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Journal articles on the topic '?-1625? Duchess of Malfi'

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Published: 4 June 2021

Last updated: 11 February 2022

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1

Burian, Jarka M., John Webster, and Anton Chekhov. "The Duchess of Malfi." Theatre Journal 38, no. 4 (1986): 482. http://dx.doi.org/10.2307/3208295.

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2

GOLDENSOHN, BARRY. "THE DUCHESS OF MALFI." Yale Review 107, no. 2 (2019): 85. http://dx.doi.org/10.1111/yrev.13486.

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3

GOLDENSOHN, BARRY. "THE DUCHESS OF MALFI." Yale Review 107, no. 2 (2019): 85. http://dx.doi.org/10.1353/tyr.2019.0090.

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4

Clarke, Lucy. "The Duchess of Malfi." Shakespeare Bulletin 38, no. 2 (2020): 271–74. http://dx.doi.org/10.1353/shb.2020.0026.

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5

Cole, David W. "Webster's the Duchess of Malfi." Explicator 59, no. 1 (2000): 7–8. http://dx.doi.org/10.1080/00144940009597059.

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6

Hinten, Marvin D. "Webster's the Duchess of Malfi." Explicator 56, no. 2 (1998): 62–64. http://dx.doi.org/10.1080/00144949809595256.

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7

Keller, James R. "Webster's the Duchess of Malfi." Explicator 50, no. 4 (1992): 204–5. http://dx.doi.org/10.1080/00144940.1992.9935317.

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8

Stephenson, Jenn. "The Duchess of Malfi (review)." Shakespeare Bulletin 25, no. 1 (2007): 112–15. http://dx.doi.org/10.1353/shb.2007.0020.

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9

Dalziel, Fiona, Anna Santucci, and Giampaolo Spedo. "Rewriting the ‘Duchess of Malfi’." Scenario: A Journal of Performative Teaching, Learning, Research V, no. 1 (2011): 5–20. http://dx.doi.org/10.33178/scenario.5.1.2.

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This article addresses issues of text adaptation in full-scale ESL drama production. After choosing to present Webster’s The Duchess of Malfi, participants in the English Drama Workshop at Padua University set about the task of adapting the play in order to make it more suitable for a group of non-native speakers of English acting in front of an audience made up predominantly of non-native speakers. Substantial changes were made during the adaptation process: as well as cutting and simplifying the text, certain characters were eliminated while others were doubled (or rather tripled) and one sc

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10

박옥진. "A Study of Characters in The Duchess of Malfi: Focused on Duchess of Malfi." Studies in English Language & Literature 38, no. 1 (2012): 63–82. http://dx.doi.org/10.21559/aellk.2012.38.1.004.

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11

Smith, Peter J. "Review: Play: The Duchess of Malfi." Cahiers Élisabéthains: A Journal of English Renaissance Studies 48, no. 1 (1995): 90–91. http://dx.doi.org/10.1177/018476789504800114.

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12

Smith, Peter J. "Review: Play: The Duchess of Malfi." Cahiers Élisabéthains: A Journal of English Renaissance Studies 49, no. 1 (1996): 79–81. http://dx.doi.org/10.1177/018476789604900118.

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13

Coutellier, Sereine, Pierre Kapitaniak, Laetitia Madadi N. Warnery, Constance Pompié, Chloe Quesnel, and Janice Valls-Russell. "Play review: The Duchess of Malfi." Cahiers Élisabéthains: A Journal of English Renaissance Studies 97, no. 1 (2018): 101–4. http://dx.doi.org/10.1177/0184767818794621b.

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14

Lodine-Chaffey, Jennifer. "“Beyond Death”: John Webster's The Duchess of Malfi and Posthumous Influence." Ben Jonson Journal 26, no. 1 (2019): 113–32. http://dx.doi.org/10.3366/bjj.2019.0242.

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This essay argues that John Webster's 1611 drama, The Duchess of Malfi, attests to the power of death to shape selfhood and demonstrates the influence of textual monuments on the living. As Webster notes, posthumous fame is not based solely on its ability to console, but rather on “the dignity of a great example,” which is shown at the end of the play through the Duchess’ continuing influence on other characters. Reactions to both her dead body and the edifice constructed in her honor highlight the transformative power of the Duchess’ death and monumentalization. Specifically, The Duchess of M

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15

Lifson, Martha Ronk. "Embodied Morality in "The Duchess of Malfi"." Pacific Coast Philology 23, no. 1/2 (1988): 47. http://dx.doi.org/10.2307/1316684.

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16

Sohmer, Steve. "The Duchess of Malfi by John Webster." Comitatus: A Journal of Medieval and Renaissance Studies 47, no. 1 (2016): 359–60. http://dx.doi.org/10.1353/cjm.2016.0031.

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17

Carnegie, David, and David Gunby. "Webster's the Duchess of Malfi, 2.1.1–21." Explicator 51, no. 4 (1993): 208–9. http://dx.doi.org/10.1080/00144940.1993.9938029.

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18

Pérez Díez, José A. "The Duchess of Malfi (review)." Shakespeare Bulletin 30, no. 4 (2012): 653–56. http://dx.doi.org/10.1353/shb.2012.0084.

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19

Maxwell, Lynn. "Wax Magic and The Duchess of Malfi." Journal for Early Modern Cultural Studies 14, no. 3 (2014): 31–54. http://dx.doi.org/10.1353/jem.2014.0033.

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20

Marche, Stephen. "John Webster and the Dead: Reading the Duchess of Malfi's Eschatology." Renaissance and Reformation 40, no. 2 (2004): 79–95. http://dx.doi.org/10.33137/rr.v40i2.9015.

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Il n'y a pas un moment de cette pièce de théâtre qui ne soit marqué par la tradition eschatologique. Les perspectives relatives à la fin de l'histoire sous-tendent les sombres incertitudes présentes dans la pièce. Une stratégie en trois étapes est nécessaire pour dégager la signification de la mort dans The Duchess of Malfi. Premièrement, nous devons examiner les multiples significations des références de Webster à la fin du monde, du point de vue de l'interaction entre les allusions ironiques et/ou sincères à l'eschatologie; ce qui peut être fait le plus clairement par une comparaison avec le

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21

Cho, Jaehee. "Post-Humanism Represented in The Duchess of Malfi." British and American Language and Literature Association of Korea, no. 131 (December 31, 2018): 163–81. http://dx.doi.org/10.21297/ballak.2018.131.163.

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22

Truchet, Sybil. "Action and Inertia in The Duchess of Malfi." XVII-XVIII. Revue de la société d'études anglo-américaines des XVIIe et XVIIIe siècles 27, no. 1 (1988): 115–21. http://dx.doi.org/10.3406/xvii.1988.1148.

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23

Tricomi, Albert H. "The Severed Hand in Webster's Duchess of Malfi." SEL Studies in English Literature 1500-1900 44, no. 2 (2004): 347–58. http://dx.doi.org/10.1353/sel.2004.0023.

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24

XU, Huanguang. "The Wooing Principle in The Duchess of Malfi." Comparative Literature: East & West 22, no. 1 (2014): 105–16. http://dx.doi.org/10.1080/25723618.2014.12015461.

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25

Thomson, Leslie. "Fortune and Virtue in The Duchess of Malfi." Comparative Drama 33, no. 4 (1999): 474–94. http://dx.doi.org/10.1353/cdr.1999.0010.

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26

Bowers, Rick. "The Cruel Mathematics of The Duchess of Malfi." ESC: English Studies in Canada 16, no. 4 (1990): 369–83. http://dx.doi.org/10.1353/esc.1990.0001.

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27

Williams, Cameron E. "The Duchess of Malfi by Resurgens Theatre Company." Shakespeare Bulletin 32, no. 4 (2014): 760–64. http://dx.doi.org/10.1353/shb.2014.0061.

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28

Morton, Holly. "Visual violence in John Webster’sThe Duchess of Malfi." ANQ: A Quarterly Journal of Short Articles, Notes and Reviews 31, no. 3 (2018): 191–200. http://dx.doi.org/10.1080/0895769x.2018.1428893.

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29

Hopkins, Lisa. "Innovation and experiment in Webster’s The Duchess of Malfi." Voprosy literatury, no. 2 (July 29, 2020): 157–66. http://dx.doi.org/10.31425/0042-8795-2020-2-157-166.

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This essay argues that Webster was more than just the dramatist ‘much possessed by death’ depicted by T. S. Eliot but a bold and innovative writer. Taking advantage of the emergence of an exceptionally gifted boy actor, he brought a new and more realistic type of woman to the English Renaissance stage, and also two unusually disturbed and psychologised male characters, one who thinks he is a wolf and one who looks into water and sees a monster. He also benefited from the King’s Men’s move to an indoor theatre, the Blackfriars, when the Globe burned down soon after the first performances of The

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30

Whigham, Frank. "Sexual and Social Mobility in The Duchess of Malfi." PMLA/Publications of the Modern Language Association of America 100, no. 2 (1985): 167–86. http://dx.doi.org/10.2307/462288.

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For some time Webster's Duchess of Malfi has been interpreted by reference to brother-sister incest, but that explanation has not been well integrated with other concerns in the play, nor has its sheer presence been questioned. Anthropological kinship theory, however, which conceives incest as a social act, reveals relations among the brother-sister plot, the play's major thematic element of social mobility, and the Jacobean setting from which the theme arose. Seen in this anthropological light, social-structural relations come into view among Ferdinand's incestuous inclination, his sister's c

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31

Sullivan, Winifred H. "The madmen's song and dance inthe duchess of Malfi." Literature and Performance 8, no. 2 (1988): 14–27. http://dx.doi.org/10.1080/10462938809365894.

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32

Kistner, A. L., and M. K. Kistner. "Man's will and its futility inthe Duchess of Malfi." Studia Neophilologica 68, no. 1 (1996): 49–60. http://dx.doi.org/10.1080/00393279608588173.

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33

Andrews, Meghan C. "The Duchess of Malfi by The Royal Shakespeare Company." Shakespeare Bulletin 37, no. 1 (2019): 145–50. http://dx.doi.org/10.1353/shb.2019.0014.

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34

BREEZE, ANDREW. "ST WINIFRED OF WALES AND THE DUCHESS OF MALFI." Notes and Queries 45, no. 1 (1998): 33–34. http://dx.doi.org/10.1093/nq/45-1-33.

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35

BREEZE, ANDREW. "ST WINIFRED OF WALES AND THE DUCHESS OF MALFI." Notes and Queries 45, no. 1 (1998): 33–34. http://dx.doi.org/10.1093/nq/45.1.33.

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36

이경호. "John Webster's Satire through Bosola in The Duchess of Malfi." Shakespeare Review 45, no. 2 (2009): 229–54. http://dx.doi.org/10.17009/shakes.2009.45.2.003.

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37

Kistner, A. L., and M. K. Kistner. "The big sleep: Expectation and delusion inthe duchess of Malfi." Studia Neophilologica 64, no. 2 (1992): 159–70. http://dx.doi.org/10.1080/00393279208588096.

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38

Green, Reina. ""Ears Prejudicate" in Mariam and Duchess of Malfi." SEL Studies in English Literature 1500-1900 43, no. 2 (2003): 459–74. http://dx.doi.org/10.1353/sel.2003.0018.

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39

Gilman, Ernest B. "The "Old Tale" in John Webster's The Duchess of Malfi." SEL Studies in English Literature 1500-1900 58, no. 2 (2018): 421–43. http://dx.doi.org/10.1353/sel.2018.0018.

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40

Baker, C. "The Duchess of Malfi and Jonson's 'On My First Son'." Notes and Queries 59, no. 4 (2012): 573–75. http://dx.doi.org/10.1093/notesj/gjs140.

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41

Woollam, Angela. "The Stakes of Semantic Significance in The Duchess of Malfi." ESC: English Studies in Canada 26, no. 1 (2000): 11–28. http://dx.doi.org/10.1353/esc.2000.0002.

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42

Cook Miller, William. "Macabre Vitality: Texture and Resonance in The Duchess of Malfi." Renaissance Drama 43, no. 2 (2015): 193–216. http://dx.doi.org/10.1086/683142.

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43

Steffes, Michael. "The Wilderness Metaphor in The Duchess of Malfi." Cahiers Élisabéthains 79, no. 1 (2011): 37–46. http://dx.doi.org/10.7227/ce.79.1.5.

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44

Ko, Hyundong. "Tensions between Sovereigns’ Morality and Competence in The Duchess of Malfi." Journal of Modern British & American Language & Literature 36, no. 2 (2018): 59–76. http://dx.doi.org/10.21084/jmball.2018.05.36.2.59.

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45

Steen, Sara Jayne. "The Crime of Marriage: Arbella Stuart and The Duchess of Malfi." Sixteenth Century Journal 22, no. 1 (1991): 61. http://dx.doi.org/10.2307/2542016.

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46

한정이. "The Duchess of Malfi: Class Conflicts and the Spirit of Individualism." Journal of Classic and English Renaissance Literature 20, no. 2 (2011): 217–40. http://dx.doi.org/10.17259/jcerl.2011.20.2.217.

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47

Hae Ryong Jung. "John Webster’s Satiric View of Society in The Duchess of Malfi." English21 27, no. 3 (2014): 169–92. http://dx.doi.org/10.35771/engdoi.2014.27.3.008.

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48

Hopkins, Lisa. "I am Ìyálóde of tì still: A Yoruba Duchess of Malfi." Journal of Adaptation in Film & Performance 10, no. 2 (2017): 111–25. http://dx.doi.org/10.1386/jafp.10.2.111_1.

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49

Hippisley, Sulaxana. "Unearthing Forbidden Stratagems: Talk, Transgression and Reading The Duchess of Malfi." Changing English 27, no. 4 (2020): 408–18. http://dx.doi.org/10.1080/1358684x.2020.1792766.

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50

Borlik, T. A. "Cori Spezzati and the Echo Scene in The Duchess of Malfi." Notes and Queries 58, no. 2 (2011): 289–92. http://dx.doi.org/10.1093/notesj/gjr033.

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