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Journal articles on the topic 'Changeling'

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Published: 4 June 2021
Last updated: 30 July 2024

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1

Sugimura, N. K. "Changelings and The Changeling." Essays in Criticism 56, no. 3 (July 1, 2006): 241–63. http://dx.doi.org/10.1093/escrit/cgl002.

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2

Hummel, Maria. "Changeling." Missouri Review 33, no. 4 (December 2010): 176. http://dx.doi.org/10.1353/mis.2010.a412267.

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3

Brady, Owen E., Thomas Middleton, William Rowley, and Anton Chekhov. "The Changeling." Theatre Journal 42, no. 1 (March 1990): 113. http://dx.doi.org/10.2307/3207565.

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4

Vineberg, Steve, and Thomas Middleton. "The Changeling." Theatre Journal 38, no. 2 (May 1986): 224. http://dx.doi.org/10.2307/3208127.

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5

Styrsky, Stefen. "The Changeling." Harrington Gay Men's Fiction Quarterly 5, no. 4 (December 2003): 15–24. http://dx.doi.org/10.1300/j152v05n04_03.

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6

Lechler, Kate. "The Changeling." Shakespeare Bulletin 31, no. 3 (2013): 516–19. http://dx.doi.org/10.1353/shb.2013.0044.

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7

Spisak, April. "Changeling (review)." Bulletin of the Center for Children's Books 60, no. 1 (2006): 34–35. http://dx.doi.org/10.1353/bcc.2006.0607.

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8

Ferguson, Molly. "The Changeling Legend and Queer Kinship in Caitriona Lally’s Eggshells." Irish University Review 51, no. 2 (November 2021): 296–311. http://dx.doi.org/10.3366/iur.2021.0520.

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In Caitriona Lally's debut novel Eggshells (2015), the narrator Vivian Lawlor is an adult woman with a quirky personality living in North Dublin, who believes herself to be a changeling. Throughout the novel, Vivian travels various paths in Dublin looking for specific ‘thin places,’ creating ‘an alternative map of Dublin’, as Claire Kilroy's review puts it. Folklore is often used as a code for hiding aspects of Irish life that are unspeakable, and in Eggshells the changeling story is a coded testimony of family violence in which the changeling figure is labelled as nonhuman. Rejected by family, she looks to queer models of kinship as outlined by Judith Butler, through transformative portals and a companion who is a fellow trauma survivor. This essay argues that, while her experience of traumatic family violence is silently coded within the changeling story, Vivian strategically deploys changeling legend to embody a nonconforming gender presentation.
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9

Ballard, Linda-May. "A Singular Changeling?" Folk Life 52, no. 2 (September 28, 2014): 137–51. http://dx.doi.org/10.1179/0430877814z.00000000028.

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10

Bildsøe, Helle Schulz, and Ulla Rahbek. "The graveyard and the garden: Reading connectivities in Rana Dasgupta’s “The Changeling”." Journal of Commonwealth Literature 54, no. 2 (January 28, 2017): 190–206. http://dx.doi.org/10.1177/0021989416685756.

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In the novel Tokyo Cancelled (2005), Rana Dasgupta explores the contemporary age of globalization as a time of chaotic change. Tokyo Cancelled is composed as a story cycle of 13 tales. This article focuses on one of these tales in particular, “The Changeling”. “The Changeling” relates the tumultuous experiences of Bernard, who is a changeling and archetypal stranger in the pestilence-ridden city of contemporary Paris. The article explores the juxtaposition of systemic and organic networks as the central trope through which Dasgupta explores change and connectivities in a global twenty-first-century moment. We argue that the story presents a process of symbolic transformation whereby the national capital changes into a global city. This change signifies a shift from a national towards a planetary perspective. “The Changeling” comprises at least two different kinds of networks which converge and conflate into one overarching web that is the metropolis: there is a systemic network of control materialized in Montparnasse graveyard and an organic network out of control manifested in a community garden where people congregate to tell stories. Indeed, Dasgupta revisits Benjaminian storytelling as a global networking practice which, while locally contextualized in an impromptu garden in Paris, hints at an awareness of worldwide connectivity.
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11

Hutchings, Mark. "The Changeling at Court." Cahiers Élisabéthains 81, no. 1 (May 2012): 15–24. http://dx.doi.org/10.7227/ce.81.1.3.

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12

HOLDSWORTH, R. V. "NOTES ON THE CHANGELING." Notes and Queries 36, no. 3 (September 1, 1989): 344–46. http://dx.doi.org/10.1093/nq/36-3-344.

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13

Atkinson, David. "Review: Play: The Changeling." Cahiers Élisabéthains: A Journal of English Renaissance Studies 42, no. 1 (October 1992): 73–74. http://dx.doi.org/10.1177/018476789204200112.

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14

Wilcher, Robert. "Review: Play: The Changeling." Cahiers Élisabéthains: A Journal of English Renaissance Studies 44, no. 1 (October 1993): 89–91. http://dx.doi.org/10.1177/018476789304400117.

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15

Hartley-Kroeger, Fiona. "Changeling by William Ritter." Bulletin of the Center for Children's Books 72, no. 11 (2019): 494. http://dx.doi.org/10.1353/bcc.2019.0518.

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16

Collins, Eleanor. "Play Reviews: The Changeling." Cahiers Élisabéthains: A Journal of English Renaissance Studies 88, no. 1 (October 2015): 195–97. http://dx.doi.org/10.1177/018476781508800119.

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17

Lathrop, Emily. "Play review: The Changeling." Cahiers Élisabéthains: A Journal of English Renaissance Studies 98, no. 1 (March 22, 2019): 124–27. http://dx.doi.org/10.1177/0184767819826011m.

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18

Quealy-Gainer, Kate. "Changeling (review)." Bulletin of the Center for Children's Books 66, no. 1 (2012): 19. http://dx.doi.org/10.1353/bcc.2012.0664.

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19

Adamik, V. "Changeling Genres and the Glamour of the Human: Victor LaValle’s "The Changeling"." Amerikastudien/American Studies 69, no. 2 (2024): 153–69. http://dx.doi.org/10.33675/amst/2024/2/6.

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20

Latham, Betty. "Down the Rabbit Hole 11/22/63: Stephen King’s Historical Changeling." Linguaculture 2016, no. 1 (June 1, 2016): 27–33. http://dx.doi.org/10.1515/lincu-2016-0004.

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Abstract Once something becomes a story and it is appropriated in some way, that story experiences an additional, altered life. The adaptation might echo the original, but it does so in such a way that the original is forever changed. The original becomes a “changeling.” On a personal level we view events that we have “witnessed” through the lens of our own experiences. This is even true when one revisits the past through fiction. The reader or spectator experiences the past through the lens of the adapter. Stephen King admitted to being emotionally invested in the events surrounding the assassination of President John Fitzgerald Kennedy in 1963, and this emotional investment is reflected in his adaptation. Stephen King’s novel, 11-22-63, and its TV adaptation, serve as compelling examples of how emotional responses to the past can inform their adaptations, alter how their audiences explore and re-visit the past, and demonstrate how history and adaptations become changelings. King’s adaptation additionally demonstrates his ability to integrate the Kennedy assassination back into popular culture, inviting and allowing a “new” younger audience (who were not alive at the time of the assassination) to “experience” history by accompanying his characters down the rabbit hole of history.
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21

Slights, William W. E. "The Changeling in A Dream." Studies in English Literature, 1500-1900 28, no. 2 (1988): 259. http://dx.doi.org/10.2307/450551.

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22

Daalder, Joost, and Antony Telford Moore. "Middleton and Rowley's the Changeling." Explicator 57, no. 1 (January 1998): 20–23. http://dx.doi.org/10.1080/00144949809596799.

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23

Levay, John. "Middleton and Rowley's the Changeling." Explicator 45, no. 3 (April 1987): 11–13. http://dx.doi.org/10.1080/00144940.1987.9938664.

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24

Panek, Jennifer. "Shame and Pleasure inThe Changeling." Renaissance Drama 42, no. 2 (September 2014): 191–215. http://dx.doi.org/10.1086/678123.

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25

Jones, Edward. "The Confined World ofthe Changeling." Cahiers Élisabéthains: A Journal of English Renaissance Studies 39, no. 1 (April 1991): 47–55. http://dx.doi.org/10.1177/018476789103900109.

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26

BARR, THOMAS M. "JUSTUS LIPSIUS AND THE CHANGELING." Notes and Queries 44, no. 1 (March 1, 1997): 96–97. http://dx.doi.org/10.1093/nq/44-1-96.

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27

BARR, THOMAS M. "JUSTUS LIPSIUS AND THE CHANGELING." Notes and Queries 44, no. 1 (1997): 96–97. http://dx.doi.org/10.1093/nq/44.1.96.

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28

Hutchings, Mark. "Richard III and The Changeling." Notes and Queries 52, no. 2 (June 1, 2005): 229–30. http://dx.doi.org/10.1093/notesj/gji239.

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29

Estill, Laura. "The Changeling (review)." Shakespeare Bulletin 31, no. 2 (2013): 311–19. http://dx.doi.org/10.1353/shb.2013.0021.

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30

Sheeha, Iman. "‘Of counsel with [m]y mistress’: The mistress–servant alliance in Thomas Middleton and William Rowley's The Changeling (1622)." Cahiers Élisabéthains: A Journal of English Renaissance Studies 107, no. 1 (December 29, 2021): 4–23. http://dx.doi.org/10.1177/01847678211069467.

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Analyses of service in The Changeling have focused on De Flores as an embodiment of contemporary fears about servants, neglecting his mistress's agency and the play's engagement with anxieties about women's authority, especially their power over servants. They also ignore two other servants, Diaphanta and Lollio, whose relationships with their mistresses are equally revealing of those anxieties. This article argues that The Changeling stages alliances between mistresses and servants as threatening to patriarchal authority. It revises the dominant critical reading of the play, showing that while the castle plot dissolves the mistress–servant alliance, the hospital plot is less straightforward.
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31

Smith, M. Burdick. "“Our eyes are sentinels unto our judgments”: Embodied Perception in The Changeling." Ben Jonson Journal 28, no. 1 (May 2021): 66–87. http://dx.doi.org/10.3366/bjj.2021.0300.

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This essay argues that Thomas Middleton and William Rowley's The Changeling (1622) draws on debates about sense perception in the period to interrogate the effects of dramatic representation. After a brief overview of early modern perceptual theory, this essay demonstrates that the play's villain, De Flores, manipulates other characters’ perception through language. In fact, De Flores uses theatrical language to manipulate how other characters perceive their environment, indicating the theater's ability to manipulate audiences. By affecting how characters perceive, De Flores affects other characters’ ability to process and react to their environment, which impedes their judgment. The essay argues that much of The Changeling's dramatic action unfolds through a conflict between two models of perception—presentational and representational—that undergird much of the play's dramatic conflict. In the play, pervasive anxiety about judgment, particularly how perception affects judgment, is structured around the distinction between these two models of perception. Considering the play alongside representational and presentational models indicates how early modern dramatists engage with intellectual theories to consider how representation works and how spaces are experienced. In this way, the theater refracts and dramatizes theories about perception.
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32

Buttà, Licia. "Peregrinus et exorcista: el nacimiento legendario de san Bartolomé en la hagiografía y la cultura visual de la Edad Media." Anuario de Estudios Medievales 51, no. 2 (December 27, 2021): 563–600. http://dx.doi.org/10.3989/aem.2021.51.2.03.

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El objetivo de este artículo es estudiar la relación entre la leyenda apócrifa del nacimiento de san Bartolomé, el episodio folklórico del changeling y su representación en algunas obras de arte tardo-góticas dando a conocer una fuente inédita sobre el tema. Una aproximación comparativa entre literatura medieval, hagiografía e historia del arte, permitirá entender la razón porqué el changeling fue adoptado como exemplum para remarcar la santidad de Bartolomé. El punto inicial de la investigación será el análisis de la iconografía del retablo dedicado al santo conservado en el Museo Diocesano de la Catedral de Tarragona y del sepulcro de Pedro I de Portugal, que se halla en el monasterio cisterciense de Santa María de Alcobaça, ambos realizados en la segunda mitad del siglo XIV.
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33

Slinger, Abigail. "'The Changeling,' or how Bacon’s closet becomes the cabinet of curiosities." SURG Journal 6, no. 2 (July 9, 2013): 46–48. http://dx.doi.org/10.21083/surg.v6i2.2216.

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First licensed by the Master of the Revels in 1622, The Changeling opened to London playgoers who were in some measure familiar with Bacon's praise of inductive reasoning in Novum Organum (1620). It is therefore of note to find that the protagonist of Middleton and Rowley's play, Beatrice-Joanna, consistently undermines what Michael Neill describes as "the ... correspondence of outward appearance and inward reality” (xx); induction cannot reveal moral worth. The closet of experimentation that contains this incongruously unchaste virgin thus transforms into a cabinet of curiosities whose contents resist accepted logic and simple assumptions. Keywords: The Changeling (Middleton, Thomas and Rowley, William); Novum Organum (Bacon, Francis); metaphysics; empirical (Baconian) method (rejection of); cabinet of curiosities; literary interpretation
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34

Hutchings, M. "A Textual Crux in The Changeling." Notes and Queries 56, no. 4 (November 24, 2009): 625–29. http://dx.doi.org/10.1093/notesj/gjp180.

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35

Hutchings, Mark. "News from Plymouth and The Changeling." Notes and Queries 64, no. 3 (July 18, 2017): 410–11. http://dx.doi.org/10.1093/notesj/gjx081.

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36

Hopkins, Lisa. "Acting the act in The Changeling." Revista Alicantina de Estudios Ingleses, no. 8 (1995): 107–11. http://dx.doi.org/10.14198/raei.1995.8.10.

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37

DAALDER, JOOST. "THE ROLE OF DIAPHANTA INTHE CHANGELING." Journal of the Australasian Universities Language and Literature Association 76, no. 1 (November 1991): 13–21. http://dx.doi.org/10.1179/aulla.1991.76.1.002.

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38

PLOTKIN, STANLEY A. "Vaccination against cytomegalovirus, the changeling demon." Pediatric Infectious Disease Journal 18, no. 4 (April 1999): 313–26. http://dx.doi.org/10.1097/00006454-199904000-00002.

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39

DAALDER, JOOST. "Folly and Madness in The Changeling." Essays in Criticism XXXVIII, no. 1 (1988): 1–21. http://dx.doi.org/10.1093/eic/xxxviii.1.1.

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40

Daalder, Joost. "The role of Isabella inthe changeling." English Studies 73, no. 1 (February 1992): 22–29. http://dx.doi.org/10.1080/00138389208598791.

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41

Menzer, Paul. "The Changeling, and: Twelfth Night (review)." Shakespeare Bulletin 25, no. 1 (2007): 94–100. http://dx.doi.org/10.1353/shb.2007.0018.

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42

Dolan, Frances E. "Re-reading Rape in The Changeling." Journal for Early Modern Cultural Studies 11, no. 1 (2011): 4–29. http://dx.doi.org/10.1353/jem.2011.0014.

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43

Herrero-Puertas, Manuel. "Gothic Access." Journal of Literary & Cultural Disability Studies 14, no. 3 (August 1, 2020): 333–51. http://dx.doi.org/10.3828/jlcds.2020.21.

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The article charts gothic fiction’s spatialization of disability by examining two representative entries: Horace Walpole’s foundational novel The Castle of Otranto (1764) and Peter Medak’s film The Changeling (1980). Their different media and historical backgrounds notwithstanding, both texts feature haunted houses where ghosts and nonghosts collaborate in tearing walls, clearing passageways, tracking voices, and lighting up cellars. These accommodations, along with the antiestablishment critiques they advance, remain unanalyzed because gothic studies and disability studies have intersected mainly around paradigms of monstrosity, abjection, and repression. What do we gain, then, by de-psychologizing the gothic, assaying ghosts’ material entanglements instead? This critical gesture reveals crip ghosts Joseph (Changeling) and Alfonso (Otranto) engaged in what the article conceptualizes as “gothic access”: a series of hauntings that help us collapse and reimagine everyday life’s unhaunted—yet inaccessible—built environments.
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44

Hutchings, Mark. ""Those rebellious Hollanders": The Changeling’s Double Dutch." Sederi, no. 24 (2014): 143–56. http://dx.doi.org/10.34136/sederi.2014.7.

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The Changeling (1622) fits neatly into a familiar anti-Spanish narrative, one so well established in criticism as to obscure the wider international picture. Early in the play a reference to England’s erstwhile ally against Spain is mentioned in passing, and no more is made of the Dutch naval victory over the Spanish in 1607. But this may have resonated in ways that complicated the play’s anti-Spanish sentiment. The enduring resonance of the contemporaneous Amboyna Massacre of 1623 suggests a more complicated reception of The Changeling than critics have allowed for. Even in 1622, when the play was most likely first performed, tensions with the Dutch were on the rise, and the apparent nostalgia for the Protestant alliance which the Treaty of London of 1604 had brought to an end was complicated by the emergence of an empire that would outstrip Spain’s and gradually replace it as England’s chief rival.
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45

KangSeokJu. "Meaning of Change in Middleton’s The Changeling." English21 32, no. 4 (December 2019): 5–29. http://dx.doi.org/10.35771/engdoi.2020.32.4.001.

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46

Bry, André. "La thématique de l’aliénation dans The Changeling." Actes des congrès de la Société française Shakespeare, no. 7 (November 1, 1989): 85–94. http://dx.doi.org/10.4000/shakespeare.1314.

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47

Hutchings, M. "The OED and The Changeling: A Correction." Notes and Queries 57, no. 3 (June 25, 2010): 414–15. http://dx.doi.org/10.1093/notesj/gjq071.

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48

Cahill, Patricia. "The play of skin in The Changeling." postmedieval: a journal of medieval cultural studies 3, no. 4 (December 2012): 391–406. http://dx.doi.org/10.1057/pmed.2012.26.

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49

Regina Buccola. "“None but Myself Shall Play the Changeling”:." Preternature: Critical and Historical Studies on the Preternatural 1, no. 2 (2012): 173. http://dx.doi.org/10.5325/preternature.1.2.0173.

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50

Daalder, Joost. "The Closet Drama in "The Changeling," V.III." Modern Philology 89, no. 2 (November 1991): 225–30. http://dx.doi.org/10.1086/391952.

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