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Journal articles on the topic 'Elizabethan dramas'

Author: Grafiati

Published: 4 June 2021

Last updated: 5 February 2022

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

HUNTER, G. K. "NOTES ON ‘ASIDES’ IN ELIZABETHAN DRAMA." Notes and Queries 44, no. 1 (March 1, 1997): 83–85. http://dx.doi.org/10.1093/nq/44-1-83.

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12

HUNTER, G. K. "NOTES ON ‘ASIDES’ IN ELIZABETHAN DRAMA." Notes and Queries 44, no. 1 (1997): 83–85. http://dx.doi.org/10.1093/nq/44.1.83.

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13

Farajallah, Hana Fathi, and Amal Riyadh Kitishat. "The Self and the Other in Philip Massinger’s “The Renegado, the Gentleman of Venice”: A Structural View." Theory and Practice in Language Studies 9, no. 1 (January 1, 2019): 118. http://dx.doi.org/10.17507/tpls.0901.17.

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Renaissance England (1500-1660) is the most flourishing era of English history which testified the emergence of classical humanistic arts. Of course, drama is a literary genre that prospered, then, to entertain the interests of the Royal ruling families, especially Queen Elizabeth 1 (1558-1603) and her successor King James 1 (1603-25), as theatres were built in London along with dramatic performances held in the courts like masquerades. This study aims at showing the distortion of Islam in Philip Massinger’s “The Renegado or The Gentleman of Venice”, via tackling the theme of “the self and the other” and analyzing the structure of the play. Why not, and English Renaissance citizens love to watch the non-Christians, the misbelievers, humiliated and undermined. Massinger, among other Elizabethan dramatists like William Shakespeare, uses the art of tragicomedy to show the Western hatred, which is “the self”, of the Oriental Islam that is in turn “the other”.

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14

YOUNGER, NEIL. "DRAMA, POLITICS, AND NEWS IN THE EARL OF SUSSEX'S ENTERTAINMENT OF ELIZABETH I AT NEW HALL, 1579." Historical Journal 58, no. 2 (May 11, 2015): 343–66. http://dx.doi.org/10.1017/s0018246x14000715.

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AbstractIn September 1579, at the height of an intense political debate over her prospective marriage to the duke of Anjou, Elizabeth I visited New Hall, the country seat of the match's greatest supporter within England, Thomas Radcliffe, third earl of Sussex. Her entertainment on that occasion, hitherto completely unknown, was described in a letter, printed here, from one Norfolk gentleman, Sir Edward Clere, to another, Bassingbourne Gawdy. The letter describes the dramatic performances and other entertainments provided for the queen, which included coded but unmistakeable encouragements for her to proceed with the marriage. This article discusses the ways in which this was done and their consequences for our knowledge of the Anjou marriage debate as a political episode, suggesting that Sussex sought to use the entertainment to boost the participation of more conservative members of the nobility in government. It also explores how this evidence affects our picture of Elizabethan courtly entertainments, and particularly their non-dramatic elements. Finally, it discusses Clere's letter itself as an insight into the nature of gentry news culture, particularly with regard to matters of high politics.

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15

Javed, Muhammad. "A Study of Elizabethan Period (1558-1603)." IJOHMN (International Journal online of Humanities) 6, no. 2 (April 21, 2020): 65–86. http://dx.doi.org/10.24113/ijohmn.v6i2.174.

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In this study, the researcher has mentioned the writers and their major works in Elizabethan age (1558-1603). The researcher has mentioned almost nineteen writers and their famous works. By reading this research paper, any general reader can easily understand that who are the major writers of the age and what are their famous works. The language and method of presenting the data are very easy. The researcher also has mentioned the major contributions of this era’s writers. As we know that University Wits also fall in this era, thus the researcher has mentioned them and their works too. S. Dutta (2014) declared that The University Wits is a phrase used to title a group of late 16th-century English pamphleteers and playwrights who were studied at the universities Cambridge and Oxford. They appeared famous worldly writers. This era has reminisced for its richness of drama and poetry. This era ended in 1603. Elizabeth turns out to be one of the greatest prominent royals in English history, mainly after 1588, when the English beat the Spanish Armada which had been sent by Spain to reestablish Catholicism and defeat England. All the way through the Elizabethan age, English literature has changed from a shell into a delightful being with imagination, creativeness, and boundless stories. It was not about mystery or miracle plays and the poetry was not nearby religion and the principles addressed in the Church.

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16

Blank, Daniel. "Actors, Orators, and the Boundaries of Drama in Elizabethan Universities." Renaissance Quarterly 70, no. 2 (2017): 513–47. http://dx.doi.org/10.1086/693180.

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AbstractThis article discusses the debates over drama that took place in the English universities during the late sixteenth century. It reconsiders the career of the Oxford academic and theologian John Rainolds, whose objections to student performance are usually conflated with attacks upon professional drama. This article argues instead that his opposition arose largely from two related institutional concerns: the equation of drama with rhetorical exercises and the increasing use of spectacle in university plays. The controversy over theatrical performance is thus cast in a new light as an inquiry into the place and purpose of drama within university culture.

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17

Javadizadeh, Kamran. "Elizabeth Bishop's Closet Drama." Arizona Quarterly: A Journal of American Literature, Culture, and Theory 67, no. 3 (2011): 119–50. http://dx.doi.org/10.1353/arq.2011.0015.

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18

Smith, Bruce R. "Recent Studies in Elizabethan and Jacobean Drama." Studies in English Literature, 1500-1900 33, no. 2 (1993): 425. http://dx.doi.org/10.2307/451007.

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19

Howard, Jean E. "Recent Studies in Elizabethan and Jacobean Drama." Studies in English Literature, 1500-1900 27, no. 2 (1987): 321. http://dx.doi.org/10.2307/450469.

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20

Simmons, J. L. "Recent Studies in Elizabethan and Jacobean Drama." Studies in English Literature, 1500-1900 29, no. 2 (1989): 357. http://dx.doi.org/10.2307/450479.

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21

Frey, Charles. "Recent Studies in Elizabethan and Jacobean Drama." Studies in English Literature, 1500-1900 26, no. 2 (1986): 345. http://dx.doi.org/10.2307/450512.

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22

Kirsch, Arthur. "Recent Studies in Elizabethan and Jacobean Drama." Studies in English Literature, 1500-1900 30, no. 2 (1990): 335. http://dx.doi.org/10.2307/450521.

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23

Levenson, Jill L. "Recent Studies in Elizabethan and Jacobean Drama." Studies in English Literature, 1500-1900 28, no. 2 (1988): 331. http://dx.doi.org/10.2307/450556.

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24

Homan, Sidney. "Recent Studies in Elizabethan and Jacobean Drama." Studies in English Literature, 1500-1900 25, no. 2 (1985): 439. http://dx.doi.org/10.2307/450731.

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25

Marcus, Leah S. "Recent Studies in Elizabethan and Jacobean Drama." Studies in English Literature, 1500-1900 32, no. 2 (1992): 361. http://dx.doi.org/10.2307/450741.

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26

Lancashire, Anne. "Recent Studies in Elizabethan and Jacobean Drama." Studies in English Literature, 1500-1900 31, no. 2 (1991): 387. http://dx.doi.org/10.2307/450817.

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27

Hutson, William. "Elizabethan Stagings of Hamlet: George Pierce Baker and William Poel." Theatre Research International 12, no. 3 (1987): 253–60. http://dx.doi.org/10.1017/s0307883300013717.

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On 21 February 1900, William Poel staged the First Quarto Hamlet for a single performance in the Carpenters' Hall, London. On 5 and 6 April 1904, George Pierce Baker mounted a production of Hamlet with Johnston Forbes Robertson in Sanders Hall at Harvard University. The two productions shared a number of remarkable similarities. Both were attempts to stage the play in the Elizabethan manner; therefore, they departed from illusionistic traditions of the nineteenth century. Although there were distinct differences – for example, one had a cast of amateurs, one was professional; one was performed for the public, one for a university – each was an important step in the reformation of Elizabethan staging. The productions also reflected the pursuits of two men who, although they had similar ideas about Elizabethan drama, were motivated by different objectives.

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28

Maufort, Marc. "Recent Trends in Elizabethan and Jacobean Drama Studies." Revue belge de philologie et d'histoire 67, no. 3 (1989): 607–13. http://dx.doi.org/10.3406/rbph.1989.3686.

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29

Burt, Richard, and Curtis C. Breight. "Surveillance, Militarism and Drama in the Elizabethan Era." Shakespeare Quarterly 49, no. 4 (1998): 464. http://dx.doi.org/10.2307/2902253.

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30

Peterson, Richard S., and Robin Headlam Wells. "Elizabethan Mythologies: Studies in Poetry, Drama and Music." Shakespeare Quarterly 49, no. 2 (1998): 220. http://dx.doi.org/10.2307/2902308.

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31

Parry, Graham, and Robin Headlam Wells. "Elizabethan Mythologies: Studies in Poetry, Drama and Music." Modern Language Review 91, no. 2 (April 1996): 444. http://dx.doi.org/10.2307/3735027.

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32

HUNTER, G. K. "The Beginnings of Elizabethan Drama: Revolution and Continuity." Renaissance Drama 17 (January 1986): 29–52. http://dx.doi.org/10.1086/rd.17.41917212.

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33

Winston, Jessica. "Seneca in Early Elizabethan England*." Renaissance Quarterly 59, no. 1 (2006): 29–58. http://dx.doi.org/10.1353/ren.2008.0232.

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AbstractIn the 1560s a group of men associated with the universities, and especially the early English law schools, the Inns of Court, translated nine of Seneca’s ten tragedies into English. Few studies address these texts and those that do concentrate on their contributions to the development of English drama. Why such works were important for those who composed them remains unclear. This essay examines the translations against the background of the social, political, and literary culture of the Inns in the 1560s. In this context, they look less like forms of dramatic invention than kinds of writing that facilitated the translators’ Latin learning, personal interactions, and political thinking and involvement.

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34

Taleb Al-Olaqi, Fahd Mohammed. "Greene's Selimus (1594): A Scourge of God to the Ottomans." International Journal of Comparative Literature and Translation Studies 5, no. 1 (January 31, 2017): 40. http://dx.doi.org/10.7575/aiac.ijclts.v.5n.1p.40.

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The Ottomans were represented in the imagination of Elizabethan drama. However, the Ottoman Sultans were remarkably in demand on Elizabethan stage. Robert Greene's Selimus (1594) shows a real interest in exploring and understanding the psyche of the Ottoman Sultan. The play's pattern theme of patricide explores the unnatural characteristics of the Ottoman royal family. The dramatic scenes of the murderous actions are engaging in lawless incursion upon ancient historical claims. Selimus appears as a proud ambitious tyrant, polluted with the blood of his own brothers. The fraternal conflict forms the inevitable bloodshed in transferring power to descendants in the Ottoman Empire. Greene depicts Sultan Selimus as the scourge of God to the Ottoman House. He holds some philosophy which is contrary to Elizabethan ethical and succession rules. Greene's interpretation of his conflict in the domestic scenes is a significant acknowledgement of the settled nature of Turkish sovereignty, and indeed of its complexity, at his own days.

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35

Ceramella, Nick. "Machiavelli: His Influence on the Elizabethan Drama and Beyond." Linguistics and Literature Review 05, no. 02 (October 2019): 107–25. http://dx.doi.org/10.32350/llr.52.03.

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36

Schoenfeldt, Michael. "Prayer, Despair, and Drama: Elizabethan Introspection. Peter Iver Kaufman." Modern Philology 97, no. 2 (November 1999): 257–60. http://dx.doi.org/10.1086/492843.

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37

McLuskie, Kathleen. "The Act, the Role, and the Actor: Boy Actresses On the Elizabethan Stage." New Theatre Quarterly 3, no. 10 (May 1987): 120–30. http://dx.doi.org/10.1017/s0266464x00008617.

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Recent feminist criticism has led to a reassessment of women's roles in the Elizabethan drama, especially in such ‘difficult’ plays asThe Taming of the Shrewor Shakespeare's problem comedies. Yet this has often been with an implicit belief in the appropriateness of ‘psychological’ or ‘interpretive’ approaches to character and gender quite alien to the period in which the plays were first performed. In the following article. Kathleen McLuskie. who teaches in the Department of Theatre at the University of Kent, looks at the different, often conflicting approaches to the sexuality of performance in the Elizabethan and Jacobean periods, at how these were reflected both in theatrical conventions and in contemporary attitudes to the plays and the ‘boy actresses’ – and at some possible implications for modern productions.

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38

Al-Olaqi, Fahd Mohammed Taleb. "Image of the Noble Abdelmelec in Peele’s The Battle of Alcazar." English Language and Literature Studies 6, no. 2 (April 28, 2016): 79. http://dx.doi.org/10.5539/ells.v6n2p79.

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<p>There is no ambiguity about the attractiveness of the Moors and Barbary in Elizabethan Drama. Peele’s <em>The Battle of Alcazar</em> is a historical show in Barbary. Hence, the study traces several chronological texts under which depictions of Moors of Barbary were produced about the early modern stage in England. The entire image of Muslim Moors is being transmitted in the Early Modern media as sexually immodest, tyrannical towards womanhood and brutal that is as generated from the initial encounters between Europeans and Arabs from North Africa in the sixteenth century and turn out to be progressively associated in both fictitious and realistic literatures during the Renaissance period. Some Moors are depicted in such a noble manner especially through this drama that has made them as if it was being lately introduced to the English public like Muly (Note 1) Abdelmelec. Thus, the image of Abdelmelec is a striking reversal of the traditional portrayal of the Moors. This protagonist character is depicted as noble, likeable and confident. He is considerately a product of the Elizabethan playwrights’ cross-cultural understanding of the climatic differences between races of Moorish men.</p>

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39

McEvilla, Joshua, Elizabeth Sharrett, Jennifer Cryar, Cristiano Ragni, and Alice Equestri. "VIII Renaissance Drama: Excluding Shakespeare." Year's Work in English Studies 98, no. 1 (2019): 445–94. http://dx.doi.org/10.1093/ywes/maz003.

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Abstract This chapter has three sections: 1. Editions and Textual Matters; 2. Theatre History; 3. Criticism. Section 1 is by Joshua McEvilla; section 2 is by Elizabeth Sharrett; section 3(a) is by Jennifer Cryar; section 3(b) is by Cristiano Ragni; section 3(c) is by Alice Equestri.

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40

McMillin, Scott. "Sussex's Men in 1594: The Evidence of Titus Andronicus and The Jew of Malta." Theatre Survey 32, no. 2 (November 1991): 214–23. http://dx.doi.org/10.1017/s0040557400001071.

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In 1594, as stability was about to return to the London stage after several years of disruption, a company under the patronage of the fifth Earl of Sussex played two brief engagements at Philip Henslowe's theatre, the Rose. Historians of the Elizabethan stage have had little to say about Sussex's men, for although the company appears fairly regularly in performance records of the 1590s, and although Henslowe's Diary lists their day-by-day repertory for a few weeks in 1594, their plays do not seem to have formed an important part of the Elizabethan drama (only George a Greene survives as a piece attributable solely to Sussex's men), and their personnel do not seem to have aroused sufficient interest to leave any record of an actor's name after 1576. Yet there may be a story to tell about Sussex's men after all. If we look closely at their repertory of 1594, keeping in mind the affairs of other companies at this time, we can see that the Sussex company may have briefly included some of the most important figures of the Elizabethan theatre.

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41

Cross, Claire. "The Genesis of a Godly Community: Two York Parishes, 1590–1640." Studies in Church History 23 (1986): 209–22. http://dx.doi.org/10.1017/s0424208400010627.

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The inside cover of the Elizabethan register of St John’s, Ousebridge, York contains the following entry: Memorandum that John Stoddart, clerk, began to serve in this parish of St John’s at Ousebridge end in August 1591 and doth still serve the same, who also did rule this same parchment book in such form and sort as it is, of his own proper cost, after that it was bought by James Cristalson, being churchwarden, in the year of the reign of Queen Elizabeth etc. 41, anno domini 1599 … price vii s.The corresponding register of the adjoining parish of All Saints, North Street, where Stoddart became the pluralist rector in March 1594, begins very similarly. These (at least for York) uniquely full registers, supplemented by a set of churchwardens’ accounts from St John’s and the eighty or so wills which can now be traced for the two parishes make it possible to chart the development of a loosely associated group of committed protestants in an area of central York which the arrival of a resident minister stimulated in both a positive and, less predictably, negative way. The story of voluntary religion which emerges is not one of high drama, faction-fighting, or even separation between the godly and the rest, but rather of a sustained and ultimately triumphant attempt of a minority to enrich the spiritual life of their parishes.’

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42

Archer, Harriet. "‘The earth … shall eat us all’: Exemplary History, Post-Humanism, and the Legend of King Ferrex in Elizabethan Poetry and Drama." English: Journal of the English Association 68, no. 261 (2019): 162–83. http://dx.doi.org/10.1093/english/efz024.

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Abstract The legend of King Ferrex was employed by Thomas Norton and Thomas Sackville in their succession play, Gorboduc (first performed 1561), and by John Higgins in his Mirror for Magistrates (1574; 1587), to reflect on contemporary politics and offer topical warnings to Elizabeth I and her subjects based on legendary British history. However, as well as including a section specifically focused on environmental exploitation, Higgins imbues the earth with a destructive animism in his poem which stands apart as an anomaly in his collection of verse complaints and amongst wider treatments of the story. Higgins’s emphasis on the arbitrary amoral and areligious destruction of all by the agency of the earth and other non-human actors challenges the Mirror’s educative model, and renders the Gorboduc legend inert. Looking at various versions of the narrative in Gorboduc, Higgins’s Mirror, and William Warner’s Albion’s England (1586), and analogous uses of environmental discourse in other contemporary poetic and dramatic texts by Shakespeare, Spenser, and Marlowe, this article considers the role of the nonhuman, and specifically the earth itself, in early modern imaginative historiography and political commentary. In particular, it suggests that there are fruitful connections to be made between modern posthumanist theoretical approaches, and the post-humanism of Higgins’s approach to exemplary history, whereby his admonitory text appears to abandon its premise of human primacy and perfectability in response to the perceived failure of Elizabethan advice literature to effect political change.

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Anđelković, Bojan. "Theatre - power - subject: On Dragan Živadinov's Elizabethan Trilogy." Maska 28, no. 157 (October 1, 2013): 79–95. http://dx.doi.org/10.1386/maska.28.157-158.79_1.

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The text offers a philosophical reflection on the cycle of five performances that form the Elizabethan Trilogy project (2008-2013) by director Dragan Živadinov. By introducing four conceptual pairs - theatre and sovereignty, words and things, the subject and the mask, and difference and repetition - it also attempts to reflect on Živadinov's entire opus and on the meaning of his theatre. At the centre of attention in the theatre of repetition, which is opposed to the theatre of representation, there is the relation between theatre, sovereignty and the subject; the author of this text tries to shed light on this relation by drawing on Antonin Artaud's concept of the theatre of cruelty and possible connections between theatre and the philosophies of Friedrich Nietzsche, Michel Foucault and Gilles Deleuze.

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Suzuki, Mihoko. "Gender, Class, and the Social Order in Late Elizabethan Drama." Theatre Journal 44, no. 1 (March 1992): 31. http://dx.doi.org/10.2307/3208514.

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Crouch, Patricia, and Anne B. Mangum. "Reflection of Africa in Elizabethan and Jacobean Drama and Poetry." Sixteenth Century Journal 35, no. 2 (July 1, 2004): 586. http://dx.doi.org/10.2307/20477001.

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Askarzadeh Torghabeh, Rajabali. "The Study of Revenge Tragedies and Their Roots." International Journal of Applied Linguistics and English Literature 7, no. 4 (July 1, 2018): 234. http://dx.doi.org/10.7575/aiac.ijalel.v.7n.4p.234.

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Tragedy has its roots in man’s life. Tragedies appeared all around the world in the stories of all nations. In western drama, it is written that tragedy first appeared in the literature of ancient Greek drama and later in Roman drama. This literary genre later moved into the sixteenth century and Elizabethan period that was called the golden age of drama. In this period, we can clearly see that this literary genre is divided into different kinds. This genre is later moved into seventeenth century. The writer of the article has benefited from a historical approach to study tragedy, tragedy writers and its different kinds in the Sixteenth and Seventeenth centuries. The author has also presented the chief features and characteristics of tragedies. The novelty of the article is the study of Spanish tragedy and its influences on revenge tragedies written by Shakespeare and other tragedy writers. Throughout the article, the author has also included some of the most important dramatists and tragedy writers of these periods including Thomas Kyd, William Shakespeare, John Marston, George Chapman, Tourneur and John Webster.

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Brown, John Russell. "Representing Sexuality in Shakespeare's Plays." New Theatre Quarterly 13, no. 51 (August 1997): 205–13. http://dx.doi.org/10.1017/s0266464x00011210.

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Sexuality resides in much more than what is spoken or even enacted, and its stage representation will often work best when the minds of the spectators are collaboratively engaged in completing the desired response. John Russell Brown, founding Head of Drama at the University of Birmingham and a former Associate Director of the National Theatre, here explores Shakespeare's arts of sexual obliquity, whether in silence, prevarication, or kindled imagination, and their relationship both with more direct forms of allusion and with an audience's response. John Russell Brown, currently Professor of Theatre at the University of Michigan, is author of numerous books on Shakespeare and modern drama, and editor of many Elizabethan and Jacobean texts – most recently a new edition of Shakespeare for Applause Books, New York.

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Shevtsova, Maria. "An Editor's Wish List." New Theatre Quarterly 25, no. 4 (November 2009): 303–5. http://dx.doi.org/10.1017/s0266464x0900058x.

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The co-editors of New Theatre Quarterly take time out here to reflect on the milestone of the journal reaching its hundredth consecutive issue, in succession to the forty of the original Theatre Quarterly. Simon Trussler was one of the founding editors of the ‘old’ Theatre Quarterly in 1971. He is the author of numerous books on drama and theatre, including New Theatre Voices of the Seventies (1981), Shakespearean Concepts (1989), the award-winning Cambridge Illustrated History of British Theatre (1993), The Faber Guide to Elizabethan and Jacobean Drama (2006), and Will's Will (2007). Formerly Reader in Drama in the University of London, he is now Professor and Senior Research Fellow at Rose Bruford College. Maria Shevtsova, who has been co-editor of New Theatre Quarterly since 2003, is Professor of Drama and Theatre Arts and Director of Graduate Studies at Goldsmiths, University of London. The author of more than one hundred articles and chapters in collected volumes, her books include Dodin and the Maly Drama Theatre: Process to Performance (2004), Fifty Key Theatre Directors (co-edited with Shomit Mitter, 2005), Robert Wilson (2007), Directors/Directing: Conversations on Theatre (with Christopher Innes, 2009), and Sociology of Theatre and Performance (2009).

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Rochelle Smith. "King-Commoner Encounters in the Popular Ballad, Elizabethan Drama, and Shakespeare." SEL Studies in English Literature 1500-1900 50, no. 2 (2010): 301–36. http://dx.doi.org/10.1353/sel.0.0097.

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Boyle, A. J. "Senecan Tragedy: Twelve Propositions." Ramus 16, no. 1-2 (1987): 78–101. http://dx.doi.org/10.1017/s0048671x0000326x.

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I begin by stating what Senecan tragedy is not. Senecan tragedy is not a series of declamations cast into dramatic form, as Leo claimed. It is not purely verbal drama divorced from the inner psychological realities of character, as Eliot claimed. It is not character-static drama, incohesive, structureless, lifeless and monotonously versified, as Mackail and others have claimed. It is not Stoic propaganda, as Marti claimed. It is not recitation drama, if by recitation drama is meant drama to be recited by a single speaker and essentially unstageable, as Zwierlein claims. It is not a tissue of hackneyed commonplaces, as Ogilvie claimed, nor an artificial imitation of Greek tragedy, as Beare claimed; nor is it contemptible as literature, as Summers and most nineteenth and early twentieth century critics have claimed.What is Senecan tragedy? This essay presents twelve propositions, each of which isolates a characterising property of Senecan tragedy important for the understanding of it as literary and cultural artefact. These twelve propositions constitute neither an exhaustive list of such properties nor an analysis of genre. The latter question, however, I leave not to contemporary theory, but to the Codex Etruscus and the Elizabethans.

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