outset of the English Civil War in 1642. He shows that playwrights' manipulation of specific elements of theatrical representation - such as metaphor, props, dramatic character, stage space, audience interaction, and genre - exacerbated the tension between the aspects of the world taken into account by a particular representation and those aspects that it neglects.
Entertaining the Idea
To entertain an idea is to take it in, pay attention to it, give it breathing room, dwell with it for a time. The practice of entertaining ideas suggests rumination and meditation, inviting us to think of philosophy as a form of hospitality and a kind of mental theatre. In this collection, organized around key words shared by philosophy and performance, the editors suggest that Shakespeare’s plays supply readers, listeners, viewers, and performers with equipment for living. In plays ranging from A Midsummer Night’s Dream to King Lear and The Winter’s Tale, Shakespeare invites readers and audiences to be more responsive to the texture and meaning of daily encounters, whether in the intimacies of love, the demands of social and political life, or moments of ethical decision. Entertaining the Idea features established and emerging scholars, addressing key words such as role play, acknowledgment, judgment, and entertainment as well as curse and care. The volume also includes longer essays on Shakespeare, Kant, Husserl, and Hegel as well as an afterword by theatre critic Charles McNulty on the philosophy and performance history of King Lear.
New Psychoanalytic Readings of Shakespeare
It has been over two decades since the publication of the last major edited collection focused on psychoanalysis and early modern culture. In Shakespeare studies, the New Historicism and cognitive psychology have hindered a dynamic conversation engaging depth-oriented models of the mind from taking place. The essays in New Psychoanalytic Readings of Shakespeare: Cool Reason and Seething Brains seek to redress this situation, by engaging a broad spectrum of psychoanalytic theory and criticism, from Freud to the present, to read individual plays closely. These essays show how psychoanalytic theory helps us to rethink the plays’ history of performance; their treatment of gender, sexuality, and race; their view of history and trauma; and the ways in which they anticipate contemporary psychodynamic treatment. Far from simply calling for a conventional "return to Freud," the essays collected here initiate an exciting conversation between Shakespeare studies and psychoanalysis in the hopes of radically transforming both disciplines. It is time to listen, once again, to seething brains.
Sex and Satiric Tragedy in Early Modern England
Drawing upon recent scholarship in Renaissance studies regarding notions of the body, political, physical and social, this study examines how the satiric tragedians of the English Renaissance employ the languages of sex - including sexual slander, titillation, insinuation and obscenity - in the service of satiric aggression. There is a close association between the genre of satire and sexually descriptive language in the period, author Gabriel Rieger argues, particularly in the ways in which both the genre and the languages embody systems of oppositions. In exploring the various purposes which sexually descriptive language serves for the satiric tragedian, Rieger reviews a broad range of texts, ancient, Renaissance, and contemporary, by satiric tragedians, moralists, medical writers and critics, paying particular attention to the works of William Shakespeare, Thomas Middleton and John Webster
