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Books on the topic 'Jacobean plays'

Author: Grafiati

Published: 4 June 2021

Last updated: 15 February 2022

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1

Players, Wayward. Three Jacobean plays. [London]: Wayward Players, 1985.

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2

McGuire, Philip C. Shakespeare: The Jacobean plays. New York: St. Martin's Press, 1994.

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3

Shakespeare: The Jacobean plays. Basingstoke: Macmillan, 1994.

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4

McGuire, Philip C. Shakespeare: The Jacobean plays. London: Macmillan Press, 1994.

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5

McGuire, Philip C. Shakespeare: The Jacobean Plays. London: Macmillan Education UK, 1994. http://dx.doi.org/10.1007/978-1-349-23405-9.

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6

McGuire, Philip C. Shakespeare: The Jacobean plays. New York: St. Martin's Press, 1994.

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7

Allman, Eileen Jorge. Jacobean revenge tragedy and the politics of virtue. Newark, Del: University of Delaware Press, 1999.

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8

Lever, J. W. The tragedy of state: A study of Jacobean drama. London: Methuen, 1987.

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9

Gossett, Suzanne. The influence of the Jacobean masque on the plays of Beaumont and Fletcher. New York: Garland, 1988.

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10

Rizzoli, Renato. Representation and ideology in Jacobean drama: The politics of the coup de théâtre. Lewiston [N.Y.]: Edwin Mellen Press, 1999.

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11

Writing the Reformation: Actes and monuments and the Jacobean history play. Aldershot, Hants, England: Ashgate, 2002.

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12

Proudfoot, Richard. Richard Johnson's Tom a' Lincoln dramatized: A Jacobean play in British Library MS Add. 61745. [Chicago]: RETS, 1986.

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13

Proudfoot, Richard. Richard Johnson's 'Tom a' Lincoln' dramatized: A Jacobean play in British Library MS Add. 61745. [s.l.]: [Renaissance English Text Society], 1986.

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14

L, Berger Thomas, Gossett Suzanne, and Malone Society, eds. Jacobean academic plays. Oxford: Oxford University Press for the Malone Society, 1988.

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15

Peter, Corbin, Sedge Douglas, Marston John 1575?-1634, Middleton Thomas d. 1627, and Dekker Thomas ca 1572-1632, eds. Three Jacobean witchcraft plays. Manchester, UK: Manchester University Press, 1986.

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16

Jonson, Ben, Thomas Middleton, J. Marston, and Philip Massinger. Four Jacobean City Plays (Penguin Classics). Penguin Classics, 1987.

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17

(Editor), Peter Corbin, and Douglas Sedge (Editor), eds. Three Jacobean Witchcraft Plays: Sophonsiba, The Witch, The Witch of Edmonton (The Revels Plays Companion Library). Manchester University Press, 1989.

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18

(Editor), Suzanne Gossett, and Thomas L. Berger (Editor), eds. The Malone Society Collections Volume XIV: Jacobean Academic Plays (Malone Society Series). Oxford University Press, USA, 1988.

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19

Influence of the Jacobean Masque on the Plays of Beaumont and Fletcher. Taylor & Francis Group, 2017.

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20

Corbin, Peter. Three Jacobean Witchcraft Plays: The Tragedy of Sophonisba, the Witch, the Witch of Edmonton (Revels Plays Companion Library). Manchester Univ Pr, 1986.

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21

Gossett, Suzanne. The Influence of the Jacobean Masque on the Plays of Beaumont and Fletcher. Routledge, 2017. http://dx.doi.org/10.4324/9781315225890.

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22

Gossett, Suzanne. Routledge Library Editions : Renaissance Drama: The Influence of the Jacobean Masque on the Plays of Beaumont and Fletcher. Routledge, 2018.

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23

Representation and Ideology in Jacobean Drama: The Politics of the Coup De Theatre (Salzburg Studies in English Literature). Edwin Mellen Press, 1999.

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24

Stretton, Tim. Contract and Conjugality in Early Modern England. Edited by Lorna Hutson. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199660889.013.15.

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Literary scholars have long been aware of the near saturation of English Renaissance plays with marriage plots. Many Jacobean City Comedies, for example, use marriages to contrast traditional visions of society, formed around reciprocal obligations within a status hierarchy, with a more self-interested and contractual view of social relations. This chapter highlights links between marital contracts and financial contracts and considers changes in contractual thinking in the context of unprecedented litigation over conditional bonds; the displacement of dower by jointure in marital negotiations; and the increasingly contractual nature of private marital separations (in a society where divorce in the modern sense was unavailable).

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25

Patterson, Annabel. Afterword. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198806899.003.0012.

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This chapter reviews the volume, noting that literary critics elsewhere who have conceived the protesting commoners of Shakespeare’s drama as a ‘rabble’ have selectively reproduced the negative perspective of the plays’ patricians, whose hostility chimes with their own. It notes that early modern plebeian protest could actually prove both organized and successful, as recounted in Thomas Deloney’s Jack of Newberry, but suggests the need to investigate the possibility that a certain prudential anti-populism may have informed Folio revisions of some Quartos. Underlining Coriolanus’ introduction of the ideal of widespread manhood suffrage into early Jacobean culture, the chapter reaffirms, over a quarter of a century later, the assessment reached in Shakespeare and the Popular Voice of a dramatist substantially sympathetic to plebeian views and needs; yet it adds that final developments in his personal life may require us to recognize a somewhat hypocritical nouveau riche.

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26

West, William N. Intertheatricality. Edited by Henry S. Turner. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199641352.013.8.

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This chapter examines intertheatricality in early modern drama and particularly the ways that intertheatrical moments reveal how a present mode of playing distinguishes itself from modes that precede it, but which it also preserves as a resource. Playgoing, it argues, implied the ability to pick out many different types of theatrical elements, at many different scales; what appears to us as a textual crux or lacuna may signify an especially dense point on a system of intertheatrical references that has been lost. Through an analysis of Elizabethan and Jacobean plays such as Thomas Kyd’sThe Spanish Tragedy, the chapter considers a shift from a notion of allusion—which produces complexity of meaning by juxtaposing two or more texts—to a notion of the analogue as a resource of theatrical possibility, familiarity, and difference. It shows that the formal elements in circulation discerned by intertheatricality appear not only as forms, but also as themes of theatrical performance.

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27

Kapitaniak, Pierre. Staging Devils and Witches: Had Shakespeare Read Reginald Scot’s The Discoverie of Witchcraft? Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474427814.003.0003.

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Pierre Kapitaniak follows up on Laroque’s study by turning to witchcraft and demonology. Doing so, he examines the tenuous line distinguishing superstition from science, and analyses the staging of devils and witches in Shakespeare’s drama. Despite legends about King James I ordering it to be burnt, Reginald Scot’s The Discoverie of Witchcraft, was an ongoing success from the moment it was published, more often meeting with approval than with condemnation. Among those who approved of Scot’s ideas and who plundered them eagerly, were several generations of London playwrights. In The Discoverie of Witchcraft they found the buds of inspiration for all their supernatural figures that became so successful on Elizabethan and Jacobean stages, and one can only wonder whether the slow evolution from the usual supernatural paraphernalia (ghosts, demons, witches and wizards) towards more and more unbelievable figures, is not due to Scot’s widespread influence. Kapitaniak thus tries to reassess whether undisputable traces of Scot’s treatise can be found and ascertained in Shakespeare’s plays, and if his findings yield no easy conclusion, they offer fascinating hypotheses.

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28

Lejri, Sélima. ‘Remedies for Life’: Curing Hysterica Passio in Shakespeare’s Othello, Macbeth and The Winter’s Tale. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474427814.003.0004.

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Sélima Lejri is similarly interested in the coexistence of long-established folklore beliefs in demonism and witchcraft and the emerging scientific etiologies propounded by the physicians of the time. Lejri shows that it is thanks to Edward Jorden’s A Briefe Discourse of A Disease Called the Suffocation of the Mother (1603) that the interpretations of demonic vexation started to give way to the rational alternative of hysteria. It was then that Shakespeare’s interest in the medical theories of physiology, mainly humorism, became palpable. This testifies to the considerable influence of Timothy Bright’s or Edward Jorden’s ideas. Within this context of early modern scientific ‘revolution’ that ushered in the end of witch-hunting and gave large credit to reason over superstition, Shakespeare’s representation of the female body in his Jacobean plays bears the contemporary stamp of his new sources of information. It is Shakespeare’s response to such contemporary scientific theories that Lejri’s chapter aims at tackling through the particular example of Hysterica Passio, a feminine disease much discussed at the time and explicitly referenced in King Lear.

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29

Vinter, Maggie. Last Acts. Fordham University Press, 2019. http://dx.doi.org/10.5422/fordham/9780823284269.001.0001.

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Last Acts: The Art of Dying on the Early Modern Stage argues that the Elizabethan and Jacobean theater offered playwrights, actors, and audiences important opportunities to practice arts of dying. Early modern plays also engage with devotional traditions that understand death less as an occasion for suffering or grieving than as an action to be performed, well or badly. Active deaths belie the narratives of helplessness and loss most often used to analyze representations of mortality and instead suggest ways that marginalized and constrained subjects might participate in the political, social, and economic management of life. Some of these strategies for dying resonate with ecclesiastical forms or with descriptions of biopolitics within the recent work of Giorgio Agamben and Roberto Esposito. Yet the art of dying is not solely a discipline imposed upon recalcitrant subjects. Since it offers suffering individuals a way to enact their deaths on their own terms, it discloses both political and dramatic action in their most minimal manifestations. Rather than mournfully marking what we cannot recover, the practice of dying reveals what we can do, even in death. By analyzing representations of dying in plays by writers including Christopher Marlowe, William Shakespeare, and Ben Jonson alongside both devotional texts and contemporary biopolitical theory, Last Acts shows how theater reflects, enables, and contests the politicization of life and death.

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30

Writing the Reformation: Acts and Monuments and the Jacobean History Play. Taylor & Francis Group, 2017.

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31

Writing the Reformation: Acts and Monuments and the Jacobean History Play. Routledge, 2017. http://dx.doi.org/10.4324/9781315187952.

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32

Kerrigan, John. King Lear and its Origins. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198793755.003.0004.

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The agreed, major sources of King Lear are the anonymous history play King Leir and Sidney’s Arcadia. To these and other early modern ‘originals’ this chapter adds classical tragedies by Seneca, Euripides, and Sophocles—most conspicuously his Oedipus at Colonus, which was readily available in Latin translation. The ancient tragedies resonate with King Lear thanks to conventions of literary imitation that were well understood in the Jacobean period, but their presence is also symptomatic of a drive within the play to get back to the origins of nature, injustice, and causation. The influences of Plutarch and Montaigne are also highlighted. The portrayal of death (or the illusion of it) and the desire for death, in the play and its sources, are analysed. Focusing on the scenes at Dover Cliff and the division of the kingdom/s, this chapter moves to a new account of the complications of the play’s conclusion in both quarto and Folio texts.

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33

Jackson, MacDonald P. Screening the Tragedies. Edited by Michael Neill and David Schalkwyk. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780198724193.013.37.

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Jonathan Miller’s BBC TV production of King Lear and Michael Elliott’s version for Granada TV, starring Laurence Olivier, illustrate contrasting approaches to the small-screen medium, with Miller recording lengthy takes of characters artfully choreographed within bare sets, and Elliott employing a montage technique to view individuals in expressive close-ups. The near-monochrome BBC costumes suggest the world of Jacobean politics, whereas Granada’s pastel colours suit the ‘Once upon a time’ quality of Shakespeare’s opening. The cinematic adaptations by Peter Brooke and Grigori Kozintsev better convey the play’s vastness, bleakness, and grandeur, Brooke filming in the snow-bound tundra of Northern Jutland, Kozintsev in a primitive rock-strewn Russian landscape, through which peasants trudge. Brooke’s style is New Wave, his vision unsparing. Kozintsev draws on both traditional epic convention and Christian-humanist tradition. Several other screen versions merit attention, notably Akiro Kurosawa’s Ran and Brian Blessed’s undervalued movie with himself as Lear.

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34

Boutcher, Warren. Learning Mingled with Nobility in Shakespeare’s England. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780198739661.003.0004.

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Chapter 2.3 analyses the English school of Montaigne in the context of the relationship between Renaissance education and the early modern nobility. The Englished Montaigne––translated by John Florio and dramatized by Samuel Daniel, Ben Jonson, John Marston, and others––was introduced as a critic of the tyranny of custom and as a participant in the aristocratic culture of private learning in the late Elizabethan, early Jacobean noble household. Documents discussed range from the paratexts to Florio’s translation and the English text of ‘Of the institution and education of children’ to James Cleland’s work on the same subject and the famous portrait of Lady Anne Clifford. The chapter ends by offering a new perspective on Shakespeare’s use of Florio’s translation in The Tempest: that we should understand it in relation to Samuel Daniel’s use of similar passages in a play staged for the 1605 royal progress to the University of Oxford: The Queenes Arcadia.

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35

Schwadron, Hannah. Comic Glory (and Guilt). Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190624194.003.0004.

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This chapter covers the late twentieth- and early twenty-first-century shift toward a new brand of postassimilatory and postfeminist joke-work. It highlights select material by celebrity Jewish female comics from the 1990s though the present. An “appropriative license” of select comic material conjoins the reappropriative and misappropriative effects of women performing Jewishly in a zeitgeist of American comedy. Self-ironizing performances by Sandra Bernhard, Sarah Silverman, and Broad City’s Abbi Jacobson and Ilana Glazer illustrate how comics slide among race, gender, and sex identities to play up their progressive politics and white guilt in an era of newfound access to mainstream comedy.

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