Relevant bibliographies by topics / English drama Early modern and Elizabethan

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'English drama Early modern and Elizabethan'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 January 2023

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Journal articles on the topic "English drama Early modern and Elizabethan"

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Jackson, MacDonald P. "Ants Oras and the Analysis of Early Modern English Dramatic Verse." Studia Metrica et Poetica 2, no. 2 (December 31, 2015): 48–57. http://dx.doi.org/10.12697/smp.2015.2.2.04.

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Ants Oras’s contribution to the study of early modern English dramatic verse is of enduring value. In 1956 his article on extra monosyllables in Henry VIII gave much needed support to the view that both this play of the Shakespeare First Folio (1623) and The Two Noble Kinsmen (first published in a quarto of 1634) were works in which Shakespeare had collaborated with John Fletcher. Oras’s Pause Patterns in Elizabethan and Jacobean Drama (1960), with its huge amount of quantitative data and readily intelligible graphs, greatly enhanced understanding of how blank verse developed from the 1580s to the closing of the London theatres in 1642. Moreover, use of Oras’s techniques of analysis has continued to throw light on questions of chronology and authorship surrounding Shakespeare and his fellow playwrights. Among plays illuminated in this way have been The Revenger’s Tragedy, Pericles, Thomas of Woodstock, Sir Thomas More, and Arden of Faversham.
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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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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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Page, Louise. "Emotion is a Theatrical Weapon." New Theatre Quarterly 6, no. 22 (May 1990): 174–82. http://dx.doi.org/10.1017/s0266464x00004243.

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Louise Page was born in London in 1955, but lived in Sheffield from the age of five until a short while ago. She read drama at Birmingham University, and took a postgraduate diploma in playwriting, then returned to Sheffield in 1979 as Fellow in Drama and Television. In 1982–83 she was resident writer at the Royal Court, and in 1985 was awarded the first J. T. Grein Prize by the Critics’ Circle. With a string of widely-produced plays from the early Tissue through Salonika and Golden Girls to the more recent Beauty and the Beast and Diplomatic Wives, Louise Page is now firmly established as one of the leading playwrights of her generation. The present interview was recorded while she was in Greece in September 1988 to prepare the film adaptation of Salonika. The interviewer, Elizabeth Sakellaridou, is Senior Lecturer in Modern English Drama in the University of Thessaloniki. Her publications include Pinter's Female Portraits (Macmillan, 1988), and several articles on modern English drama and feminist criticism. She is currently preparing a study of contemporary British women dramatists. Her ‘NTQ Checklist’ of Louise Page's work follows this interview.
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Entezareghaem, Shahab. "Religious Reformation and the Crisis of Providentialism in Cyril Tourneur’s The Atheist’s Tragedy (1611): A Cultural Materialist Reading." Advances in Language and Literary Studies 11, no. 2 (April 30, 2020): 65. http://dx.doi.org/10.7575/aiac.alls.v.11n.2p.65.

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The early modern period in England is characterised by philosophical and moral debates over the meaning and pertinence of Christian beliefs and teachings. One of the most controversial topics in this epoch is God’s providence and its supposed impacts on man’s daily life. In the wake of the Reformation and emerging philosophical schools, particularly in the second half of the sixteenth century, Providentialism was seriously put into question and the meaning and influences of God’s providence were, therefore, investigated. Epicureans and Calvinists were two prominent groups of religious reformists who cast doubt upon the validity and pertinence of Christian Providentialism as it was taught during the medieval period. These intellectual and philosophical debates were reflected in the literary productions of the age in general, and in Elizabethan and Jacobean drama in particular. Cyril Tourneur is one of the early modern English playwrights who inquired into the meaning and relevance of Providentialism in his last play, The Atheist’s Tragedy (1611). Adhering to a cultural materialist mode of criticism, I will show in this paper that Tourneur is a dissident dramatist who separates the realm of God’s divinity from man’s rational capacity in his tragedy and anticipates, hence, the emergence and development of new religious and philosophical visions in the Renaissance.
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Myers, Anne M. "Elizabeth Williamson. The Materiality of Religion in Early Modern English Drama. Studies in Peformance and Early Modern Drama. Farnham: Ashgate Publishing Limited, 2009. ix + 232 pp. index. illus. bibl. $99.99.. ISBN: 978–0–7546–6827–5." Renaissance Quarterly 63, no. 3 (2010): 1005–6. http://dx.doi.org/10.1086/657006.

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Hamling, Tara. "Elizabeth Williamson, The Materiality of Religion in Early Modern English Drama, Ashgate Publishing Ltd., 2009, pp. ix + 232, £55.00, ISBN: 978-0-75466-827-5." Recusant History 30, no. 3 (May 2011): 511–13. http://dx.doi.org/10.1017/s0034193200013108.

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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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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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Lutzky, Ursula, and Jane Demmen. "Pray in Early Modern English drama." Journal of Historical Pragmatics 14, no. 2 (May 17, 2013): 263–84. http://dx.doi.org/10.1075/jhp.14.2.05lut.

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This study seeks to provide new insights into the development and use of pray in Early Modern English. The study is based on the sociopragmatically annotated Drama Corpus, which combines the drama text samples of three different Early Modern English corpora, comprising a total of 242,561 words from a time span of 1500 to 1760. We investigate the quantitative distribution of the different forms in which pray appears during this period, and the influence of the variables of social status and gender. The aim of the current study is consequently to shed more light on the sociopragmatic nature of pray forms, and to reach a more profound understanding of their use in the Early Modern English period.
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Dissertations / Theses on the topic "English drama Early modern and Elizabethan"

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Streete, Adrian George Thomas. "Calvinism, subjectivity and early modern drama." Thesis, University of Stirling, 2001. http://hdl.handle.net/1893/12800.

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This thesis examines the connections between Calvinism and early modern subjectivity as expressed in the drama produced during the reigns of Elizabeth I and James I. By looking at a range of theological, medical, popular, legal and polemical writings, the thesis aims to provide a new historical and theoretical reading of Calvinist subjectivity that both develops and departs from previous scholarship in the field. Chapter one examines the critical question of 'authority' in early modern Europe. I trace the various classical and medieval antecedents that reinscribed Christ with political authority during the period, and show how the Reformers' conception of conscience arises out of this movement. In chapter two, I offer a parallel reading of Reformed semiotics in relation to the individual's response to two specific loci of power, the Church and the stage. Chapter three brings the first two chapters together by outlining the development of Calvinist doctrine in early modem England. Chapter four offers a theoretical reading of the early modern 'unconscious' in relation to the construction of England as a Protestant nation state against the threat of Catholicism. In the next four chapters, I show how the stage provided the arena for the exploration of Calvinist subjectivities through readings of four early modern plays. Chapter five deals with Christopher Marlowe's Doctor Faustus and in particular the Calvinist conception of Christ interrogated throughout the play. Chapter six looks at The Revenger's Tragedy in relation to the question of masculine lineage and the Name-of-the-(Calvinist)-Father. Finally, in chapters seven and eight, I examine two of William Shakespeare's plays, Macbeth and Antony and Cleopatra. In the first, I demonstrate how the play's concern with witchcraft brings about a parody of providential discourse that is crucial to an understanding of Macbeth's subjectivity. And in the second, I excavate the use of the biblical book of Revelation in Antony and Cleopatra in order to show how an understanding of the text's 'religious' concerns problematises more mainstream readings of the drama.
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Margalit, Yael. "Creaturely pleasures : the representation of animals in early modern drama." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=115607.

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This dissertation addresses the profound influence that the shared experience of humans and animals had on the poetics of early modern drama. With reference to a selection of early modern comedies and a range of non-literary texts that includes natural history encyclopedias and animal husbandry manuals, I argue that the vernacular knowledge of animals shaped the early modern imagination generally and the early modern playwright's imagination particularly. I propose an original approach to early modern literature, one which urges integrating a consideration of the real-world referent for animal representation, the collective life lived by humans and animals, and the poetics of early modern drama.
In my introduction, I take up the dissertation's general claims about the ethical and historiographical dimension of interpreting early modern animal representation. I continue to work at this theoretical level in Chapter One, where I consider how the animal-focused disciplines of sociobiology and ecology can help and hinder readers interpret early modern drama. In the following chapters, I work closely with a selection of early modern plays, contexts, and literary and theatrical devices. Chapter Two focuses on a web of comic plays that feature instantiations of animals in stage properties and actor's gestures. The web of plays in Chapter Two includes the anonymous Mucedorus; Lording Barry's Ram Alley; John Fletcher's Women Pleased; Thomas Nashe's Summer's Last Will and Testament ; William Rowley, Thomas Dekker, and John Ford's The Witch of Edmonton; Shakespeare's Love's Labor Lost; and Shakespeare and Fletcher's Two Noble Kinsmen. Chapter Three is devoted to the anthropomorphism of the allegorical representations of animals in Ben Jonson's plays Volpone and The Alchemist. In my reading of Shakespeare's A Midsummer Night's Dream in Chapter Four, I move on to consider animals whose representation is removed from reality not merely by anthropomorphism, but also by magic. All of these instances of representation draw animals into a sphere of existence that is commonly understood as the exclusive domain of humans at the same time that they draw humans in the other direction, which is to say into the muck and mire that is the origin of all life.
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Hill, Alexandra. "BLOUDY TYGRISSES": MURDEROUS WOMEN IN EARLY MODERN ENGLISH DRAMA AND POPULAR LITERATURE." Master's thesis, University of Central Florida, 2009. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2281.

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This thesis examines artistic and literary images of murderous women in popular print published in sixteenth and seventeenth-century England. The construction of murderous women in criminal narratives, published between 1558 and 1625 in pamphlet, ballad, and play form, is examined in the context of contemporary historical records and cultural discourse. Chapter One features a literature review of the topic in recent scholarship. Chapter Two, comprised of two subsections, discusses representations of early modern women in contemporary literature and criminal archives. The subsections in Chapter Two examine early modern treatises, sermons, and essays concerning the nature of women, the roles and responsibilities of wives and mothers, and debates about marriage, as well as a review of women tried for murder in the Middlesex assize courts between 1558 and 1625. Chapter Three, comprised of four subsections, engages in critical readings of approximately 52 pamphlets, ballads, and plays published in the same period. Individual subsections discuss how traitorous wives, murderous mothers, women who murder in their communities, and punishment and redemption are represented in the narratives. Woodcut illustrations printed in these texts are also examined, and their iconographic contributions to the construction of bad women is discussed. Women who murder in these texts are represented as consummately evil creatures capable of inflicting terrible harm to their families and communities, and are consistently discovered, captured, and executed by their communities for their heinous crimes. Murderous women in early modern popular literature also provided a means for contemporary men and women to explore, confront, and share in the depths of sin, while anticipating their own spiritual salvation. Pamphlets, plays, and broadsides related bawdy, graphic, and violent stories that allow modern readers a glimpse of the popular culture and mental world of Renaissance England.
M.A.
Department of Liberal and Interdisciplinary Studies
Graduate Studies;
Interdisciplinary Studies MA
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Mentzer, Julianne. "The textuality of friendship : homosocial hermeneutic exchanges in early modern English drama." Thesis, University of St Andrews, 2018. http://hdl.handle.net/10023/16009.

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My thesis argues that textually embedded intimacy and exclusivity between men opens up ethical problems concerning the use of education and persuasive powers—the ability to reconfigure vice as virtue, to argue a case for transgressions, and to navigate political, economic, and social spheres for personal self-advancement. My argument is based first on the proposition that masculine elite friendship in the early modern period is situated in specific pedagogical practices, engagement with particular rhetorical manuals and classical texts, and manipulation of texts which determine the affectionate, ‘textual', nature of these relationships. From this, I propose, second, that a hermeneutic process of rhetorical and poetic composition and exclusionary understanding is embedded within these textual relationships. From these two propositions, I analyse the textual surface of homosocial relationships in order to ask questions about ethical dilemmas concerning the forms of power they represent. How can an enclosed system of affection be useful for political, social, or financial advancement by making a vice (self-interest) of a virtue (fidelity), a dubious idea in the early modern period? How are homosocial networks developed and depicted through an engagement with their own textuality? Are they shown as transgressive and dangerous in further marginalizing those who are not privy to the system of textual exchange between men? The creation of homosocial male friendships is predicated on the idea that there are shared texts and methodologies for internalizing ideas from classical sources (imitatio) and for using these as starting points for the creation of arguments (inventio) to suit social, political, and even domestic situations. I focus on fictitious relationships developed in early modern English drama—as playwrights represent masculine discourse, textual knowledge, and rhetorical techniques. The friendships and fellowships in these dramatic productions contain questions about the use of masculine networks in socio-political and economic navigation.
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Slowe, Martha. "In defense of her sex : women apologists in early Stuart letters." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=39756.

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This study explores the problem of female defense in relation to the constitution of women as disempowered speaking subjects within the dominant rhetorical structures of early Stuart literature. The discourse of male rhetoricians defines a subordinate place for women in the order of language. The English formal controversy arguments over the nature of women in the sixteenth and early seventeenth centuries similarly deploy tropes of male precedence and female subordination to restrain women in the symbolic order and to inhibit any form of female discourse. In order to construct an effective defense a female apologist must reconstitute herself by working within and subverting these constraints. Early Stuart drama provides numerous instances in which women confront and contest the pre-established limits for female speech in their efforts to defend themselves and/or their sex. However, in the dramas selected for this scrutiny, despite the forceful defense strategies that female characters use in their attempts to negotiate their negative positions in language, they are ultimately marginalized. My final chapter therefore examines the rhetorical strategies whereby in her life and writing one woman author, Elizabeth Cary, successfully appropriated and transformed the gendered tropes into compelling female defenses.
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Mukherjee, Manisha. "The representation of transgressive love and marriage in English Renaissance drama /." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=42103.

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This study explores the presentation of transgressive, effective and erotic relationships in a selected group of early modern plays as those relationships relate to the English Renaissance ideal of marriage and sexuality expressed in religious and secular tracts. The depictions of illicit love and sexuality in these plays reveal problematic social and moral issues inherent in the construction of the English Renaissance ideal of love and marriage. Not only do the dramatists reveal the tension between transgressive and normative love and sexuality, but they do so through the use of aesthetic forms that transgress conventional dramatic structure. This dissertation contends that the unconventional dramatic representation of transgression functions as a cognitive mode for the audience in their understanding of the practical social reality associated with the abstract ideality of love and marriage. Focussing on a selected plays of English Renaissance dramatists William Shakespeare, Thomas Middleton, Francis Beaumont, John Fletcher, Thomas Heywood, John Ford, and two anonymous playwrights, I suggest that the dramatists refuse to condemn or condone the transgression. Rather, they endow it with meaning, and while not rescinding the ideal love and sexuality, offer possible ways of accommodating it.
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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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Hirsch, Brett Daniel. "Werewolves and women with whiskers : figures of estrangement in early modern English drama and culture." University of Western Australia. English and Cultural Studies Discipline Group, 2009. http://theses.library.uwa.edu.au/adt-WU2009.0175.

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Each chapter of Werewolves and Women with Whiskers: Figures of Estrangement in Early Modern English Drama and Culture explores a particular figure of fascination and fear in the early modern English imagination: in one it is owls, in another bearded women, in a third werewolves, and in yet another Jews. Drawing on instances from drama and other cultural forms, this thesis seeks to examine each of these phenomena in terms of their estrangement. There is a symbolic appositeness in each of these figures, whether in estranged and estranging minority groups, such as Catholics, Jesuits, Jews, Puritans, Italians, the Irish, and the Scots; or in transgressive behaviours, such as cross-dressing and gender trouble, infidelity and apostasy, intemperate passion and unnatural desire. Essentially unfixed and unstable, these emblematic figures are indicative of cultural uncertainty and therefore are easily adapted to suit changing political, religious, and social climates. However, adaptability and fluidity come at a price, since figures of difference have an uncomfortable way of transforming themselves into figures of resemblance. Thus, this thesis argues, each of these figures—owls, bearded women, werewolves, Jews—occupies an undefined and undefinable space on the precarious boundary between the usual and the unusual, between the strange and the strangely familiar, and, most strangely and paradoxically of all, between us and them.
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Chow, Po-fun Wendy, and 周寶芬. "Carnivalization and subversion of order in comic plays, with referenceto Shakespeare's Twelfth night and Herry IV." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1987. http://hub.hku.hk/bib/B31948996.

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Yardy, Danielle. "Stake and stage : judicial burning and Elizabethan theatre, 1587-1592." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:c90c5635-2258-4213-a445-4bfaf67d24d7.

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This thesis is the first sustained analysis of the relationship between Elizabethan theatre and the judicial practice of burning at the stake. Focusing on a five-year window of theatrical output (1587-1592), it argues that polemical literary presentations of burning are the key to understanding the stage's negotiation of this most particular form of judicial violence. Unlike other forms of penal violence, burning at the stake was not staged, and only fourteen incidences of the punishment are recorded in Elizabethan England. Its strong literary presence in Protestant historiography is therefore central to this study. Part I explores the tragic and overtly theatrical rhetoric that the widely available Acts and Monuments built around the burning of heretics in the reformation, and argues that the narrative of this drama of injustice intervened in the development of judicial semiotics over the late-sixteenth century. By the time that Tamburlaine was first performed, burning at the stake was a pressing polemical issue, and it haunts early commercial theatre. Elizabethan historiography of the stake was deeply influential in Elizabethan theatre. In Part II, I argue that Marlovian fire spectacles evoke tableaux from the Acts and Monuments to encourage partisan spectatorship, informed by the rhetoric of martyrdom. Dido's self-immolation courts this rhetoric by dismissing the sword from her death, while Tamburlaine's book burning is condemned through its emphatically papist undertones. These plays court the stake through spectacles utilizing its rhetoric. In Part III, I show that characters historically destined to face the stake required thorough criminalization to justify their sentence. Alice Arden is distinguished from female martyrs celebrated for their domestic defiance, while Jeanne d'Arc's historical heresy is forcefully rewritten as witchcraft and whoredom to condemn 1 Henry VI's Joan la Pucelle. Both women are punished offstage, and the plays focus instead on the necessary task of justifying the sentence of burning. Though rare in practice, burning at the stake was a polemical issue in Elizabethan England. Despite the stake's lack of imitation in the theatre, I argue that widely available Protestant historiography - propaganda at the heart of debates about burning and religious violence - affected both how plays were written, and how they could be viewed.
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Books on the topic "English drama Early modern and Elizabethan"

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Harold, Bloom, ed. Elizabethan drama. Philadelphia: Chelsea House Publishers, 2004.

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1903-1967, Gassner John, and Green William 1926-, eds. Elizabethan drama: Eight plays. New York, NY: Applause Theatre Book, 1989.

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N, Klausner David, ed. Records of early English drama. Toronto: University of Toronto Press, 1990.

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Magic and masculinity in early modern English drama. Pittsburgh, Pa: Duquesne University Press, 2009.

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Working subjects in early modern English drama. Burlington, VT: Ashgate, 2010.

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Performing early modern drama today. Cambridge: Cambridge University Press, 2012.

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Hort, John. Shakespeare's Henry V: A shortened and simplified version in modern English. Nottingham: Kabet, 1986.

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Keith, Sturgess, and Heywood Thomas d. 1641, eds. Three Elizabethan domestic tragedies. Harmondsworth, Middlesex, England: Penguin Books, 1985.

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English ethnicity and race in early modern drama. Cambridge, U.K: Cambridge University Press, 2003.

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C, Coldewey John, ed. Early English drama: An anthology. New York: Garland Pub., 1993.

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Book chapters on the topic "English drama Early modern and Elizabethan"

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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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Hillman, Richard. "The Subject of Revenge/The Revenge of the Subject in Elizabethan Drama." In Self-Speaking in Medieval and Early Modern English Drama, 107–63. London: Palgrave Macmillan UK, 1997. http://dx.doi.org/10.1057/9780230372894_4.

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Clifford, Catherine. "Elizabeth I and the Dancing Stuart Queens: Female Agency and Subjectivity in Early Modern English Court Drama." In The Palgrave Handbook of the History of Women on Stage, 127–50. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-23828-5_7.

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Ullyot, Michael. "Seneca and the Early Elizabethan History Play." In English Historical Drama, 1500–1660, 98–124. London: Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1057/9780230593268_4.

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Stelzer, Emanuel. "Early modern English portraiture." In Portraits in Early Modern English Drama, 45–68. Abingdon, Oxon; New York, NY: Routledge, 2019. | Revision of author’s thesis (doctoral)—Universitáa di Bergamo, 2017.: Routledge, 2019. http://dx.doi.org/10.4324/9780429436697-4.

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Stelzer, Emanuel. "Early modern visualities." In Portraits in Early Modern English Drama, 28–44. Abingdon, Oxon; New York, NY: Routledge, 2019. | Revision of author’s thesis (doctoral)—Universitáa di Bergamo, 2017.: Routledge, 2019. http://dx.doi.org/10.4324/9780429436697-3.

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Grantley, Darryll. "Jacobean Drama." In London in Early Modern English Drama, 91–140. London: Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1057/9780230583764_4.

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Grantley, Darryll. "Caroline Drama." In London in Early Modern English Drama, 141–85. London: Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1057/9780230583764_5.

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Matei-Chesnoiu, Monica. "Introduction: Recomposing Space within Geographic Diversity." In Geoparsing Early Modern English Drama, 1–23. New York: Palgrave Macmillan US, 2015. http://dx.doi.org/10.1057/9781137469410_1.

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Matei-Chesnoiu, Monica. "Reclaimed Ancient and Renaissance Geographic Commentaries." In Geoparsing Early Modern English Drama, 25–57. New York: Palgrave Macmillan US, 2015. http://dx.doi.org/10.1057/9781137469410_2.

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