Log in

Relevant bibliographies by topics / English drama Early modern and Elizabethan / Journal articles

To see the other types of publications on this topic, follow the link: English drama Early modern and Elizabethan.

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

Author: Grafiati

Published: 4 June 2021

Last updated: 30 January 2023

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 50 journal articles for your research on the topic 'English drama Early modern and Elizabethan.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.

1

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

2

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

3

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.

Full text

Abstract:

<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>

APA, Harvard, Vancouver, ISO, and other styles

4

Page, Louise. "Emotion is a Theatrical Weapon." New Theatre Quarterly 6, no. 22 (May 1990): 174–82. http://dx.doi.org/10.1017/s0266464x00004243.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

5

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

6

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

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

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

9

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

10

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

11

Aune, M. G., Jonathan Gil Harris, and Natasha Korda. "Staged Properties in Early Modern English Drama." Sixteenth Century Journal 35, no. 2 (July 1, 2004): 529. http://dx.doi.org/10.2307/20476964.

Full text

APA, Harvard, Vancouver, ISO, and other styles

12

Shinn, Abigail. "Religious Conversion in Early Modern English Drama." Seventeenth Century 35, no. 3 (February 19, 2020): 392–93. http://dx.doi.org/10.1080/0268117x.2020.1728982.

Full text

APA, Harvard, Vancouver, ISO, and other styles

13

Reichl, Isabella. "Refusals in Early Modern English drama texts." Pragmatics. Quarterly Publication of the International Pragmatics Association (IPrA) 28, no. 2 (May 7, 2018): 253–70. http://dx.doi.org/10.1075/prag.17017.rei.

Full text

Abstract:

Abstract Due to their largely non-routinized forms and their not being retrievable in computerised corpus searches, refusals have hitherto not been examined from a diachronic perspective. The present paper presents an inventory of refusal strategies in Early Modern English drama texts. Five comedies from two periods (1560–1599 and 1720–1760), respectively, taken from the Corpus of English Dialogues 1560–1760 (Kytö and Culpeper 2006) were examined manually and analysed qualitatively and quantitatively. The analysis lead to an alternative classification of refusals which differs considerably from the frequently used taxonomy by Beebe, Takahashi, and Uliss-Weltz (1990). The proposed classification takes into account three levels of analysis: the propositional content of the utterance, the functional super-strategy, and the speaker’s stance. The development of refusal within the period under investigation partially matches findings regarding related speech acts that show a development towards increased indirectness (Culpeper and Demmen 2011, Pakkala-Weckström 2008, Del Lungo Camiciotti 2008).

APA, Harvard, Vancouver, ISO, and other styles

14

Pickett, Holly Crawford. "Religious conversion in early modern English drama." Reformation 27, no. 2 (July 3, 2022): 141–42. http://dx.doi.org/10.1080/13574175.2022.2125745.

Full text

APA, Harvard, Vancouver, ISO, and other styles

15

Floyd-Wilson (book author), Mary, and Giuseppina A. Iacono (review author). "English Ethnicity and Race in Early Modern Drama." Renaissance and Reformation 39, no. 1 (January 1, 2003): 118–21. http://dx.doi.org/10.33137/rr.v39i1.8889.

Full text

APA, Harvard, Vancouver, ISO, and other styles

16

Neilson, Patrick. "Staged Properties in Early Modern English Drama (review)." Theatre Journal 57, no. 1 (2005): 145–47. http://dx.doi.org/10.1353/tj.2005.0026.

Full text

APA, Harvard, Vancouver, ISO, and other styles

17

Christensen, Ann C. "Staged Properties in Early Modern English Drama (review)." Shakespeare Quarterly 55, no. 3 (2004): 346–48. http://dx.doi.org/10.1353/shq.2005.0003.

Full text

APA, Harvard, Vancouver, ISO, and other styles

18

Roberts-Smith, Jennifer. "Thomas Campion’s iambic and quantitative Sapphic: Further evidence for phonological weight in Elizabethan English quantitative and non-quantitative meters." Language and Literature: International Journal of Stylistics 21, no. 4 (November 2012): 381–401. http://dx.doi.org/10.1177/0963947012444952.

Full text

Abstract:

Fulfilling a central goal of a generation of Elizabethan English metrical theory often referred to as the ‘quantitative movement’, Thomas Campion succeeded in demonstrating the role of syllable quantity, or phonological weight, in Elizabethan iambic pentameter. Following Kristin Hanson (2001, 2006), this article parses Campion’s scansions of Early Modern English syllables, according to moraic theory, into resolved moraic trochees. The analysis demonstrates that (1) Campion distinguished between syllable weight (syllable quantity) and stress or strength (accent) in Early Modern English; (2) Campion prohibited syllabic consonants in English iambic pentameter, despite the fact that they were attested in Early Modern English as a whole; (3) in a successful adaptation of the Latin rule of ‘position’, as described by William Lily and John Colet’s Short Introduction of Grammar (1567), Campion re-syllabified coda consonants followed by vowels; and (4) Campion employed syllabic elision as a means of avoiding pyrrhic syllable combinations that resulted in non-maximal filling of long positions in a line of English iambic pentameter. His two iambic pentameters – the ‘pure’ and the ‘licentiate’ – are both accentual and quantitative meters that, in accordance with moraic theory, integrate stress and strength with syllable weight. He contrasted stress and weight in the quantitative Sapphic lyric ‘Come let us sound with melodie’ (Campion, 1601). Hanson’s (2001, 2006) reconsideration of the role of syllable quantity in Elizabethan metrical theory and Elizabethan poetry should be continued.

APA, Harvard, Vancouver, ISO, and other styles

19

Jackson, Lucy. "Proximate Translation: George Buchanan's Baptistes, Sophocles’ Antigone, and Early Modern English Drama." Translation and Literature 29, no. 1 (March 2020): 85–100. http://dx.doi.org/10.3366/tal.2020.0410.

Full text

Abstract:

This essay takes up the question of what impact Greek tragedy had on original plays written in Latin in the sixteenth century. In exploring George Buchanan's biblical drama Baptistes sive calumnia (printed 1577) and its reworking of scenes and images from Sophocles' Antigone, we see how neo-Latin drama provided a valuable channel for the sharing and shaping of early modern ideas about Greek tragedy. The impact of the Baptistes on English drama is then examined, with particular reference to Thomas Watson's celebrated Latin translation of Antigone (1581). The strange affinities between Watson's and Buchanan's plays reveal the potential for Greek tragedy to shape early modern drama, but also for early modern drama to shape how Greek tragedy itself was read and received in early modern England.

APA, Harvard, Vancouver, ISO, and other styles

20

Siegfried, B. R., and Frank Whigham. "Seizures of the Will in Early Modern English Drama." Sixteenth Century Journal 28, no. 2 (1997): 536. http://dx.doi.org/10.2307/2543470.

Full text

APA, Harvard, Vancouver, ISO, and other styles

21

Sterrett, Joseph. "The materiality of religion in early modern English drama." Culture and Religion 12, no. 4 (December 2011): 499–501. http://dx.doi.org/10.1080/14755610.2011.626111.

Full text

APA, Harvard, Vancouver, ISO, and other styles

22

Yılmaz Karahan, Zümre Gizem. "Airy Agency in Early Modern English Drama: Ho Trilogy." English Studies 101, no. 5 (November 14, 2019): 537–49. http://dx.doi.org/10.1080/0013838x.2019.1672460.

Full text

APA, Harvard, Vancouver, ISO, and other styles

23

Kesson, A. "Was Comedy a Genre in English Early Modern Drama?" British Journal of Aesthetics 54, no. 2 (April 1, 2014): 213–25. http://dx.doi.org/10.1093/aesthj/ayu035.

Full text

APA, Harvard, Vancouver, ISO, and other styles

24

Hopkins, Lisa. "The materiality of religion in early modern English drama." Shakespeare 6, no. 1 (April 2010): 114–15. http://dx.doi.org/10.1080/17450911003643118.

Full text

APA, Harvard, Vancouver, ISO, and other styles

25

Andrea, Bernadette. "Geoparsing Early Modern English Drama by Monica Matei-Chesnoiu." Journal for Early Modern Cultural Studies 18, no. 4 (2019): 155–61. http://dx.doi.org/10.1353/jem.2019.0002.

Full text

APA, Harvard, Vancouver, ISO, and other styles

26

Lutzky, Ursula. "The sociopragmatic nature of interjections in Early Modern English drama comedy." Historical Pragmatics today 22, no. 2 (December 31, 2021): 225–44. http://dx.doi.org/10.1075/jhp.00054.lut.

Full text

Abstract:

Abstract Interjections have been studied for all periods in the history of English, ranging from the study of Old English exclamations such as hwaet (Brinton 2017) to the pragmatic functions of forms such as oops in Present Day English (Lutzky and Kehoe 2017). The Early Modern English (EModE) period represents a turning point as it witnessed an increase in dialogic and speech-related text types, including drama comedy and trial proceedings. Nevertheless, despite recent advances in the compilation and especially the sociopragmatic annotation of corpora, EModE pragmatic markers have not been studied extensively over the last decade. This article addresses this gap by offering an investigation into the sociopragmatic nature of interjections in EModE drama comedy. It is based on the sociopragmatically annotated Drama Corpus which includes a total of 242,561 words from the period 1500 to 1760. Taking a data-driven, form-to-function mapping approach, this study explores the use of interjections in the Drama Corpus with a focus on their distribution according to sociopragmatic variables. The aim of this study is to contribute to reaching a more comprehensive understanding of pragmatic marker use in EModE.

APA, Harvard, Vancouver, ISO, and other styles

27

JUNG, Youmi. "Women and Theater: Recent Studies in Early Modern English Drama." In/Outside: English Studies in Korea, no. 50 (May 2021): 153–75. http://dx.doi.org/10.46645/inoutsesk.50.5.

Full text

APA, Harvard, Vancouver, ISO, and other styles

28

Higginbotham, Derrick. "Review of Magic and Masculinity in Early Modern English Drama." Men and Masculinities 15, no. 4 (March 30, 2012): 436–38. http://dx.doi.org/10.1177/1097184x12439882.

Full text

APA, Harvard, Vancouver, ISO, and other styles

29

Reid, Lindsay Ann. "Impregnable Towers and Pregnable Maidens in Early Modern English Drama." Comparative Drama 53, no. 1-2 (2019): 85–108. http://dx.doi.org/10.1353/cdr.2019.0003.

Full text

APA, Harvard, Vancouver, ISO, and other styles

30

Hardie, Andrew, and Isolde van Dorst. "A survey of grammatical variability in Early Modern English drama." Language and Literature: International Journal of Stylistics 29, no. 3 (August 2020): 275–301. http://dx.doi.org/10.1177/0963947020949440.

Full text

Abstract:

Grammar is one of the levels within the language system at which authorial choices of one mode of expression over others must be examined to characterise in full the style of the author. Such choices must however be assessed in the context of an understanding of the extent of variability that exists generally in the language. This study investigates a set of grammatical features to understand their variability in Early Modern English drama, and the extent to which Shakespeare’s grammatical style is distinct from or similar to that of his contemporaries in so far as these features are concerned. A review of prior works on Shakespeare’s grammar establishes that the quantitatively informed corpus linguistic approach utilised in this study is innovative to this topic. Using two of the grammatically annotated corpora created by the Encyclopedia of Shakespeare’s Language project, one made up of Shakespeare’s plays, one of plays by other playwrights of the period, we present a method which steers a course between the narrow focus of close reading and the naïvely quantitative metrics of authorship analysis. For a set of 15 grammatical features of stylistic interest, we retrieve all instances of each feature in each play via complex corpus search patterns and calculate its relative frequency. These results are then considered, in aggregate and at the text level, to assess the differences across plays, across dramatic genre, and between Shakespeare and the other dramatists, via both statistical summary and visual representation of variability. We find that Shakespeare’s grammatical style tends (especially in comedies and tragedies) to disprefer informationally dense noun phrases relative to the other playwrights; and, moreover, to prefer tense, aspect and pronoun features which suggest a greater degree of narrative focus in his style. Furthermore, we find Shakespeare to be highly distinct in his preferences regarding verb complement subordinate clause types. These findings point the way both to a novel methodology and to further as yet unconsidered questions on the subject of Shakespeare’s grammatical style.

APA, Harvard, Vancouver, ISO, and other styles

31

Ingram, R. "Review: Pure Resistance: Queer Virginity in Early Modern English Drama." Journal of the American Academy of Religion 71, no. 2 (June 1, 2003): 451–53. http://dx.doi.org/10.1093/jaar/71.2.451.

Full text

APA, Harvard, Vancouver, ISO, and other styles

32

Lovascio, Domenico. "Merchants, usurers and harlots: Genoa in early modern English drama." Renaissance Studies 32, no. 3 (May 16, 2017): 346–64. http://dx.doi.org/10.1111/rest.12313.

Full text

APA, Harvard, Vancouver, ISO, and other styles

33

Brett D. Hirsch. "Early Modern English Drama: A Critical Companion (review)." Parergon 25, no. 1 (2008): 260–61. http://dx.doi.org/10.1353/pgn.0.0020.

Full text

APA, Harvard, Vancouver, ISO, and other styles

34

Kadhim, Thamer Mohammad, and Safaa Kareem Ali. "Themes of Chronicle Drama." International Journal of Early Childhood Special Education 13, no. 2 (December 2, 2021): 53–57. http://dx.doi.org/10.9756/int-jecse/v13i2.211039.

Full text

Abstract:

Chronicle drama occupies a central position in modern literature which represents a field for interaction of ideas and actions, as it works as storage for historical and human experience. It records a sequence for the history. This study aims to examine the main themes of chronicle drama. Thus, it tracks the history of modern literature as a wide source for this literary genre. The study adopts a historical and analytical methodology in order to clarify the broader dimensions related to chronicle drama and its sources. Historically, chronicle drama was used to dramatize the facts and work as an expression of factory life of kings. That’s why King John of Shakespeare in 1553 was the first one of this genre. The study concludes that chronicle drama mirrored surrounding circumstances of the facts since its early times. So, it was effected by the historical conditions. This is clearly appeared in the early works like Henry the Fifths, Tragedy of Richard III The life and Death of Jaike Strew and so, the previously mentioned "The King John". So it was affected politically and socially by the European historical context. The research also indicates that the Elizabethan Dramatists put the basics of the later stage of literature development especially on the level of techniques. This appears in Shakespeare’s works who used to end the drama with restoration and disordering which still exists in postmodern literature.

APA, Harvard, Vancouver, ISO, and other styles

35

Lawrence, David R. "Reappraising the Elizabethan and Early Stuart Soldier: Recent Historiography on Early Modern English Military Culture." History Compass 9, no. 1 (January 2011): 16–33. http://dx.doi.org/10.1111/j.1478-0542.2010.00748.x.

Full text

APA, Harvard, Vancouver, ISO, and other styles

36

MacLean, Sally-Beth. "Drama and ceremony in early modern England: the REED project." Urban History 16 (May 1989): 38–46. http://dx.doi.org/10.1017/s0963926800009160.

Full text

Abstract:

In 1976 a medieval and renaissance theatre history project was launched under the masthead Records of Early English Drama (now more familiarly known as REED). The official launch had taken two years of planning by scholars from Britain, Canada and the United States, and was given assurance for the future through a ten-year major Editorial Grant from the Canada Council. REED's stated goal – then as now – was to find, transcribe and publish evidence of dramatic, ceremonial and musical activity in Great Britain before the theatres were closed in 1642. The systematic survey undertaken would make available for analysis records relating to the evolution of English theatre from its origins in minstrelsy, through the flowering of drama in the renaissance, to the suppression first of local and then of professional entertainment under the Puritans.

APA, Harvard, Vancouver, ISO, and other styles

37

Raffield, Paul. "The Trials of Shakespeare: Courtroom Drama and Early Modern English Law." Law and Humanities 8, no. 1 (June 9, 2014): 53–76. http://dx.doi.org/10.5235/17521483.8.1.53.

Full text

APA, Harvard, Vancouver, ISO, and other styles

38

Matthews, Julia, and Wendy Wall. "Staging Domesticity: Household Work and English Identity in Early Modern Drama." Sixteenth Century Journal 34, no. 3 (October 1, 2003): 839. http://dx.doi.org/10.2307/20061569.

Full text

APA, Harvard, Vancouver, ISO, and other styles

39

Gale, Michael. "Book Review: Music, Dance, and Drama in Early Modern English Schools." Journal of Historical Research in Music Education 44, no. 1 (September 22, 2022): 122–24. http://dx.doi.org/10.1177/15366006221120739.

Full text

APA, Harvard, Vancouver, ISO, and other styles

40

Bunker, Nancy, and Wendy Wall. "Staging Domesticity: Household Work and English Identity in Early Modern Drama." Tulsa Studies in Women's Literature 21, no. 2 (2002): 405. http://dx.doi.org/10.2307/4149244.

Full text

APA, Harvard, Vancouver, ISO, and other styles

41

MACFAUL, TOM. "Magic and Masculinity in Early Modern English Drama - By Ian McAdam." Renaissance Studies 25, no. 3 (May 18, 2011): 483–85. http://dx.doi.org/10.1111/j.1477-4658.2011.00734.x.

Full text

APA, Harvard, Vancouver, ISO, and other styles

42

Helgerson, R. "Staging Domesticity: Household Work and English Identity in Early Modern Drama." Modern Language Quarterly 64, no. 4 (December 1, 2003): 495–98. http://dx.doi.org/10.1215/00267929-64-4-495.

Full text

APA, Harvard, Vancouver, ISO, and other styles

43

Öktem, Öz. "Re-Orienting Gender and Islamic Alterity in Early Modern English Drama." English Studies 100, no. 2 (February 17, 2019): 133–48. http://dx.doi.org/10.1080/0013838x.2018.1555980.

Full text

APA, Harvard, Vancouver, ISO, and other styles

44

Barker, Roberta. "Performing Environments: Site-Specificity in Medieval and Early Modern English Drama." Performance Research 21, no. 5 (September 2, 2016): 142–44. http://dx.doi.org/10.1080/13528165.2016.1228754.

Full text

APA, Harvard, Vancouver, ISO, and other styles

45

Bushnell, Rebecca W. "Seizures of the Will in Early Modern English Drama. Frank Whigham." Modern Philology 96, no. 1 (August 1998): 70–73. http://dx.doi.org/10.1086/492720.

Full text

APA, Harvard, Vancouver, ISO, and other styles

46

David Sharpe, J. "Early Modern Drama and the Bible: Contexts and Readings, 1570-1625 * The Oxford Handbook of the Early Modern Sermon." English 62, no. 239 (October 22, 2013): 409–11. http://dx.doi.org/10.1093/english/eft052.

Full text

APA, Harvard, Vancouver, ISO, and other styles

47

Tussay, Ákos. "Plague discourse, quarantine and plague control in early modern England: 1578–1625." Hungarian Journal of Legal Studies 61, no. 1 (July 5, 2021): 113–32. http://dx.doi.org/10.1556/2052.2020.00001.

Full text

Abstract:

AbstractPlague was a frequent visitor to early modern England, ravishing the whole country six times between 1563 and 1666. The plague problem was, however, definitely not just an English peculiarity. Plague, due to its recurrent and devastating outbreaks, was one of the central themes of late sixteenth-century medical scholarship and social policymaking. Plague was regulated mainly at the local levels, but most of the continental regulations and contemporary guidance seems to endorse two common features. They placed considerable emphasis on contagion and drew certain correlations between contacting plague and poverty on the one hand and meagre living conditions on the other hand. In some desperate attempts, the Elizabethan and Jacobean governments, set out to contain the spread of the disease, missing some marked features of these novel continental practices, issued various ill-suited regulations which dominated English plague control from 1578 to 1666. Despite these regulations' remarkably egalitarian overtone and seemingly charitable resolutions, this paper argues that the Elizabethan and Jacobean policies of plague control were destined to failure chiefly because of their elitist and inconsiderate measures, reducing them effectively to a harsh policy of confinement of the infected poor masses, taking almost no account of their health or well-being.

APA, Harvard, Vancouver, ISO, and other styles

48

Amelang, David J. "Comparing the Commercial Theaters of Early Modern London and Madrid." Renaissance Quarterly 71, no. 2 (2018): 610–44. http://dx.doi.org/10.1086/698142.

Full text

Abstract:

AbstractComparative studies have revealed uncanny similarities between the theatrical cultures of Shakespearean England and Golden Age Spain, and in particular between the Elizabethan amphitheaters and the Spanishcorrales de comedia(courtyard playhouses). Contrary to conventional wisdom, however, Spain’s (and, in particular, Madrid’s) courtyard theaters may have resembled the English indoor public playhouses, especially London’s Blackfriars, more than the Globe-like amphitheaters with which they are so often matched. That thecorralescould simultaneously play the part of both Globe and Blackfriars also helps account for the absence of indoor public playhouses in Habsburg Spain.

APA, Harvard, Vancouver, ISO, and other styles

49

Sheeha, Iman. "Separation Scenes: Domestic Drama in Early Modern England. By Ann C. Christensen." English: Journal of the English Association 67, no. 256 (2018): 68–71. http://dx.doi.org/10.1093/english/efy003.

Full text

APA, Harvard, Vancouver, ISO, and other styles

50

Maley, W. "Review: Language and Conquest in Early Modern Ireland: English Renaissance Literature and Elizabethan Imperial Expansion * Patricia Palmer: Language and Conquest in Early Modern Ireland: English Renaissance Literature and Elizabethan Imperial Expansion." Cambridge Quarterly 32, no. 3 (September 1, 2003): 282–87. http://dx.doi.org/10.1093/camqtly/32.3.282.

Full text

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!