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Relevant bibliographies by topics / Elizabethan dramas

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Academic literature on the topic 'Elizabethan dramas'

Author: Grafiati

Published: 4 June 2021

Last updated: 5 February 2022

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Journal articles on the topic "Elizabethan dramas"

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Khan, Kehkashan. "RHYTHMIC BEAUTY IN THE PLAYS OF RENAISSANCE." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–3. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3397.

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The Theatres were very much in vogue in the Elizabethan England. For the spectators, theatres were not merely places of amusement & entertainment but also of social gathering & instruction. Both Marlowe & Shakespeare are great dramatists & poets of Elizabethan age. Their poetry & music lend a unique power & beauty to their plays.Marlowe, the predecessor of Shakespeare, infused his own soul into his characters like a lyric poet. He is regarded as the Morning Star of Song & the first & foremost lyricist of English Stage. He poetized the English dramas. His play Doctor Faustus reads more like a poem than a drama. His passage on Helen is one of the loveliest of lyrics. In its idealization of beauty, in its riot of colour, in its swift transition from one myth to another, in music & melody, in its passionate exuberance & abundance the passage remains unsurpassed.

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Tarlinskaja, Marina. "Ants Oras: Did He Know Russian “Formalists”?" Studia Metrica et Poetica 2, no. 2 (December 31, 2015): 10–24. http://dx.doi.org/10.12697/smp.2015.2.2.02.

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The article compares two approaches to studying line segmentation in verse. Line segmentation probably corresponded to pauses in declamation. The Estonian scholar Ants Oras studied syntactic breaks in Elizabethan dramas using punctuation as a signal of a “pause”. His research yielded valuable results, and his method has recently been followed by Professors Mac Donald P. Jackson and Douglas Bruster: places of punctuation can be quickly found by a computer. However, punctuation came from the random choices of copiers, editors and typesetters, therefore it is not too reliable. The Russian school of thought to which I belong looks for places of syntactic breaks of various strength. These do not change from edition to edition. Ants Oras’s tables at first glance remind us of those by Russian “Formalists”, for example, Boris Tomashevsky. However, no Russian scholar is quoted in Oras’s works, so the question is: did he know about the Russian works?

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Dahl, Christian. "Slagscener i det elizabethanske teater." Passage - Tidsskrift for litteratur og kritik 33, no. 80 (December 23, 2018): 125–44. http://dx.doi.org/10.7146/pas.v33i80.111728.

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Christian Dahl: “Battle scenes in the Elizabethan theater”This article analyses the widespread use of staged battle in Elizabethan theater by use of data extracted from Folger Library’s Digital Anthology of Early English Drama. Between 1576 and 1616, hundreds of battle scenes were produced on English stages but although a substantial number is still available for study, only few scholars have recognized their significance. The many battle scenes both attest to the Elizabethans’ vivid interest in history and to the cultural impact of England’s increasing military engagement on the Continent and in Ireland at the end of Elizabeth’s reign. It is often assumed that histories and battle scenes were particularly popular in the 1590’ies and then fell out of fashion early in the 17th century, but the article demonstrates that staged war remained a frequent occurrence in the first two decades of the century and never disappeared entirely. The article discusses visual and, in particular, acoustic representation of warfare based on the evidence of surviving plays and other documents. The article will also (very) briefly sketch the narrative development of battle scenes that took place in the 1590ies.

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Alqadumi, Emad A. "The iconoclastic theatre: transgression in Christopher Marlowe’s Tamburlaine." EJOTMAS: Ekpoma Journal of Theatre and Media Arts 7, no. 1-2 (April 15, 2020): 281–93. http://dx.doi.org/10.4314/ejotmas.v7i1-2.18.

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This article examines Christopher Marlowe’s iconoclasm as a dramatist by probing transgressive features in his Tamburlaine the Great, parts I and II. By depicting instances of excessive violence, from the perspective of this study, Marlowe flouts everything his society cherishes. His Tamburlaine demystifies religious doctrines and cultural relations; it challenges the official view of the universe and customary theatrical conventions of Renaissance drama. It destabilizes the norms and values of the Elizabethans and brings about a crisis between the Elizabethan audience and their own culture. Furthermore, Marlowe’s experimentalism in Tamburlaine expands the imaginative representations to include areas never formerly visited, consequently creating an alternative reality for his audience and transforming the popular English theatre in an unprecedented manner. Keywords: Drama, Christopher Marlowe, Elizabethan theatre, Literature, Iconoclasm

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Adha, Ruly. "Elizabethan Period (The Golden Age of English Literature)." JADEs : Journal of Academia in English Education 1, no. 1 (June 15, 2020): 84–95. http://dx.doi.org/10.32505/jades.v1i1.2707.

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English literature has been developed in some period. Each period has its own characteristics which portrayed the condition of the age. The period of English literature is started from Old English until Modern English. English literature becomes glorious when Queen Elizabeth I ruled England. This age is known as Elizabethan period. In this period, there are many literary works such as poetry, drama which are produced by famous artists. The literary works produced in Elizabethan period is famous and the existence of the literary works can be seen nowadays. Furthermore, some literary works, such as drama, are reproduced into movie. Therefore, this period is also known as the golden age of English Literature.

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Bochenski, Michael I. "A People’s Tragedy. Studies in Reformation Eamon Duffy." European Journal of Theology 30, no. 1 (March 1, 2021): 219–22. http://dx.doi.org/10.5117/ejt2021.1.020.boch.

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Summary These studies are ‘contributions to (the) recovery of ... rich and hitherto neglected aspects of English religion, from the fifteenth century to the seventeenth’. Six ‘studies in reformation’ (part one) are followed by five ‘writing the reformation’ essays (part two). Attention to detail, arresting subject matter, lucid prose and impeccable research are evident throughout this book. Its eleven essays challenge students of the English Reformation to question some long-held presuppositions. Fresh and convincing light is shone on, for example, mediaeval piety, Elizabethan religious ‘tolerance‘, Catholic approaches to the Bible, the biases of historians, and on why great novels and dramas may not necessarily be historically accurate. These indispensable essays will especially serve those who are willing to examine long-held assumptions. Zusammenfassung „Die Studien, welche dieses Buch ausmachen“, wie Duffy in seiner Einleitung schreibt, „dienen als Beitrag zur Wiederentdeckung von … reichhaltigen und bis dato vernachlässigten Aspekten der Religion in England vom 15. bis zum 17. Jahrhundert.“ Sechs „Studien zur Reformation“ (Teil 1) werden gefolgt von fünf Aufsätzen als „Berichte über die Reformation“ (Teil 2). Detailtreue, interessante Themen, klar verständliche Prosa sowie eine einwandfreie Forschung ziehen sich durch das gesamte Buch hindurch. Seine elf Aufsätze fordern Studenten der englischen Reformation heraus, einige lang gehegte Annahmen in Frage zu stellen. Neues und überzeugendes Licht scheint zum Beispiel auf mittelalterliche Frömmigkeit, elisabethanische religiöse „Toleranz“, katholische Zugänge zur Bibel, Vorurteile von Historikern sowie darauf, weshalb große Romane und Dramen nicht notwendigerweise auch historisch korrekt sein müssen. Diese unentbehrlichen Aufsätze werden besonders denjenigen eine wertvolle Hilfe sein, die bereit sind, lang gehegte Voraussetzungen auf den Prüfstand zu geben. Résumé Les études constituant ce livre veulent « contribuer à la (re)découverte … d’aspects riches et jusqu’à présent négligés de la religion anglaise, du XVe siècle au XVIIe. » Six « études autour de la réforme » (première partie) sont suivies par cinq essais sur le thème « écrire la réforme » (deuxième partie). Ce livre se signale de bout en bout par une grande attention portée au détail, une thématique saisissante, une prose claire, ainsi qu’un travail de recherche irréprochable. Ses onze essais invitent les étudiants de la Réforme anglaise à s’interroger sur certaines vieilles présuppositions. Quelques examples: cette lumière fraîche et convaincante jetée sur la piété médiévale, la « tolérance » religieuse élisabéthaine, les approches catholiques de la Bible, les partis pris des historiens ou la raison pour laquelle tous les grands romans ou drames ne sont pas forcément exacts d’un point de vue historique. Ces essais indispensables seront particulièrement utiles à ceux qui sont prêts à réexaminer certaines suppositions à la vie longue.

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Huxtable, Ryan J. "The Intoxications of Elizabethan Drama." Perspectives in Biology and Medicine 42, no. 1 (1998): 103–17. http://dx.doi.org/10.1353/pbm.1998.0035.

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Lange, Marjory, and Peter Iver Kaufman. "Prayer, Despair, and Drama: Elizabethan Introspection." Sixteenth Century Journal 28, no. 2 (1997): 692. http://dx.doi.org/10.2307/2543559.

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Jr., Chris Hassel, and Peter Iver Kaufman. "Prayer, Despair, and Drama: Elizabethan Introspection." Shakespeare Quarterly 49, no. 4 (1998): 454. http://dx.doi.org/10.2307/2902248.

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Gyde, Humphrey, and Peter Iver Kaufman. "Prayer, Despair, and Drama: Elizabethan Introspection." Yearbook of English Studies 29 (1999): 290. http://dx.doi.org/10.2307/3508967.

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Dissertations / Theses on the topic "Elizabethan dramas"

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Barbato, Guido. "Mannerism in Elizabethan literature and drama." Thesis, University of Ulster, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.274107.

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Oram, Yvonne. "Older women in Elizabethan and Jacobean drama." Thesis, University of Birmingham, 2002. http://etheses.bham.ac.uk//id/eprint/1778/.

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This thesis explores the presentation of older women on stage from 1558-1625, establishing that the character is predominantly pictured within the domestic sphere, as wife, mother, stepmother or widow. Specific dramatic stereotypes for these roles are identified, and compared and contrasted with historical material relating to older women. The few plays in which these stereotypes are subverted are fully examined. Stage nurse and bawd characters are also older women and this study reveals them to be imaged exclusively as matching stereotypes. Only four plays, Peele’s The Old Wives Tale, Fletcher’s Bonduca, and Antony and Cleopatra and The Winter’s Tale, by Shakespeare, reject stereotyping of the central older women. The Introduction sets out the methodology of this research, and Chapter 1 compares stage stereotyping of the older woman with evidence from contemporary sources. This research pattern is repeated in Chapters 2-4 on the older wife, mother and stepmother, and widow, and subversion of these stereotypes on stage is also considered. Chapter 5 reveals stereotypical stage presentation as our principal source of knowledge about the older nurse and bawd. Chapter 6 examines the subtle, yet comprehensive, rejection of the stereotypes. The Conclusion summarises the academic and ongoing cultural relevance of this thesis.

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Jarrett, Joseph Christopher. "Mathematics and Late Elizabethan drama, 1587-1603." Thesis, University of Cambridge, 2017. https://www.repository.cam.ac.uk/handle/1810/270195.

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This dissertation considers the influence that sixteenth- and early seventeenth-century mathematical thinking exerted on popular drama in the final sixteen years of Elizabeth I’s reign. It concentrates upon six plays by five dramatists, and attempts to analyse how the terms, concepts, and implications of contemporary mathematics impacted upon their vocabularies, forms, and aesthetic and dramaturgical effects and affects. Chapter 1 is an introductory chapter, which sets out the scope of the whole project. It locates the dissertation in its critical and scholarly context, and provides a history of the technical and conceptual overlap between the mathematical and literary arts, before traversing the body of intellectual-historical information necessary to situate contextually the ensuing five chapters. This includes a survey of mathematical practice and pedagogy in Elizabethan England. Chapter 2, ‘Algebra and the Art of War’, considers the role of algebra in Marlowe’s Tamburlaine plays. It explores the function of algebraic concepts in early modern military theory, and argues that Marlowe utilised the overlap he found between the two disciplines to create a unique theatrical spectacle. Marlowe’s ‘algebraic stage’, I suggest, enabled its audiences to perceive the enormous scope and aesthetic beauty of warfare within the practical and spatial limitations of the Elizabethan playhouse. Chapter 3, ‘Magic, and the Mathematic Rules’, explores the distinction between magic and mathematics presented in Greene’s Friar Bacon and Friar Bungay. It considers early modern debates surrounding what magic is, and how it was often confused and/or conflated with mathematical skill. It argues that Greene utilised the set of difficult, ambiguous distinctions that arose from such debates for their dramatic potential, because they lay also at the heart of similar anxieties surrounding theatrical spectacles. Chapter 4, ‘Circular Geometries’, considers the circular poetics effected in Dekker’s Old Fortunatus. It contends that Dekker found an epistemological role for drama by having Old Fortunatus acknowledge a set of geometrical affiliations which it proceeds to inscribe itself into. The circular entities which permeate its form and content are as disparate as geometric points, the Ptolemaic cosmos, and the architecture of the Elizabethan playhouses, and yet, Old Fortunatus unifies these entities to praise God and the monarchy. Chapter 5, ‘Infinities and Infinitesimals’, considers how the infinitely large and infinitely small permeate the language and structure of Shakespeare’s Hamlet. It argues that the play is embroiled with the mathematical implications of Copernican cosmography and its Brunian atomistic extension, and offers a linkage between the social circles of Shakespeare and Thomas Harriot. Hamlet, it suggests, courts such ideas at the cutting-edge of contemporary science in order to complicate the ontological context within which Hamlet’s revenge act must take place. Chapter 6, ‘Quantifying Death, Calculating Revenge’, proposes that the quantification of death, and the concomitant calculation of an appropriate revenge, are made an explicit component of Chettle’s Tragedy of Hoffman. It suggests that Chettle enters two distinctly mathematical models of revenge into productive counterpoint in the play in order to interrogate the ethics of revenge, and to dramatise attempts at quantifying the parameters of equality and excess, parity and profit.

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Allen, Gerard Peter. "'This is my mind, I will have it so' : the developing imperative of sixteenth-century individualism and its dramatization in the plays of Christoper Marlowe." Thesis, Queen Mary, University of London, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.262559.

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Elaskary, Mohamed. "The image of Moors in the writings of four Elizabethan dramatists : Peele, Dekker, Heywood and Shakespeare." Thesis, University of Exeter, 2008. http://hdl.handle.net/10036/48033.

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The word ‘Moor’ is a loose term that was used in Medieval and Renaissance England to refer to the ‘Moors’, ‘blackmoors’, ‘Negroes’, ‘Indians’, ‘Mahometans’ or ‘Muslims’. All these terms were more often than not used interchangeably. This study is concerned with the Moor from North Africa. This study is divided chronologically into two phases. The first part deals with the plays that were written during the reign of Queen Elizabeth I while the second part examines the plays that were written during (and after) the rule of King James I. Queen Elizabeth I and King James I had opposite points of view when it came to the relationship between England and the Muslim world. Thus, while Queen Elizabeth was in closer alliance with the Moors and the Turks than the Spaniards and the French, King James I chose, only after a few months of being enthroned as the King of the English monarchy, to befriend the Spaniards rather than the Moors and the Turks. The plays discussed in this thesis will be viewed against the opposite policies adopted by Elizabeth I and James I concerning the relationship between England and the Muslim world. The idea of poetic verisimilitude will be given due importance throughout this study. In other words, I propose to answer the question: did the authors discussed in this thesis manage to represent their Moorish characters in an efficient and objective way or not? Warner G. Rice, Mohammed Fuad Sha’ban, Thoraya Obaid, Anthony Gerald Barthelemy and Gerry Brotton had written PhD dissertations on the image of Moors, Turks, or Persians, in English drama. This study, however, will focus on the image of North African Moors in Elizabethan drama. What I intend to do in this thesis is to relate each of the plays discussed to a context (political, historical, or religious) of its time. My argument here is that the tone and the motive behind writing all these plays was always political. For example, George Peele’s The Battle of Alcazar will be related to the historical and political givens of the 1580s, i.e., the familial strife for the throne of Marrakesh in Morocco, the Portuguese intervention in this Moorish-Moorish conflict and the friendly Moroccan-English relations. Thomas Dekker’s Lust’s Dominion will be viewed in the light of the Reconquista wars and the expulsion of the Moors from the Iberian Peninsula. Thomas Heywood’s The Fair Maid of the West will be seen in relation to the theme of conversion and Moorish piracy that were so vigorous in the 16th and 17th century. William Shakespeare’s Othello is unique and it represents what may be ranked as the earliest insights regarding the idea of tolerating the Moors and foreigners into Europe. The contribution this study aims to offer to the western reader is that it involves scrutinizing Arabic texts and contexts whenever available. Thus, Arabic sources concerning the historical accounts of the battle al-Kasr el-Kebir (the battle of Alcazar); the expulsion of Moors from Spain or Moorish and Turkish piracy are to be invoked. In the same vein, the reception of these plays in the Arab world is to be reviewed at the end of each chapter.

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Johnson, Toria Anne. "The cultivation of pity on the Elizabethan stage." Pullman, Wash. : Washington State University, 2009. http://www.dissertations.wsu.edu/Thesis/Spring2009/t_johnson_042209.pdf.

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McCarthy, Jeanne Helen. "The children's companies Elizabethan aesthetics and Jacobean reactions /." Digital version accessible at:, 2000. http://wwwlib.umi.com/cr/utexas/fullcit?p9983291.

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Di, Ponio Amanda. "The Elizabethan Theatre of Cruelty and its double /." St Andrews, 2009. http://hdl.handle.net/10023/836.

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Di, Ponio Amanda Nina. "The Elizabethan Theatre of cruelty and its double." Thesis, University of St Andrews, 2009. http://hdl.handle.net/10023/836.

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This thesis is an examination of the theoretical concepts of Antonin Artaud (1896-1948) and their relation to the Elizabethan theatre. I propose that the dramas of the age of Shakespeare and the environment in which they were produced should be seen as an integral part of the Theatre of Cruelty and essential to its very understanding. The development of the English Renaissance public theatre was at the mercy of periods of outbreaks and abatements of plague, a powerful force that Artaud considers to be the double of the theatre. The claim for regeneration as an outcome of the plague, a phenomenon causing intense destruction, is very specific to Artaud. The cruel and violent images associated with the plague also feature in the theatre, as do its destructive and regenerative powers. The plague and its surrounding atmosphere contain both the grotesque and sublime elements of life Artaud wished to capture in his theatre. His theory of cruelty is part of a larger investigation into the connection between spectacle, violence, and sacrifice explored by Mikhail Bakhtin, René Girard, and Georges Bataille.

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Rigali, Amanda. "The plays of Fulke Greville in context." Thesis, King's College London (University of London), 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.325814.

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Books on the topic "Elizabethan dramas"

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Higgs, Catherine Jane. Kabuki and Elizabethan drama. [Derby]: Derbyshire College of Higher Education, 1986.

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Rupert, Brooke. John Webster & the Elizabethan drama. Toronto: McClelland, Goodchild & Stewart, 1996.

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Jarrett, Joseph. Mathematics and Late Elizabethan Drama. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-26566-3.

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Elizabethan Shakespeare. Ave Maria, FL: Sapientia Press of Ave Maria University, 2007.

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Aliens and Englishness in Elizabethan drama. New York: Cambridge University Press, 2009.

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Barbato, Guido. Mannerism in Elizabethan literature and drama. [S.l: The Author], 2003.

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Prayer, despair, and drama: Elizabethan introspection. Urbana: University of Illinois Press, 1996.

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Janicka-Swiderska, Irena. The dance in Elizabethan and Stuart drama. Berlin: De Gruyter, 1987.

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The Elizabethan stage. Oxford: Clarendon Press, 2009.

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Matsui, Yuko. Elizabethan underworld as cultural myth in contemporary drama. Birmingham: University of Birmingham, 1996.

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Book chapters on the topic "Elizabethan dramas"

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Grantley, Darryll. "Late Elizabethan Drama." In London in Early Modern English Drama, 51–90. London: Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1057/9780230583764_3.

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Nazan, Aksoy. "TURKS IN ELIZABETHAN DRAMA." In Historical Image of the Turk in Europe, 15th Century to the Present, 197–208. Piscataway, NJ, USA: Gorgias Press, 2010. http://dx.doi.org/10.31826/9781463225483-008.

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Hopkins, Lisa. "Politics and Religion in Elizabethan Drama." In A Companion to British Literature, 129–41. Oxford, UK: John Wiley & Sons, Ltd, 2014. http://dx.doi.org/10.1002/9781118827338.ch36.

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Jarrett, Joseph. "Introduction." In Mathematics and Late Elizabethan Drama, 1–34. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-26566-3_1.

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Jarrett, Joseph. "Algebra and the Art of War: Marlowe’s Tamburlaine 1 and 2." In Mathematics and Late Elizabethan Drama, 35–75. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-26566-3_2.

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Jarrett, Joseph. "‘Magic, and the Mathematic Rules’: Greene’s Friar Bacon and Friar Bungay." In Mathematics and Late Elizabethan Drama, 77–114. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-26566-3_3.

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Jarrett, Joseph. "Circular Geometries: Dekker’s Old Fortunatus." In Mathematics and Late Elizabethan Drama, 115–48. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-26566-3_4.

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Jarrett, Joseph. "Infinities and Infinitesimals: Shakespeare’s Hamlet." In Mathematics and Late Elizabethan Drama, 149–90. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-26566-3_5.

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Jarrett, Joseph. "Quantifying Death, Calculating Revenge: Chettle’s Tragedy of Hoffman." In Mathematics and Late Elizabethan Drama, 191–217. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-26566-3_6.

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Jarrett, Joseph. "Conclusion." In Mathematics and Late Elizabethan Drama, 219–21. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-26566-3_7.

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