To see the other types of publications on this topic, follow the link: Jacobean plays.
Journal articles on the topic 'Jacobean plays'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Jacobean plays.'
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
Halio, Jay L., and Philip C. McGuire. "Shakespeare: The Jacobean Plays." Shakespeare Quarterly 47, no. 2 (1996): 221. http://dx.doi.org/10.2307/2871113.
Full text
2
Clark, Sandra. "Cervantes' 'The Curious Impertinent' in Some Jacobean Plays." Bulletin of Hispanic Studies 79, no. 4 (December 2002): 477–89. http://dx.doi.org/10.3828/bhs.79.4.3.
Full text
3
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.
Full textAbstract:
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.
4
Freebury-Jones, Darren, Marina Tarlinskaja, and Marcus Dahl. "Attributing John Marston’s Marginal Plays." Studia Metrica et Poetica 5, no. 1 (August 5, 2018): 28–51. http://dx.doi.org/10.12697/smp.2018.5.1.02.
Full textAbstract:
John Marston (c. 1576–1634) was a dramatist of the Elizabethan and Jacobean periods, known for his satirical wit and literary feuds with Ben Jonson. His dramatic corpus consists of nine plays of uncontested authorship. This article investigates four additional plays of uncertain authorship which have been associated with Marston: Lust’s Dominion; Histriomastix; The Family of Love; and The Insatiate Countess. The internal evidence for Marston’s hand in these four texts is examined and an analysis made of the potential divisions of authorship. The essay provides a survey of Marston’s individual style by testing vocabulary; prosody; collocations of thought and language; and versification habits within both his acknowledged plays and the contested texts, in comparison to plays written by other authorship candidates.
5
AlMostafa, Mohammad Salem, and Ahmad M. S. Abu Baker. "The Image of Egypt in a Selection of Elizabethan & Jacobean Plays." Journal of Arts and Humanities 6, no. 2 (February 21, 2017): 23. http://dx.doi.org/10.18533/journal.v6i2.1109.
Full textAbstract:
<p>This study communicates the question of representational Egypt(ians) through textual analysis and close reading of Elizabethan and Jacobean selected plays, whose main concern is Egypt and Egyptians: Shakespeare’s Antony & Cleopatra, As You Like It, A Midsummer Night’s Dream, (All Is True)Henry VIII, and Cymbeline, Marlowe’s The Jew of Malta, Jonson’s The Alchemist, Beaumont and Fletcher’s The False One, Daniel’s The Tragedie of Cleopatra, Chapman’s The Blind Beggar of Alexandria, and Webster’s The White Devil. It examines the process of labelling, the concomitant negative stereotyping of land and human, and its effect upon characters’ lives and future prospects as a result of the dramatists’ response to contemporary colonialist discourse that exaggerated the signs of cultural and epistemological difference.</p>
6
Bars Closel, Régis Augustus. "Fictional Remembrances of Sir Thomas More: Part II/II– Early Seventeenth Century." Moreana 53 (Number 205-, no. 3-4 (December 2016): 143–78. http://dx.doi.org/10.3366/more.2016.53.3-4.10.
Full textAbstract:
This article focuses on how artistic works such as plays and literature in 16th and 17th-century England dealt with the fictional presence of Sir Thomas More. Among Tudor statesmen, Thomas More had a special appeal as a topic of thought during the Elizabethan–Jacobean period, quite apart from his opposition to the marriage which led to the reign of Queen Elizabeth. The range of works considered covers the Marian, Elizabethan and Jacobean periods. These works compose a heterogeneous and intriguing group in which every piece has its own particular way of remembering Thomas More. Six works are presented here: the dialogue Il Moro (1556) by Ellis Heywood; a late morality play, The Longer Thou Livest the More Fool Thou Art (1569), by William Wager; a novel, The Unfortunate Traveller (1594), by Thomas Nashe; and three plays, Cromwell (1602), by an unknown dramatist, Sir Thomas More (1600–1603/4), by five different dramatists, and Henry VIII (1613), by William Shakespeare and John Fletcher. Due to the scope of this research, the article is written in two parts. This part explores the last three seventeenth-century fictional works by John Fletcher and Shakespeare, an anonymous play and the collaborative play by Anthony Munday, Henry Chettle, with additions by Thomas Heywood, Thomas Dekker and William Shakespeare.
7
Fotheringham, Richard. "The Doubling of Roles on the Jacobean Stage." Theatre Research International 10, no. 1 (1985): 18–32. http://dx.doi.org/10.1017/s0307883300010464.
Full textAbstract:
A decade ago the analysis of the structure of the plays performed by the Elizabethan, Jacobean, and Caroline professional theatre companies, in order to discover patterns of doubling of the roles, seemed to hold considerable promise for further inquiry. D. M. Bevington's pioneering From ‘Mankind’ to Marlowe and W. A. Ringler's article ‘The Number of Actors in Shakespeare's Early Plays’ offered direct evidence and tools for structural analysis, and were followed by important studies by Scott McMillin, Irwin Smith, and others. Nevertheless, since then interest in this area – and particularly in doubling on the seventeenth-century stage – seems to have declined. The assumption made explicitly by Bevington and implied by most other commentators has been that as the professional acting companies expanded their resources, found patrons, and increased the number of their liveried personnel, the frenetic doubling of the Tudor era became unnecessary. Apart from some unhurried doubling of very minor characters and extras, they believe this practice virtually disappeared from the Jacobean stage, rendering further investigation unnecessary. The small amount of direct evidence to the contrary, first noted by W. J. Lawrence in 1927, has been analysed as an interesting but aberrant phenomenon; occasional atavistic survivals in a more opulent and refined age whose taste was turning towards ‘realism’ in acting and production methods.
8
Closel, Régis Augustus Bar. "Fictional Remembrances of Sir Thomas More: Part I - The Sixteenth Century." Moreana 53 (Number 203-, no. 1-2 (June 2016): 171–204. http://dx.doi.org/10.3366/more.2016.53.1-2.8.
Full textAbstract:
This article focuses on how literary works such as plays in 16th–17th century England dealt with the fictional presence of Sir Thomas More. Among Tudor statesmen, Thomas More had a special appeal as a topic of thought during the Elizabethan–Jacobean period, quite apart from his opposition to the marriage which led to the reign of Queen Elizabeth. The Marian, Elizabethan and Jacobean periods cover the range of the selected works. They compose a heterogeneous and intriguing group in which every piece has its own particular way of remembering Thomas More. Six works are presented here: the dialogue Il Moro (1556), by Ellis Heywood; a late morality play, The Longer Thou Livest the More Fool Thou Art (1569), by William Wager; a novel, The Unfortunate Traveller (1594), by Thomas Nashe; and three plays, Cromwell (1602), by an unknown dramatist, Sir Thomas More (1600–1603/4), by five different dramatists, and Henry VIII (1613), by William Shakespeare and John Fletcher. Due to the scope of this research, the article is written in two parts. This part explores the first three sixteenth century fictional works by Wager, Heywood and Nashe.
9
Karim, Sajjadul. "Ben Jonsons Volpone : An Unconventional and Innovative Jacobean Comedy." IIUC Studies 8 (September 10, 2014): 27–38. http://dx.doi.org/10.3329/iiucs.v8i0.20400.
Full textAbstract:
Ben Jonsons Volpone (1605) is the best known, most performed and most studied of all of his Plays. Volpone, or The Fox, does not contain the traditional moral and broad themes of Shakespeare. Volpone, disguised as a didactic comedy, is actually an intelligent and cynical satire that compels the audience to rethink their moral expectations. In Volpone, Jonson was successful in combining three genres in order to create a new form of comedy. Volpone is a powerful moral study of human greed, foxy cunning, and goatish lust. It is not the traditional form of comedy. It is a play that takes on the form of a comical satire as well as a morality play. It also adapts the features of a fable, and in that it strives to teach a moral. This play puts a different twist on what people would expect from a comedy or morality play. But, more than a satire on the traditional morality, it is a satire on the type of drama that was prevalent. This article analyses how Jonson presents his audience with an unconventional way of approaching the subjects he is satirizing by creating a new form of comedy that embodies the aspects of all three genres. DOI: http://dx.doi.org/10.3329/iiucs.v8i0.20400 IIUC Studies Vol.8 December 2011: 27-38
10
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.
Full textAbstract:
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.
11
Gentili, Vanna. "Madmen and Fools are a Staple Commodity: On Madness as a System in Elizabethan and Jacobean Plays." Cahiers Élisabéthains: A Journal of English Renaissance Studies 34, no. 1 (October 1988): 11–24. http://dx.doi.org/10.1177/018476788803400106.
Full text
12
Milward, Peter. "Shakespeare’s Portrayal of a Tyrant." Moreana 50 (Number 193-, no. 3-4 (December 2013): 40–53. http://dx.doi.org/10.3366/more.2013.50.3-4.5.
Full textAbstract:
The theme of tyranny, so central (as we have seen in two recent issues of Moreana) to the writings and the experience of Thomas More, is hardly less central to the plays and the memory of William Shakespeare. This centrality appears not so much in the plays of his Elizabethan period as in those of the subsequent Jacobean period, especially in the final romances by way of warming up to his presentation of the historical romance of Henry VIII. There, however, the tyranny of the king, though notably emphasized by Sir Walter Raleigh in his contemporaneous History of the World, is strangely muted, as also is his un-Shakespearian character, but it comes out strongly in the two preceding romances of The Winter’s Tale and Cymbeline, once we read them, as they require us to read them, as “topical allegories”. Then, to the characters of the jealous Leontes and the wrathful Cymbeline, we may add the threatening personality of Antiochus at the beginning of Pericles, as yet another figure (based on a widespread rumour) of the quintessential tyranny of Henry VIII. At the same time, this figure of the victimizer calls to be qualified by the complementary figure of the victim, the heroine in these romances, not only Hermione and Perdita, Thaisa and Marina, and Imogen, but even or especially in Desdemona as victimized by her jealous husband Othello. Then, in the above mentioned “topical allegory” of these Jacobean plays, she stands as well for the ideal of the Virgin Mary as for the memory of Catholic England at the heart of the dramatist.
13
Womack, Peter. "Nobody, Somebody, and King Lear." New Theatre Quarterly 23, no. 3 (August 2007): 195–207. http://dx.doi.org/10.1017/s0266464x07000103.
Full textAbstract:
The approximately contemporary Jacobean plays, King Lear and Nobody and Somebody, share an ancient British setting, a preoccupation with instability in the state, and an unsettling interest in negation. Peter Womack here suggests that by reading them together we can retrieve some of the theatrical strangeness which the more famous of the two has lost through familiarity and naturalization. The dramatic mode of existence of the character called ‘Nobody’ is paradoxical, denaturing – an early modern visual and verbal Verfremdungseffekt, at once philosophical and clownish. His negativity, which is articulated in dialogue with the companion figure of ‘Somebody’, is matched in King Lear, above all in the role of Edgar, but also by a more diffused state of being (withdrawal, effacement, folly) which the play generates in reaction to its positive events. Ultimately the negation in both plays is social in character: ‘Nobody’ is the dramatic face of the poor and oppressed. Peter Womack teaches literature at the University of East Anglia. His most recent book is English Renaissance Drama (2006), in the Blackwell Guides to Literature series.
14
Quinn, Paul. "A witty, learned persecutor? The staged after-life of Thomas More." Moreana 47 (Number 181-, no. 3-4 (December 2010): 129–52. http://dx.doi.org/10.3366/more.2010.47.3-4.7.
Full textAbstract:
In Acts and Monuments, John Foxe proposed a double vision of More – ‘witty and learned’ and, as Foxe is at pains to demonstrate, ‘a bitter persecutor … a wretched enemy against the truth of the Gospel’. This duality is expanded on the early modern stage. In a series of plays, we find a compartmentalised vision of More, one in which controversial aspects of his life and career are sometimes suppressed. The late Elizabethan and Jacobean audiences of these texts witnessed the overt reconstruction of More as judge and wit, and the covert appearance of More as traitor, martyr and persecutor.
15
Jowitt, Claire. "Political Allegory in Late Elizabethan and Early Jacobean "Turk" Plays: Lust's Dominion and The Turke." Comparative Drama 36, no. 3-4 (2002): 411–43. http://dx.doi.org/10.1353/cdr.2002.0022.
Full text
16
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 textAbstract:
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.
17
Sorgenfrei, Carol Fisher. "‘Supernatural Soliciting’: Pathways from Betrayal to Retribution in Macbeth and Yotsuya Kaidan." New Theatre Quarterly 31, no. 1 (January 30, 2015): 28–32. http://dx.doi.org/10.1017/s0266464x15000032.
Full textAbstract:
Although written two centuries apart and in divergent cultures, the kabuki play Tōkaidō Yotsuya Kaidan and Shakespeare's Macbeth exhibit marked similarities (as well as differences) in plot. Here, Carol Fisher Sorgenfrei analyzes some of the ways that these plays reflect (mostly male) anxieties regarding shifting patterns of gender and political power in Jacobean England and Tokugawa Japan. Professor Emerita of Theatre at UCLA, Carol Fisher Sorgenfrei is a specialist in Japanese theatre and intercultural performance, and was recently a Research Fellow at the International Research Institute in Interweaving Performance Cultures at the Free University, Berlin. She is the author of Unspeakable Acts: the Avant-Garde Theatre of Terayama Shūji and Postwar Japan (University of Hawaii, 2005) and co-author of Theatre Histories: an Introduction (Routledge, third edition, 2015). She is also a playwright whose latest play, Ghost Light, is a contemporary fusion of Macbeth and Yotsuya Ghost Stories, in which the ghost of a Japanese-American actress returns to wreak vengeance on the husband who betrayed her. The play will be staged as an Equity Showcase in New York in Autumn 2015.
18
Phillips, S. J. "KEVIN CURRAN, Marriage, Performance, and Politics at the Jacobean Court. * JOANNE ROCHESTER, Staging Spectatorship in the Plays of Philip Massinger." Notes and Queries 59, no. 1 (January 12, 2012): 134–36. http://dx.doi.org/10.1093/notesj/gjr250.
Full text
19
Holderness, Graham. "Introduction." Critical Survey 33, no. 1 (March 1, 2021): 1–7. http://dx.doi.org/10.3167/cs.2021.330101.
Full textAbstract:
In Britain, from the nineteenth century onwards, the default ‘setting’ for Shakespeare’s plays (by which I mean costume, mise-en-scène, and assumed historical and cultural context) has been medieval and early modern: the time of the plays’ composition (late sixteenth and early seventeenth centuries) or the time of their historical location (medieval Britain or Europe, ancient Greece or Rome, etc.). In this visual and physical context, Twelfth Night would normally be performed or imagined in Elizabethan or Jacobean, Macbeth and Hamlet in medieval, Julius Caesar in ancient Roman dress and settings. In the historical context of their original production, the plays were performed in contemporary dress with minimal mise-en-scène; through the Restoration and eighteenth century in fashionable modern dress and increasingly naturalistic settings. Today in Britain, Shakespeare can be performed in any style of costume, setting and cultural context, from the time of the plays’ reference to the immediate contemporary present, and often in an eclectic blend of some or all. But strong forces of tradition and cultural memory tie the plays, in their visual and physical realisation as well as their language, to the medieval and early modern past. We see this attachment in film versions of the plays and of Shakespeare’s life. We dress Shakespeare in the costumes of all the ages, but we know that he truly belongs, as in the various portraits, in doublet and ruff.
20
Hiranyatheb, Thanomnual. "‘Who Is’t can Read a Woman?’: Representation of Queen Elizabeth I in Cymbeline." MANUSYA 8, no. 4 (2005): 1–23. http://dx.doi.org/10.1163/26659077-00804001.
Full textAbstract:
This article is an attempt to read Cymbeline (1608-1610), one of Shakespeare’s so-called ‘final plays’ or ‘romances’ as a site of cultural responses to the remaining ‘presence’ of the late Queen Elizabeth I and her cultural associations in the context of the reign of her gender-different successor, King James I. It argues that these responses can be seen in the play’s portrayal of two characters in the play, namely the Wicked Queen and to a lesser extent, Imogen, in which the figure of the late queen is played out and marginalized, and proposes that these representations are ways in which the Jacobean culture deals with and exorcises its anxieties about the late monarch’s sometimes contradictory (self-appointed) role as a militant, powerful and inscrutable ‘woman-on-top’, which disrupted ‘natural’ gender distinction in the political climate of James I’s reign, during which pacifism, transparency and patriarchalism were highly advocated, especially by the king himself and other writers. It is hoped that this article can offer a reading of the play, not by interpreting it as a complete-in-itself and truth-reflecting work of art by a literary genius according to the romantic-humanistic conception of the ‘author’ and ‘literature,’ but rather by taking into accounts political, social and cultural forces that were circulated during the time of composition and reception of the play and with which it interacted.
21
Puchmüller, Andrea Bibiana. "Identidad inglesa premoderna y otredad romana en Cimbelino de Shakespeare: consideraciones desde el género." Íkala 25, no. 1 (January 28, 2020): 251–67. http://dx.doi.org/10.17533/udea.ikala.v25n01a12.
Full textAbstract:
This paper aims at characterizing Shakespeare’s Cymbeline relying upon some aspects featured by Shakespearean Roman history genre, as those reveal various tensions between the English premodern identity and the Roman ethos, which was considered an imperialist model by Jacobean and Elizabethan England. This analysis is carried out from a revisionist historical perspective of premodern England, and from the idiosyncratic framework of Shakespearean Roman history plays. It is concluded that Cymbeline displays an ironic dialectics between the double canon of Roman ethos, romanitas and pietas, positioning it as contradictory and detrimental for the social health of the body politics. Shakespeare’s Rome in Cymbeline represents the contrary to the idealized model used by Elizabethan imperial propaganda in the process of construction of their national poiesis.
22
Harris, Sharon J. "Masqued Poetics in Your Five Gallants: Middleton's Response to Jonson." Ben Jonson Journal 25, no. 2 (November 2018): 242–76. http://dx.doi.org/10.3366/bjj.2018.0226.
Full textAbstract:
Thomas Middleton's city comedy Your Five Gallants and Ben Jonson's “comicall satyre” Cynthia's Revels make a surprising pair, given the lower-class London criminals and raucous, physical humor of Middleton's play and the Ovidian-inspired premise and courtly setting of Jonson's. Although heretofore unrecognized, Middleton based Your Five Gallants, his Blackfriars debut, on Jonson's own Blackfriars debut, Cynthia's Revels. This relationship becomes most apparent in the final masques that end both plays. Middleton also modeled the masque in his play on the first Jacobean court masque, Masque of the Knights. This article argues that under Middleton's hand the staged masque served a poetic function: As playgoers to Your Five Gallants responded to the embedded final masque, they enacted their social knowledge and thus claimed social positions. Through their responses to the masque the audience could demonstrate how they understood their status vis-à-vis the subjects of the satire, and, in a further extension of both form and content, the masque enabled Middleton to unmask and censure the audience and to mount a critique of Jonson's author-centered poetics, offering his own audience-based approach as a rebuttal.
23
Holderness, Graham. "The Albatross and the Swan: Two Productions at Stratford." New Theatre Quarterly 4, no. 14 (May 1988): 152–58. http://dx.doi.org/10.1017/s0266464x00002682.
Full textAbstract:
Has the Royal Shakespeare Theatre in Stratford become an expensive irrelevance – actually hindering what should be the real work of the parent company, which has to expend so much of its cash and its energy in running it? Certainly, some were tempted to suggest so when the RSC's most exciting Shakespeare productions of the ‘seventies seemed to be emerging from the spartan environment of The Other Place. Now, Graham Holderness, through a detailed comparison of last season's main-house revival of The Taming of the Shrew and the Swan production of Titus Andronicus, argues that the creation of the Swan – a theatre space specifically but not ‘archeologically’ designed for Elizabethan and Jacobean plays – heightens the sense of a ‘contradictory relationship’ between the RSC's two ‘classical’ houses in Stratford. Graham Holderness, author of several studies in the fields of Renaissance drama and the modern novel, is presently Head of Drama at Roehampton Institute.
24
Bruster, Douglas. "Shakespeare’s Pauses, Authorship, and Early Chronology." Studia Metrica et Poetica 2, no. 2 (December 31, 2015): 25–47. http://dx.doi.org/10.12697/smp.2015.2.2.03.
Full textAbstract:
This paper explores the implications of Ants Oras’s Pause Patterns in Elizabethan and Jacobean Drama: An Experiment in Prosody (Oras 1960) for the chronology and authorship of plays in early modern England. Oras’s brief monograph has been noticed by a relatively few scholars, mainly those interested in changes to Shakespeare’s pentameter line. Recent developments in the field, however, have rendered his data newly attractive. Compiled by hand, Oras’s figures on the punctuated pauses in pentameter verse offer computational approaches a wealth of information by which writers’ stylistic profiles and changes can be measured. Oras’s data for a large number of playwrights and poets, as well as his methodology generally, may prove instrumental in constructing a portrait of the aesthetic environment for writers of pentameter verse during the sixteenth and seventeenth centuries in England. In particular, pause percentages may lend context to our attributions of texts of uncertain authorship. A hypothetical chronology is offered for Shakespeare’s earliest writing, including his contributions to Arden of Faversham, 1 Henry VI, and Edward III.
25
Hunt, Maurice. "The Physiology of Peace and Coriolanus." Ben Jonson Journal 26, no. 1 (May 2019): 78–96. http://dx.doi.org/10.3366/bjj.2019.0240.
Full textAbstract:
Written in the midst of the eight-year Jacobean Peace (1604–1612), Coriolanus turns the physiology of war and peace inside out. “No body can be healthfull without Exercise, neither Naturall Body, nor Politique,” Francis Bacon had written. “And certainly, to a Kingdome or Estate, a Just and Honourable Warre, is the true Exercise… . [A] Forraine Warre, is like the Heat of Exercise, and serveth to keepe the Body in Health: For in a Slothful Peace, both Courages will effeminate, and Manners Corrupt.” Bacon's claims were based upon Galenic medical theory that asserts that bloodletting purges the human body of debilitating toxins so that the four humours achieve a balance insuring both physical and psychological health. Shakespeare shows Coriolanus, repeatedly likened to a disease or toxin, disturbing the public body's peace. The playwright transforms the standard physiology of war and peace when Coriolanus—in keeping with the tail-end of his name—is vented through the Roman equivalent of London's Dungate. Then Romans enjoy a harmonious peace (4.6.2–9). When he returns to Rome leading a Volscian army, Coriolanus, advised by Volumnia, negotiates a peace that, while costing him his life, appears to persist at play's end when a calm Aufidius, all passion spent, never utters hostile words concerning Rome. The social importance of peace in other late plays—Antony and Cleopatra, Cymbeline, and The Life of Henry VIII—agrees with Shakespeare's revaluation of war and peace in Coriolanus.
26
Barnes, Peter. "On Class, Christianity, and Questions of Comedy." New Theatre Quarterly 6, no. 21 (February 1990): 5–24. http://dx.doi.org/10.1017/s0266464x00003936.
Full textAbstract:
Peter Barnes was born in 1931, and has been writing for the theatre since 1963: but he remains resolutely uncommercial, and enjoys even among enthusiasts an essentially cult following – though this includes Terry Hands, who directed his most recent work to reach the stage. Red Noses, for the RSC at the Barbican in 1985. The Ruling Class, his ‘baroque comedy’ on the British aristocracy and the ways it exercises power, helped to bring him the John Whiting Award in 1968 and the Evening Standard award as most promising playwright of 1969, though many found his ‘neo-Jacobean’ portrait of a sublimely insignificant Spanish monarch. The Bewitched, an even richer work when it reached the Aldwych under Hands's direction in 1974. Laughter, half-set in Auschwitz, followed at the Royal Court in 1978. In between, Barnes proselytizes enthusiastically for Ben Jonson, on whom he wrote for NTQ11 (1987), but makes most of his living from writing screenplays, and as a radio dramatist – notably in his occasional but long-running sequence of monologues. Barnes's People. As a near-contemporary, NTQ co-editor Clive Barker began this interview by discussing Barnes's own background, and talks also with the dramatist about his distinctive themes, beliefs, and working methods. Peter Barnes's Collected Plays to date have recently been published by Methuen.
27
Gossett, Philip. "Becoming a citizen: The chorus in Risorgimento opera." Cambridge Opera Journal 2, no. 1 (March 1990): 41–64. http://dx.doi.org/10.1017/s0954586700003104.
Full textAbstract:
Just as politics can be analysed as a cultural and symbolic enterprise (that is, as theatre in the broadest sense), so too can theatre or opera (in a narrower sense) be analysed as political. Jonathan Dollimore identifies various conflicting processes at work in Renaissance English theatre: the ‘consolidation’ of power by a dominant order; the ‘subversion of that order’ and the ‘containment of ostensibly subversive pressures’. We need not accept Dollimore's essentially Marxist analysis of these processes in order to recognise the validity of his assertion that ‘the theatre [is] a prime location for the representation and legitimation of power’. But the way such power is consolidated, subverted or contained depends on the political and social systems in which the theatre operates. The issues are complex enough when one focuses on plays produced in Elizabethan or Jacobean London. They become even more difficult to sort out when single works or groups of related works are performed over a period of time in various locations, each with its own societal configuration, as in the different political entities that comprised the Italian peninsula during the first half of the nineteenth century (to which might be added the other European and even American audiences to which they were played). Under such circumstances, how can we measure the political implications of these works? Where does their meaning reside? How does that meaning change as a function of time or geography?
28
Ahmed, Shokhan Rasool. "The significance of Stage Directions in Aristophanes' Peace." Journal of University of Raparin 6, no. 2 (October 22, 2019): 19–34. http://dx.doi.org/10.26750/vol(6).no(2).paper2.
Full textAbstract:
Abstract
This study is principally concerned with the staging of Aristophanes’ Peace. John Dee (1527-1609) was the first person to design a clever stage-effect for Greek drama, Aristophanes’ Peace, and made a giant beetle that could move from the air down to the stage. The nature and status of stage directions in this play will also be investigated, paying particular attention to the status of stage directions in printed text, and whether these stage directions were originally written by the playwright himself or were revised or supplied by editors, scriveners or members of the theatre companies. The paper will also evaluate how the technology of the Elizabethan playhouse facilitated the appearance of dung-beetle on stage.
There was a great demand in the Elizabethan era for plays about spectacular tricks. People at that time were delighted in the dexterity of the supernatural mysteriousness of the magician and witches, and moreover there was a popular appetite for spectacles within such a play. One of the most widespread themes in legend and Elizabethan stage is the flying of supernatural entities. Dragons and dung-beetles are physically manifested differently on Elizabethan stage compared to Medieval and Jacobean stages. Flying of dragons and beetles had a remarkable fiery effect in theatre to create a new genre of spectacle in presenting princely power and martial values to the audience. The special effect of John Dee’s flying scarab for a Cambridge performance of Aristophanes’ Peace also prompted ‘great wondering and many vain reports spread abroad of the means how that was effected’ (Jefferies, 2011). In Aristophanes’ Peace, Trygaeus rides on the back of a giant dung beetle to the heaven in order to arrange peace for the Greeks. The flight scene offers an element of slapstick comedy to the play and makes a comical history out of the flight of the giant beetle. John Dee’s stage directions in Aristophanes’ Peace are very elaborate and clear which help the reader imagine how the play was staged (Hall & Wrigley, 2007). The findings of this study would be beneficial for the researchers, the students of English department and theatre companies.
29
叶, 拉美. "The Statecraft in Shakespeare’s Jacobian Plays." World Literature Studies 06, no. 01 (2018): 8–18. http://dx.doi.org/10.12677/wls.2018.61002.
Full text
30
Chetty, Raj. "Can a Mulatta Be a Black Jacobin?" Small Axe: A Caribbean Journal of Criticism 23, no. 3 (November 1, 2019): 87–103. http://dx.doi.org/10.1215/07990537-7912286.
Full textAbstract:
This essay approaches the stage versions of Toussaint Louverture (1934) and The Black Jacobins (1967), first, to emphasize the role of C. L. R. James’s collaborations in the creation of the plays, and second, to argue that the latter version of the play presents a radical feminism that emerges precisely from these collaborations. One of the play’s most radical revisions is the centrality of the militant mulatta Marie-Jeanne, whose centrality challenges scholarly interpretations of James’s relationships with women and with feminism. This scholarship depicts James, at worst, as a paragon of patriarchy and, at best, as a man caught between the feminist politics of the women in his life and the constraints of a male-centered Caribbean revolutionary and anticolonial tradition. By contrast, this essay argues that the feminism in the play must be read beyond James the man and instead in the context of his collaborations, particularly with radical women thinkers.
31
Cooley, Ronald W. "Speech Versus Spectacle: Autolycus, Class and Containment in The Winter's Tale." Renaissance and Reformation 33, no. 3 (July 1, 1997): 5–23. http://dx.doi.org/10.33137/rr.v33i3.11356.
Full textAbstract:
Shakespeare's Winter's Tale is a play in which theatrical spectacle triumphs over speech, as stage action obscures the incoherence of verbal representation. This paper identifies Autolycus as a composite of Jacobean anxieties about the sources of social instability, and explores his place in this dramatic process. The spectacular techniques of containment that reconcile all the other characters do not quite work on the sturdy rogue. He embodies the failure of Jacobean England's historical attempt, and the play's dramatic attempt, to assimilate those it has defined as unassimilable.
32
Brennan, M. G. "Gossett, S. and Berger, T. L. (eds), Jacobean Academic Plays. Pp. x + 147 (Malone Society Collections Volume XIV). Jaques, F. (ed. H. D. Janzen), The Queen of Corsica. Pp. xiv + 4 plates + 76 (The Malone Society Reprints)." Notes and Queries 38, no. 3 (September 1, 1991): 380–81. http://dx.doi.org/10.1093/notesj/38.3.380.
Full text
33
Mednykh, A. D., and I. A. Mednykh. "Plans’ Periodicity Theorem for Jacobian of Circulant Graphs." Doklady Mathematics 103, no. 3 (May 2021): 139–42. http://dx.doi.org/10.1134/s1064562421030121.
Full text
34
MARSHALL, TRISTAN. "THE TEMPEST AND THE BRITISH IMPERIUM IN 1611." Historical Journal 41, no. 2 (June 1998): 375–400. http://dx.doi.org/10.1017/s0018246x98007791.
Full textAbstract:
Recent moves by New Historicists to evaluate theatrical material from the early modern period have been at the expense of what historians would recognize as acceptable use of historical context. One of the most glaring examples of the dangers of taking a play out of such a proper context has been The Tempest. The play has had a great deal of literary criticism devoted to it, attempting to fit it into comfortable twentieth-century clothing in regard to its commentary on empire, at the expense of what the play's depiction of imperialism meant for the year 1611 when it was written. The purpose of this paper will therefore be to suggest that the play does not actually call into question the Jacobean process of colonization across the Atlantic at all, and suggests that of more importance for its audience would have been the depiction of the hegemony of the island nation of Great Britain as recreated in 1603. Such a historical reconstruction is helped through contrasting Shakespeare's play with the Jonson, Chapman, and Marston collaboration, Eastward Ho, as well as with the anonymous Masque of Flowers and Chapman's Memorable Masque. These works will be used to illustrate just what colonialism might mean for the Jacobean audience when the Virginia project was invoked and suggest that an American tale The Tempest is not.
35
Wen, Ke Fei, and Jeh Won Lee. "Statics, Instantaneous Kinematics and Singularity Analysis of Planar Parallel Manipulators via Grassmann-Cayley Algebra." Applied Mechanics and Materials 532 (February 2014): 378–81. http://dx.doi.org/10.4028/www.scientific.net/amm.532.378.
Full textAbstract:
The wrench Jacobian matrix plays an important role in statics and singularity analysis of planar parallel manipulators (PPMs). It is easy to obtain this matrix based on plücker coordinate method. In this paper, a new approach is proposed to the analysis of the forward and inverse wrench Jacobian matrix used by Grassmann-Cayley algebra (GCA). A symbolic formula for the inverse statics and a coordinate free formula for the singularity analysis are obtained based on this Jacobian. As an example, this approach is implemented for the 3-RPR PPMs.
36
Whigham, Frank. "Sexual and Social Mobility in The Duchess of Malfi." PMLA/Publications of the Modern Language Association of America 100, no. 2 (March 1985): 167–86. http://dx.doi.org/10.2307/462288.
Full textAbstract:
For some time Webster's Duchess of Malfi has been interpreted by reference to brother-sister incest, but that explanation has not been well integrated with other concerns in the play, nor has its sheer presence been questioned. Anthropological kinship theory, however, which conceives incest as a social act, reveals relations among the brother-sister plot, the play's major thematic element of social mobility, and the Jacobean setting from which the theme arose. Seen in this anthropological light, social-structural relations come into view among Ferdinand's incestuous inclination, his sister's cross-class marriage, and Antonio's and Bosola's upward social mobility. These relations in turn show how the play is grounded in its particular historical setting, at a time of substantial changes in notions of social role, changes that helped make visible the social determination of personal identity.
37
Perry, Curtis. "The Politics of Access and Representations of the Sodomite King in Early Modern England." Renaissance Quarterly 53, no. 4 (2000): 1054–83. http://dx.doi.org/10.2307/2901456.
Full textAbstract:
This essay treats the image of the sodomite king—in Marlowe's Edward II and in the gossip surrounding James I and his favorites — as a figurative response to resentments stemming from the regulation of access to the monarch. Animosities in Marlowe's play anticipate criticism of the Jacobean Bedchamber in part because Marlowe was responding to libels provoked by innovations in the chamber politics of the French king Henri III that also anticipate Jacobean practice. The figure of the sodomite king offers a useful vehicle to explore tensions between personal and bureaucratic monarchy that are exacerbated by the regulation of access.
38
Li, Yong Gang, Li Xin Xu, and Hui Wang. "Dimensional Synthesis of 3PRS Parallel Mechanism Based on a Dimensionally Homogeneous Analytical Jacobian." Applied Mechanics and Materials 455 (November 2013): 354–59. http://dx.doi.org/10.4028/www.scientific.net/amm.455.354.
Full textAbstract:
Jacobian matrix plays a crucial role of kinematic synthesis of a parallel mechanism, however, can not directly be used for its nonhomogeneous physical units. This paper proposes the detailed formulation of the dimensionally homogeneous analytical Jacobian of 3PRS parallel mechanism. After defining a kinematic index and the design variables, the sensitivity that the index varies with dimension parameters is performed. Based on the two chosen case, it is also conducted that the index distributes in the prescribed workspace. Then, the kinematic characteristics of the system are discussed. These results provide the informative insight for choosing the optimal solution of the dimension parameters of 3PRS.
39
Khater, Mostafa, and Mahmoud A. E. Abdelrahman. "Traveling wave solutions for the Couple Boiti-Leon-Pempinelli System by using extended Jacobian elliptic function expansion method." JOURNAL OF ADVANCES IN PHYSICS 11, no. 3 (December 28, 2015): 3134–38. http://dx.doi.org/10.24297/jap.v11i3.470.
Full textAbstract:
In this work, an extended Jacobian elliptic function expansion method is pro-posed for constructing the exact solutions of nonlinear evolution equations. The validity and reliability of the method are tested by its applications to the Couple Boiti-Leon-Pempinelli System which plays an important role in mathematical physics.
40
Zhang, Huan, Pengchuan Zhang, and Cho-Jui Hsieh. "RecurJac: An Efficient Recursive Algorithm for Bounding Jacobian Matrix of Neural Networks and Its Applications." Proceedings of the AAAI Conference on Artificial Intelligence 33 (July 17, 2019): 5757–64. http://dx.doi.org/10.1609/aaai.v33i01.33015757.
Full textAbstract:
The Jacobian matrix (or the gradient for single-output networks) is directly related to many important properties of neural networks, such as the function landscape, stationary points, (local) Lipschitz constants and robustness to adversarial attacks. In this paper, we propose a recursive algorithm, RecurJac, to compute both upper and lower bounds for each element in the Jacobian matrix of a neural network with respect to network’s input, and the network can contain a wide range of activation functions. As a byproduct, we can efficiently obtain a (local) Lipschitz constant, which plays a crucial role in neural network robustness verification, as well as the training stability of GANs. Experiments show that (local) Lipschitz constants produced by our method is of better quality than previous approaches, thus providing better robustness verification results. Our algorithm has polynomial time complexity, and its computation time is reasonable even for relatively large networks. Additionally, we use our bounds of Jacobian matrix to characterize the landscape of the neural network, for example, to determine whether there exist stationary points in a local neighborhood.
41
Munro, Lucy. "“Nemp your sexes!”: Anachronistic Aesthetics in Hengist, King of Kent and the Jacobean “Anglo-Saxon” Play." Modern Philology 111, no. 4 (May 2014): 734–61. http://dx.doi.org/10.1086/675420.
Full text
42
MU, XIUPING, and CHRISTINE QIONG WU. "ON POST-IMPACT ANGULAR VELOCITIES AND RESULTANT IMPULSES WITH RANK-DEFICIENT JACOBIAN MATRICES USING NEWTON IMPACT LAW." International Journal of Applied Mechanics 02, no. 03 (September 2010): 569–84. http://dx.doi.org/10.1142/s1758825110000664.
Full textAbstract:
Modeling and trustworthy simulation of impact play an important role in research on robotic contact tasks. Impact dynamic equations, based on Newton impact law, and their solution for planar multi-link robotic collisions have been well developed in literature in the context of determined contact problems. Rank-deficient Jacobian matrices cause the impact equations to be indeterminate. However this issue has not been investigated in previous research. In this paper, the solution for the velocity changes due to impact is proved to be unique in spite of rank-deficient Jacobian matrices and it is solved in a closed form that can be easily employed for simulating robotic system contact states. Furthermore, a set of linear equations with unknown impulses is obtained whereas the impulses can only be solved if extra contact constraints are provided. Two robot collision problems with rank-deficient Jacobian matrices are presented to exemplify the method.
43
ONO, ASUKA, and TOHRU KOHDA. "SOLVABLE THREE-DIMENSIONAL RATIONAL CHAOTIC MAP DEFINED BY JACOBIAN ELLIPTIC FUNCTIONS." International Journal of Bifurcation and Chaos 17, no. 10 (October 2007): 3645–50. http://dx.doi.org/10.1142/s0218127407019500.
Full textAbstract:
Cryptanalysis needs a lot of pseudo-random numbers. In particular, a sequence of independent and identically distributed (i.i.d.) binary random variables plays an important role in modern digital communication systems. Sufficient conditions have been recently provided for a class of ergodic maps of an interval onto itself: R1 → R1 and its associated binary function to generate a sequence of i.i.d. random variables. In order to get more i.i.d. binary random vectors, Jacobian elliptic Chebyshev rational map, its derivative and second derivative which define a Jacobian elliptic space curve have been introduced. Using duplication formula gives three-dimensional real-valued sequences on the space curve onto itself: R3 → R3. This also defines three projective onto mappings, represented in the form of rational functions of xn, yn, zn. These maps generate a three-dimensional sequence of i.i.d. random vectors.
44
Magnus, Jan R., and H. Neudecker. "Symmetry, 0-1 Matrices and Jacobians: A Review." Econometric Theory 2, no. 2 (August 1986): 157–90. http://dx.doi.org/10.1017/s0266466600011476.
Full textAbstract:
In this paper we bring together those properties of the Kronecker product, the vec operator, and 0-1 matrices which in our view are of interest to researchers and students in econometrics and statistics. The treatment of Kronecker products and the vec operator is fairly exhaustive; the treatment of 0–1 matrices is selective. In particular we study the “commutation” matrix K (defined implicitly by K vec A = vec A′ for any matrix A of the appropriate order), the idempotent matrix N = ½ (I + K), which plays a central role in normal distribution theory, and the “duplication” matrix D, which arises in the context of symmetry. We present an easy and elegant way (via differentials) to evaluate Jacobian matrices (first derivatives), Hessian matrices (second derivatives), and Jacobian determinants, even if symmetric matrix arguments are involved. Finally we deal with the computation of information matrices in situations where positive definite matrices are arguments of the likelihood function.
45
Van Laan, Thomas F. "Ibsen's Forsaken Merman: Folklore in the Late Plays by Per Schelde Jacobsen and Barbara Fass Leavy." Comparative Drama 23, no. 3 (1989): 293–96. http://dx.doi.org/10.1353/cdr.1989.0001.
Full text
46
Shimizu, Akihiko. "“I'd make thee eat the mischief thou hast vented”: Discourse of Law in Ben Jonson's Catiline His Conspiracy." Ben Jonson Journal 24, no. 1 (May 2017): 22–45. http://dx.doi.org/10.3366/bjj.2017.0178.
Full textAbstract:
This essay explores the discourse of law that constitutes the controversial apprehension of Cicero's issuing of the ultimate decree of the Senate (senatus consultum ultimum) in Catiline. The play juxtaposes the struggle of Cicero, whose moral character and legitimacy are at stake in regards to the extra-legal uses of espionage, with the supposedly mischievous Catilinarians who appear to observe legal procedures more carefully throughout their plot. To mitigate this ambivalence, the play defends Cicero's actions by depicting the way in which Cicero establishes the rhetoric of public counsel to convince the citizens of his legitimacy in his unprecedented dealing with Catiline. To understand the contemporaneousness of Catiline, I will explore the way the play integrates the early modern discourses of counsel and the legal maxim of ‘better to suffer an inconvenience than mischief,’ suggesting Jonson's subtle sensibility towards King James's legal reformation which aimed to establish and deploy monarchical authority in the state of emergency (such as the Gunpowder Plot of 1605). The play's climactic trial scene highlights the display of the collected evidence, such as hand-written letters and the testimonies obtained through Cicero's spies, the Allbroges, as proof of Catiline's mischievous character. I argue that the tactical negotiating skills of the virtuous and vicious characters rely heavily on the effective use of rhetoric exemplified by both the political discourse of classical Rome and the legal discourse of Tudor and Jacobean England.
47
Procházka, Martin. "Early Modern Cultural Hybridity: Bartholomew Fair as a Heterotopia of Hamlet." Prague Journal of English Studies 8, no. 1 (July 1, 2019): 9–20. http://dx.doi.org/10.2478/pjes-2019-0001.
Full textAbstract:
Abstract As a contribution to the discussion of Shakespeare’s “appropriability” (Stanley Cavell), this paper examines some aspects of the cultural position of Hamlet on the Jacobean entertainment market, as they are indicated in Ben Jonson’s comedy Bartholomew Fair (1614). The metatheatrical features of Bartholomew Fair may be said to measure the play’s resistance against appropriating the unique and problematic aspects of Hamlet, such as the Ghost or The Mousetrap. These are deconstructed in Jonson’s comedy, which anticipates the Enlightenment views of the social functioning of theatre as a “moral institution”.
48
Chi, Xiaoni, Zhongping Wan, and Zijun Hao. "The Jacobian Consistency of a One-Parametric Class of Smoothing Functions for SOCCP." Abstract and Applied Analysis 2013 (2013): 1–12. http://dx.doi.org/10.1155/2013/965931.
Full textAbstract:
Second-order cone (SOC) complementarity functions and their smoothing functions have been much studied in the solution of second-order cone complementarity problems (SOCCP). In this paper, we study the directional derivative and B-subdifferential of the one-parametric class of SOC complementarity functions, propose its smoothing function, and derive the computable formula for the Jacobian of the smoothing function. Based on these results, we prove the Jacobian consistency of the one-parametric class of smoothing functions, which will play an important role for achieving the rapid convergence of smoothing methods. Moreover, we estimate the distance between the subgradient of the one-parametric class of the SOC complementarity functions and the gradient of its smoothing function, which will help to adjust a parameter appropriately in smoothing methods.
49
PELTONEN, MARKKU. "FRANCIS BACON, THE EARL OF NORTHAMPTON, AND THE JACOBEAN ANTI-DUELLING CAMPAIGN." Historical Journal 44, no. 1 (March 2001): 1–28. http://dx.doi.org/10.1017/s0018246x01001649.
Full textAbstract:
The article examines the intellectual and ideological debate about the notions of duelling, courtesy, and honour in the Jacobean anti-duelling campaign. Particular attention is paid to the two most important contributions to this campaign – Francis Bacon's The charge touching duells (1614) and A pvblication of his matiesedict, and severe censvre against priuate combats and combatants (1614), written by Henry Howard, the earl of Northampton. By placing these two treatises into their intellectual context of courtesy and duelling manuals, the article seeks to demonstrate their sharply contrasting responses to the problem of duelling. Northampton accepted the notions of courtesy, honour, and insult underlying the duelling theory, but still wanted to abolish duelling. His solution was therefore a court of honour which would solve all the disputes of honour between noblemen and gentlemen. Bacon, on the other hand, argued that the only efficient way of getting rid of duelling was to question the entire intellectual framework on which duelling rested. To accept the notions of honour, courtesy, and insult inherent in the duelling theory and to set up a court of honour, he insisted, was tantamount to encouraging duelling itself. In The charge touching duells Bacon was thus arguing as much against Northampton's plans to suppress duelling as against the theory of duelling itself.
50
Hoang, Nguyen Quang. "On the inverse kinematics of an underwater vehicle-manipulator system." Vietnam Journal of Mechanics 34, no. 2 (May 30, 2012): 79–90. http://dx.doi.org/10.15625/0866-7136/34/2/923.
Full textAbstract:
The inverse kinematics plays an important role in the trajectory planning and the control of underwater vehicle-manipulator system. The solutions of this problem have an important influence on the motion quality of end-effectors. This paper presents an improved method based on the Jacobian matrix and the error feedback. By using this method, the accuracy of the solution of inverse kinematics for the vehicle-manipulator system is improved. In addition, one of the advantages of a redundant system is exploited to avoid impact on joint limitations. Numerical simulations in software Matlab are carried out to verify the efficiencies of the proposed method.