Dissertations / Theses: 'Mystery plays'

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Lopez, Mariana Julieta. "Hearing the York Mystery Plays : acoustics, staging and performance." Thesis, University of York, 2013. http://etheses.whiterose.ac.uk/5082/.

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The study of medieval acoustics has been centred on places of worship, leaving aside sites used for secular drama. This thesis explores the importance of integrating medieval drama into the historiography of the acoustics of performances spaces through the study of the York Mystery Plays. The York Mystery Plays were performed regularly from the late fourteenth century up to 1569 and have been the subject of numerous research studies. However, the consideration of the acoustics of the performance spaces as an essential means of gaining a further understanding of the staging and performance of the plays has, for the most part, been absent from previous studies. This thesis uses virtual acoustics to study Stonegate, one of the performance sites used in medieval times. To apply virtual acoustics to the study of the plays acoustic measurements of Stonegate are conducted and analysed through room acoustic parameters. A virtual model of the same space is then simulated and calibrated using the on-site measurements as a reference and its accuracy is also checked through listening tests. The virtual model of modern Stonegate is then modified in order to create different simulations of the site in the sixteenth century, which are then used to test different staging hypotheses developed by early drama scholars. The acoustics of Stonegate are shown to have been suitable for the spoken extracts of the plays, due to its low reverberation time and high clarity. However, these characteristics are more challenging for the performance of music. Nevertheless, research has shown that the resulting spatial impression is comparable to that associated with music performances in concert halls. Furthermore, future research of the acoustics of other medieval sites in York may help to further the understanding of how the performances spaces and the plays were experienced.

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Gutierrez, Christina Lynn. "Staging God's "ply": Translating the York mystery plays for (post)modern audiences." Connect to online resource, 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:1446087.

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Smith, James Kenneth. "Contemporary performances of medieval mystery plays: The effect of mentalities on performance." Thesis, The University of Arizona, 2004. http://hdl.handle.net/10150/291959.

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This thesis examines contemporary British productions of medieval mystery plays, specifically questioning how cultural mentality affects such productions. Because of the distance between the medieval and contemporary British mentalities, a cultural gap exists between original texts and contemporary productions. This gap creates, for audiences, a "double vision," a perception of both the medieval mentality that informed the original text and the contemporary mentality that performs it. Contemporary productions tend to attempt to diminish this inherent "double vision" in a variety of ways, including making the production authentic to medieval practice or by adapting the medieval texts. This thesis analyzes two contemporary productions of medieval mystery plays, the 1998 revival of the York Mysteries, directed by Jane Oakshott, and The Mysteries, a contemporary adaptation of several medieval cycles, written by Tony Harrison and directed by Bill Bryden, exploring the methods used by both to tackle the mentality gap.

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Forest-Hill, Lynn Elizabeth. "Transgressive language in medieval English drama : signs of challenge and change." Thesis, University of Southampton, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.242389.

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Black, Daisy Emma. "Mind the gap : time, gender and conflict in the late medieval Mystery Plays." Thesis, University of Manchester, 2014. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.603244.

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This thesis explores the relationship between time, gender and moments of conflict in the Mystery Plays. Examining a range of encounters between male and female characters in the plays, I propose that characters’ differing and subjective experiences of time are often at the heart of their conflict. Time, moreover, provides a new methodology with which to understand the ways in which both gender and narrative operate within the plays. In doing so, I chart a number of conflicts staged between characters in plays concerned with biblical narratives which signify transition or rupture: the Incarnation; the Flood; and the slaughter of the Bethlehem Innocents. Engaging with established critical approaches towards medieval models of supersession and typology, as well as recent works in the field of Jewish Studies concerning the medieval Christian preoccupation with what it asserted was a superseded, yet nevertheless ‘present’ Jewish past, I interrogate the ways in which such models are subverted when placed into dialogue with characters whose world-view supports alternative readings of time. First, I provide a reading of Joseph’s age and error in the N-Town Joseph’s Doubt as a meeting of ‘Old’ and ‘New’ theologies. I argue that Joseph’s journey from disbelief in Mary’s virgin pregnancy to eventual acceptance performs as a primarily linear conversion narrative, whilst also proposing that, as a medieval performance of a New Testament time, the N-Town Marian plays’ engagements with multiple levels of time work to complicate models of temporal, supersessionary linearity. I then examine Noah and his wife in the Chester and York Flood plays as participating in very different understandings of time from each other. While Noah adheres to a supersessionary understanding of the Flood which demands a full erasure of the past in order to begin the world anew, his Wife engages with temporal models that promote collapse between medieval and Old Testament times and command the explosive ability to performatively recall the past into the present. Finally, I engage with Serres’ model of topological time in examining the highly complex, multi-linked times operating in the Towneley play Herod the Great. Here, I examine how the play amplifies the ways in which its biblical sources work to bring together events from the Old and New Testaments in processes of prophecy and validation, whilst also asking whether characters such as Herod and the mothers defending their children from him may be said to command agency over their time. In bringing together theories of time, gender, antisemitism and periodization, I not only nuance the ways in which moments of conflict between the mystery plays’ male and female biblical characters are analysed, but also highlight the complex ways in which the late medieval producers and audiences of the mystery plays were themselves encouraged to question, experience, read and understand time.

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Sokolowski, Mary E. ""For God of Jewes is crop and roote" : the cyclic performance of Judaism and Jewish-Christian intimacy in the Chester mystery plays /." Online version via UMI:, 1999.

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Pocock, Stephanie J. Russell Richard Rankin. "Between reality and mystery : food as fact and symbol in plays by Ibsen and Churchill /." Waco, Tex. : Baylor University, 2006. http://hdl.handle.net/2104/4875.

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Einmahl, Christiane [Verfasser], Ursula [Gutachter] Schaefer, Holger [Gutachter] Kuße, and Andrew James [Gutachter] Johnston. "Orality in Medieval Drama : Speech-Like Features in the Middle English Comic Mystery Plays / Christiane Einmahl ; Gutachter: Ursula Schaefer, Holger Kuße, Andrew James Johnston." Dresden : Technische Universität Dresden, 2020. http://d-nb.info/122720177X/34.

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Robinson, Arabella Mary Milbank. "Love and drede : religious fear in Middle English." Thesis, University of Cambridge, 2019. https://www.repository.cam.ac.uk/handle/1810/280671.

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Several earlier generations of historians described the later Middle Ages as an 'age of fear'. This account was especially applied to accounts of the presumed mentality of the later medieval layperson, seen as at the mercy of the currents of plague, violence and dramatic social, economic and political change and, above all, a religiosity characterised as primitive or even pathological. This 'great fear theory' remains influential in public perception. However, recent scholarship has done much to restitute a more positive, affective, incarnational and even soteriologically optimistic late-medieval vernacular piety. Nevertheless, perhaps due to the positive and recuperative approach of this scholarship, it did not attend to the treatment of fear in devotional and literary texts of the period. This thesis responds to this gap in current scholarship, and the continued pull of this account of later-medieval piety, by building an account of fear's place in the rich vernacular theology available in the Middle English of the fourteenth and fifteenth centuries. It takes as its starting point accounts of the role of fear in religious experience, devotion and practice within vernacular and lay contexts, as opposed to texts written by and for clerical audiences. The account of drede in Middle English strikingly integrates humbler aspects of fear into the relationship to God. The theological and indeed material circumstances of the later fourteenth century may have intensified fear's role: this thesis suggests that they also fostered an intensified engagement with the inherited tradition, generating fresh theological accounts of the place of fear. Chapter One begins with a triad of broadly pastoral texts which might be seen to disseminate a top-down agenda but which, this analysis discovers, articulate diverse ways in which the humble place of fear is elevated as part of a vernacular agenda. Here love and fear are always seen in a complex, varying dialectic or symbiosis. Chapter Two explores how this reaches a particular apex in the foundational and final place of fear in Julian of Norwich's Revelations, and is not incompatible even with her celebratedly 'optimistic' theology. Chapter Three turns to a more broadly accessed generic context, that of later medieval cycle drama, to engage in readings of Christ's Gethsemane fear in the 'Agony in the Garden' episodes. The N-Town, Chester, Towneley and York plays articulate complex and variant theological ideas about Christ's fearful affectivity as a site of imitation and participation for the medieval layperson. Chapter Four is a reading of Piers Plowman that argues a right fear is essential to Langland's espousal of a poetics of crisis and a crucial element in the questing corrective he applies to self and society. It executes new readings of key episodes in the poem, including the Prologue, Pardon, Crucifixion and the final apocalyptic passus, in the light of its theology of fear.

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Allison, Christine. "The Cornish mediaeval mystery play cycle : as performance art and in history." Thesis, University of Exeter, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.390129.

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Longtin, Mario. "Edition du Mystère de sainte Barbe en deux journées BN Yf 1652 et 1651." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=24090.

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This thesis consists in editing, side by side, two printed texts of Le Mystere de sainte Barbe en deux journees. The oldest (which can be found at "La Bibliotheque Nationale de Paris", call number BN Yf 1652) has been published by la Veuve Trepperel and Jehan Jehannot between the years 1511 and 1517. The other text, also to be found at "La B.N.P." (call number BN Yf 1651) is a revised edition of the former published between the years 1552 and 1585 on Simon Calvarin's press. The BN Yf 1652 contains 3 677 lignes, whilst the Calvarin's edition is of 3 734 lignes; both texts are at fourteenth characters. The mystery play is divided in two days. It consists almost exclusively of octosyllables.

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Lachter, Hartley. "Revelation from between the lines : a study of Martin Buber's biblical hermeneutics and Elijah, a Mystery Play." Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=30181.

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Martin Buber was one of the most influential Jewish thinkers of the twentieth century. His works on philosophy and theology have had a profound influence on both Jewish and Christian religious thought. The purpose of this thesis is to examine Buber's biblical scholarship in the context of his philosophical and theological writings in order to assess how his approach to biblical hermeneutics is connected to the rest of his thinking. It is demonstrated that Buber's philosophy of I and Thou has a profound role in his understanding of the Bible and the nature of interpretation itself as a dialogue between reader and text in a way that anticipates certain post-modern notions of literary theory. In particular, Buber's dramatic work, Elijah, a Mystery Play is examined in order to evaluate Buber's hermeneutical method as it is displayed in a specific example of artistic exegesis.

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Lachter, Hartley. "Revelation from between the lines, a study of Martin Buber's biblical hermeneutics and his Elijah, a Mystery Play." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ64163.pdf.

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Spacagno, Michela. "Édition critique du Mystère de la vie de sainte Marguerite (RES-YF-4690). Analyse linguistique et métrique." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA095.

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Cette thèse présente l’édition critique du Mystère de la vie de sainte Marguerite, d’après un imprimé unique conservé à la Bibliothèque Nationale de France sous la cote RES-YF-4690 ne contenant aucune indication concernant la date, le lieu, ni le nom de l’imprimeur. Ce texte de quatre mille cinq cents vers environ, mettant en scène quarante-deux personnages, relate la vie et le martyre de sainte Marguerite d’Antioche. Le mystère fut représenté deux fois au XVIe siècle, en 1554 devant Catherine de Médicis et en 1584 à Draguignan, en Provence, et une fois encore à Malestroit, en Bretagne, en 1601.Après avoir décrit le volume de la BnF, nous analysons le culte et la légende de sainte Marguerite, ainsi que la riche production littéraire, en latin et en langue vulgaire, qui nous a transmis le récit depuis le Moyen Âge. Notre intérêt se porte notamment sur les traditions textuelles françaises et italiennes. À côté du Mystère, nous allons en effet analyser une version en prose de la légende de la vie de sainte Marguerite, écrite en toscan au XIVe siècle. En particulier, nous réalisons une analyse philologique des variantes contenues dans six témoins manuscrits et imprimés, en faisant le rapport avec la source latine. Il s’agit en effet d’effectuer une première enquête de cette tradition textuelle en prose en vue d’une analyse philologique et linguistique plus large. Nous continuons avec l’étude linguistique et rhétorique du mystère hagiographique français. Ces analyses nous ont permis d’établir que le texte a été composé à une date beaucoup plus ancienne que celle à laquelle il a été imprimé, probablement dans la seconde moitié du XVe siècle, et qu’il a connu ensuite une longue transmission. Une versification particulièrement irrégulière garde la trace d’un texte qui a été remanié et modernisé à plusieurs reprises pour être adapté à la langue de l’époque et aux goûts des lecteurs. Nous terminons avec l’édition critique du mystère, suivie de notes portant sur le texte et d’un glossaire
This thesis presents a critical edition of the Mystère de la vie de sainte Marguerite from a single printed text now kept in the National Library of France under the reference RES-YF-4690, without any indications of period, place or publisher. This drama play contains approximately 4500 verses and 42 characters and tells about the life and the martyrdrom of saint Margaret of Antioch. It was performed twice in the XVI century, in 1554 at the presence of Catherine of Medicis, in 1584 in the city of Draguignan, and finally in 1601 in the city of Malestroit. Our work includes several different parts: philological and historical analysis, literary presentation, linguistic and metric study. Finally, we present the critical edition of the text followed by some notes on the text and a glossary. Our work includes also a study of an italian version of the life of saint Margaret wrote in Tuscan dialect in the XIV century. We propose a philological and linguistic analysis of the text from six different manuscripts and printed copies

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Tagle, Luis Antonio G. "Two plans for the Council Cardinal Suenens, Ecclesia ad intra, ecclesia ad extra : Cardinal Montini, The Church's mystery, mission, and relations /." Theological Research Exchange Network (TREN), 1987. http://www.tren.com.

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Sauwala, Laetitia. "Édition critique du Mystère des trois doms (ms BnF n.a.f. 18995). Analyse linguistique, glossaire et notes." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA138.

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Cette thèse présente l’édition critique du Mystère des trois doms (1509), d’après un manuscrit unique aujourd’hui conservé à la Bibliothèque nationale de France sous la cote n.a.f 18995. Ce texte dramatique en moyen français d’environ 11000 vers raconte la conversion puis le martyre des trois saints patrons de la ville de Romans, Séverin, Exupère, et Félicien ; il a été composé en vue d’une représentation, qui eut lieu trois jours durant dans cette même ville les 27, 28 et 29 mai 1509. Notre travail comporte plusieurs aspects distincts et complémentaires : une analyse philologique et historique, une présentation littéraire et une étude linguistique. Après avoir présenté les objectifs de notre travail, nous analysons la préparation de la représentation de 1509, tant du point de vue de l’écriture du mystère (analyse du manuscrit et des différentes étapes de sa composition) que du point de vue de la réalisation matérielle de l’entreprise (construction du théâtre et des décors). Nous possédons en effet également le livre des comptes du mystère, qui contient de précieuses informations sur les modalités d’organisation de sa représentation : il s’agit d’un cas unique, ce texte est donc d’une grande importance pour l’histoire du théâtre en France. Nous proposons ensuite une présentation du texte du mystère, une analyse des sources, de la mise en scène, et quelques éléments de versification et de stylistique. La langue du mystère étant d’une grande richesse, notre étude linguistique s’intéresse à plusieurs aspects : les systèmes graphiques des différents scribes, la régionalité de la langue et la représentation de l’oralité. Nous présentons enfin les principes qui ont guidé l’édition critique des trois journées du mystère. Celle-ci est suivie d’un relevé des nombreuses variantes et corrections contenues dans le manuscrit, de notes portant sur le texte, d’un glossaire et d’une bibliographie ; le volume contient enfin en annexes plusieurs planches du manuscrit
This thesis presents a critical edition of the Mystère des Trois Doms (1509), from a single manuscript now kept in the National Library of France under the reference n.a.f 18995. This drama play in Middle French contains approximately 11,000 verses, and tells the conversion and martyrdom of the three patron saints of the town of Romans, Séverin, Exupère and Félicien; it was composed for a performance, which took place in the city during three days, on 27, 28 and 29 May 1509. Our work includes several distinct and complementary aspects: philological and historical analysis, literary presentation and linguistic study. After presenting the objectives of our work, we analyze the preparation of the 1509 performance, from a writing point of view (analysis of the manuscript and the various stages of its composition) as well as from the material realization of the representation (construction of the theater and scenery). Indeed, we also have the book of accounts of the mystery play, which contains valuable informations on organizational modalities of its representation: it is a unique case, making this text of great importance for the history of the theater in France. We then propose a presentation of the text of the mystery, an analysis of sources, staging, and some elements of versification and stylistics. The language of the mystery being very rich, our linguistic study focuses on several aspects: graphics systems of the different scribes, regionality of the language and representation of orality. Finally, we present the principles that guided our critical edition of the three days of the play, followed by an account of the various variants and corrections contained in the manuscript, some notes on the text, a glossary and a bibliography. The appendices of the volume also contain several boards of the manuscript

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Simon-Walckenaer, Marie-Emmanuelle. "La confession dans le théâtre de la fin du Moyen Âge : farce, mystère, moralité." Thesis, Paris 10, 2015. http://www.theses.fr/2015PA100004/document.

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Le sacrement de confession, dont l’obligation annuelle est décidée par le concile de Latran IV (1215), est une pratique religieuse qui marque profondément la civilisation du Moyen Âge finissant. Le motif remporte un succès franc dans le théâtre profane des XIIIe XVIe siècles. Les farces montrent des scènes de confessions burlesques, toujours déviantes, dans lesquelles les travers des pénitents et des confesseurs apparaissent et dont la mécanique formelle est utilisée à des fins dégradées. La moralité favorise l’exploitation des métaphores de ce sacrement ou son allégorisation divisée en de multiples personnages qui gravitent autour de ses trois grands moments : contrition, confession et satisfaction ou pénitence. La figuration imagée est mise au service du sens théologique du sacrement, la confession étant un moyen de salut, une étape capitale par rapport au devenir éternel de l’âme. Enfin, les mystères de la Passion font adopter aux saints antiques le langage du sacrement, manifestant l’identité, dans la civilisation médiévale, entre conversion et confession. Malgré des élaborations esthétiques différenciées selon le genre théâtral, les fortes convergences entre les pièces du corpus montrent des dramaturges attentifs aux mêmes aspects du sacrement : les difficultés qu’il y a à accepter cette démarche d’auto-accusation, l’effort pastoral déployé par les contemporains pour en persuader le bien-fondé et en expliquer le déroulement et enfin, quand ils se font jour au XVIe siècle, les affrontements doctrinaux avec les protestants. Le théâtre est en cela le témoin de la théologie moyenne des hommes de son temps
Confessing sins is a yearly duty for all Christians since the council of Lateran IV (1215). The broad impact of this religious practice on late medieval civilization is patent through the French theatre of the xiiith – xvith centuries. Comic short plays (farces) show realistic scenes of confession: but, due to the confessor’s or the sinner’s attitude, none is right. The comical and critical distance allows the use of the ritual form, disconnected from the preoccupation of heaven and hell and applied to terrestrial purposes. On the contrary, the use of allegory in morality plays (moralités) aims at showing the signification of the sacrament: images emphasize the meaning of this sacrament which provides ways of salvation to the soul of the sinner. The moments of the rite, contrition, confession, and penance, are, like every other notion in connection with them, impersonated by allegorical characters who explain and perform the sacrament. Eventually, in the Passion plays (mystères), saint characters tell their conversion to the ritual forms of the sacrament, showing the equivalency, in that civilization, between conversion and confession. Despite esthetic differences depending on the theater genres, all plays show a similar interest on some aspects of the sacrament: the reluctance every man must overcome to formulate his self-accusation, the pastoral care with which the institution keeps explaining and convincing people of its use and finally, as it rises in the xvie Century, the protestant contestation of the sacrament. Theatre thus appears to be a testimony of the average late medieval theology

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Posth, Carlotta Lea. "Persuasionsstrategien im vormodernen Theater (14.–16. Jh.). Eine semiotische Analyse religiöser Spiele im deutschen und französischen Sprachraum." Thesis, Paris 3, 2020. http://www.theses.fr/2020PA030009.

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Le théâtre religieux, devenu un média de masse dans les villes européennes entre le XIVe et le XVIe siècle, est depuis toujours un défi pour la recherche comparatiste. Malgré les nombreuses similitudes qui existent entre les jeux de différentes zones linguistiques, aucun lien génétique entre eux n’a pu être prouvé. La présente thèse se propose d’ouvrir de nouvelles perspectives à la recherche comparatiste en changeant d’approche méthodologique. Afin de dégager les stratégies de persuasion du théâtre religieux, elle identifie son répertoire sémiotique, consistant en signes linguistiques, iconiques, sonores (musique et bruits) et gestuels. Bien que les représentations historiques soient essentiellement inaccessibles à l’analyse, la « représentation imaginée », inscrite comme potentialité dans les signes transmis par les manuscrits, peut être reconstruite. À l’aide de méthodes provenant majoritairement de la linguistique textuelle, cette étude décrit certaines stratégies de persuasion dans une sélection représentative de Passions et de jeux eschatologiques germanophones et francophones. Elle identifie des lieux argumentatifs (topoï) qui structurent les pièces. Un chapitre est consacré au topos qui inscrit dans une certaine matière un scénario menaçant qui souligne l’importance et l’urgence de la représentation. La comparaison diachronique montre comment des stratégies de diffamation, employées aux XIVe et XVe siècles pour caractériser et diaboliser le collectif des juifs, sont appliquées aux protestants au XVIe siècle. L’évocation d’autorités permettant aux jeux de s’auto-légitimer est abordée dans un autre chapitre. L’analyse des différentes techniques d’évocation permet non seulement de décrire l’usage rhétorique et performatif des autorités, mais aussi de mettre en évidence différents concepts d’autorité. Enfin, une dernière partie montre comment le théâtre construit et perpétue des stéréotypes qui interpellent le public de façon tant rationnelle qu’émotionnelle, entraînant des processus d’inclusion et d’exclusion
Religious drama, which developed into a mass medium in European cities between the 14th and the 16th century, has always been a challenge for comparative research. Despite the many similarities between plays in different linguistic areas, no direct textual relationship between them could be proven. This dissertation aims to open up new perspectives for comparative research by changing the methodological approach. In order to identify the persuasion strategies of religious drama, this work considers the theatrical semiotic repertoire, consisting of language, image, sound (music and noise) and gesture. Although historical representations are essentially inaccessible to analysis, the ‘imagined representation,’ inscribed as potentiality in the signs transmitted by the manuscripts, can be reconstructed. Using methods mainly from textual linguistics, the study describes some persuasion strategies present in a representative selection of German and French Passion plays and eschatological plays. It identifies argumentative places (topoi) that structure the plays. A chapter is devoted to a topos, which recasts a certain subject in a threatening light. The plays use this in order to underline the relevance and urgency of theatrical representation. The diachronic comparison shows how defamation strategies, used in the 14th and 15th centuries to characterize and demonize the Jews as a collective, were applied to Protestants in the 16th century. Another chapter examines how the plays use authority as a topos to legitimize themselves. The analysis of the different evocation techniques makes it possible not only to describe the rhetorical and performative use of authorities, but also to highlight distinct concepts of authority. Finally, the last part shows how theatre builds and perpetuates stereotypes that affect the audience in both rational and emotional ways, leading to processes of inclusion and exclusion

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Gérard, Fabien. "La certitude et de doute: recherche du mystère et quête identitaire dans le cinéma de Bernardo Bertolucci." Doctoral thesis, Universite Libre de Bruxelles, 2002. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211352.

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Einmahl, Christiane. "Orality in Medieval Drama: Speech-Like Features in the Middle English Comic Mystery Plays." 2019. https://tud.qucosa.de/id/qucosa%3A38631.

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Da die historische Sprachwissenschaft ausschließlich über geschriebene Texte als Datenbasis verfügt, wurden insbesondere im Forschungsgebiet der historischen Pragmatik bestimmte Genres identifiziert, die Aufschluss über die Sprechsprachlichkeit vergangener Sprachstufen bieten können. Dem dramatischen Genre der Komödie wird in der sprachhistorischen Forschung eine besondere Nähe zur gesprochenen Sprache zugesprochen. Das Korpus dieser Dissertation umfasst insgesamt 46 Stücke der spätmittelenglischen Mystery Plays, die biblische Episoden von der Erschaffung der Welt bis zum Jüngsten Gericht (komisch) in Szene setzen. Neben der quantitativen und qualitativen Analyse von acht nähesprachlichen Merkmalen (u. a. Anredepronomina, Fragen, Diskursmarker) beinhaltet die Arbeit eine Klassifizierung der komischen Szenen in den Mystery Plays sowie eine Untersuchung der literatur- und kulturhistorischen Kontextfaktoren, die eine Annäherung an Sprechsprachlichkeit in den Texten bedingt haben könnten.:1 Introduction 1.1 Premises and aims 1.2 Outline of the study 2 Comedy play texts as a speech-related genre 2.1 Speech-like genres and 'communicative immediacy' 2.2 Play texts vs. 'real' spoken discourse 2.3 Conclusions 3 'Comedy' in the mystery cycles 3.1 The medieval sense of 'comedy' 3.2 Medieval attitudes to laughter 3.3 Laughter and the comic in the mystery cycles 3.3.1 Humiles personae – sympathetic laughter 3.3.2 Divine triumph over evil – Schadenfreude 3.3.3 Funny games of violence – grim irony 3.4 The potential for 'communicative immediacy' in the mystery 'comedies' 3.4.1 Context and sources 3.4.2 Stylistic guidelines 3.5 Conclusions 4 Speech-like features in the mystery 'comedies' 4.1 Methodological premises 4.1.1 The data 4.1.2 Speech-like characteristics and linguistic features 4.1.3 Challenges and obstacles 4.2 Interactivity in pronominal address – (im)politeness, power and dominance 4.2.1 Second-person pronouns 4.2.1.1 Overall distribution 4.2.1.2 Family relationships 4.2.1.3 'Official' relationships 4.2.1.4 A special case: address in funny games of violence 4.2.2 Summary 4.3 Interactivity in pair structures – cooperation and conflict 4.3.1 Questions 4.3.1.1 Overall distribution 4.3.1.2 Functional analysis 4.3.1.3 Discussion of results 4.3.2 Imperatives 4.3.2.1 Overall distribution 4.3.2.2 Functional analysis 4.3.2.3 Discussion of results 4.3.3 Lexical repetition 4.3.3.1 Overall distribution 4.3.3.2 Functional Analysis 4.3.3.3 Discussion of results 4.3.4 Turn-initial discourse markers 4.3.4.1 Overall distribution 4.3.4.2 Interactional uses 4.3.4.3 Discussion of results 4.3.5 Summary 4.4 Features of sharedness and function – emotion and emphasis 4.4.1 Interjections 4.4.1.1 Overall distribution 4.4.1.2 Emotive-expressive uses 4.4.1.3 A special case: swearing 4.4.2 Vocatives: Terms of endearment and abuse 4.4.2.1 Overall distribution 4.4.2.2 Analysis 4.4.3 Demonstrative pronouns and deictic reference 4.4.3.1 Overall distribution 4.4.3.2 Analysis 4.4.4 Summary 4.5. Discussion: Speech-like features in the Middle English mystery plays 5 Final remarks 6 Bibliography 7 List of abbreviations 8 List of tables 9 List of figures

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Mitchell, Heather S. "'Dost Thou Speak like a King?': Enacting Tyranny on the Early English Stage." Diss., 2009. http://hdl.handle.net/10161/1580.

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The Biblical drama that was popular in England from the fourteenth to sixteenth centuries is a fruitful site for exploring the dissemination of political discourse. Unlike Fürstenspiegeln (mirrors for princes literature) or the tradition of royal civic triumphs, Biblical drama, whether presented as ambitious "history of the world" civic cycles or as individual plays put on by traveling companies or parish actors, did not attempt to define or proscribe ideals of kingly behavior. On the contrary, the superstars of the early English stage were tyrants, such as Herod, Pharoah, Pilate, and Lucifer. These figures were dressed in the most lavish costumes, assigned the longest and most elaborate speeches, and often supplied the actors who brought them to life with a substantial wage. This dissertation argues that these tyrants helped to ensure the enduring popularity of Biblical drama well into the Tudor period; their immoderation invited authors, actors, and audiences to imagine how the role of a king ought to be played, and to participate in a discourse of virtue and self-governance that was applicable to monarchs and commoners alike.

This work builds upon a growing scholarly awareness of what Theresa Coletti and Gail McMurray Gibson have called "the Tudor origins of medieval drama": namely, that our modern knowledge of "medieval" plays reflects and relies upon the sixteenth-century context in which they were preserved in manuscripts and continued to flourish in performance. The popularity of the tyrant-figures in these plays throughout the Tudor period - particularly in parts of the country that were reluctant to adapt to the ever-changing economic, judicial, and religious policies of the regime - suggests an enduring frustration with royal power that claimed to rule in the name of "the common good" yet never hesitated to achieve national obedience at the expense of economic, judicial, and religious continuity. Through an examination of surviving play-texts from the Chester Mystery Cycle and Digby MS 133 as well as documentation of performances in Cheshire and East Anglia, this dissertation chronicles Biblical drama's ability to serve as an important site of popular resistance to the Tudor dynasty, both before and after Protestantism became a matter of state policy.

Chapter One considers the Crown's surprisingly active involvement in the civic government of Chester between 1495 and 1521 in counterpoint with the early sixteenth century restructuring of the city's mystery cycle, and argues that the cycle's new opening pageant, The Fall of Lucifer, embodies Chester's fears about losing its traditional civic identity. Chapter Two examines Biblical drama's surprising ability to encourage resistance to tyranny through a reading of The Killing of the Children, which highlights the fleeting and unprofitable nature of earthly power in such a way as to resonate with audiences in the wake of Henry VIII's initial religious reforms of 1536. Chapter Three explores the capacious Mary Magdalen play, which addresses issues of succession, of national religious identity, and of female rule in ways that seem prescient of the controversial crowning of Henry VIII's eldest daughter in 1553. Chapter Four discusses the aftermath of the final performance of the Chester cycle in 1575: the city's mayor was accused of being no less of a tyrant than Herod himself for encouraging performance of a cycle seen by the Crown as "popish idolatry." The project concludes with a Shakespearean envoi: a consideration of Richard III that demonstrates that questions of tyranny and rightful governance remained as important at the end of the Tudor period as they were at the accession of Elizabeth's grandfather in 1485.

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Keichinger, Sabrina Deanne. "Activating Play-Based Escape, Awakening Creativity." Thesis, 2011. http://hdl.handle.net/10012/5953.

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Everyone participates in escape. The drive to escape is something we are born with. It is a force that has ties to our curiosity, as well as our profound psychological restlessness, and can even be seen in our displeasure with boredom. This thesis introduces three forms of escape: pure diversions, games, and play. Focussing on a play-based escape, this thesis argues that this is the most important form of escape, because, through play, we promote our cognitive health and creativity. This thesis develops three lines of investigation: first an understanding of what play is; second, through understanding the conditions, context, and disposition necessary in order to engage in a play-based escape; and third, a study of play through the review of architectural case studies. It is through these investigations that this thesis will identify ten key strategies that architecturally accommodate play. These are: nature, complexity, dynamic, loose-parts theory, scale, the primitive, along a path, mystery, risk, and unmonitored feel. In order to develop a method of design which engenders an architectural atmosphere of play-based escape these characteristics are organized into three interconnected themes: a desire to explore the world around us, a desire for a dynamic stimulating environment, and the desire to be active and move our bodies. Finally, an architectural application of the design method concludes this thesis, with hopes to activate a play-based escape capable of awakening our creativity.

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Dissertations / Theses on the topic 'Mystery plays'

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