Academic literature on the topic 'Philip Massinger'

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Journal articles on the topic "Philip Massinger"

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Brittin, Norman A., and Doris Adler. "Philip Massinger." Shakespeare Quarterly 39, no. 2 (1988): 260. http://dx.doi.org/10.2307/2870645.

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Leggatt, Alexander, and Douglas Howard. "Philip Massinger: A Critical Reassessment." Shakespeare Quarterly 38, no. 1 (1987): 119. http://dx.doi.org/10.2307/2870416.

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Rowe, George, and Ira Clark. "The Moral Art of Philip Massinger." Sixteenth Century Journal 26, no. 2 (1995): 426. http://dx.doi.org/10.2307/2542822.

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Yearling, R. "JOANNE ROCHESTER. Staging Spectatorship in the Plays of Philip Massinger." Review of English Studies 62, no. 255 (2011): 474–76. http://dx.doi.org/10.1093/res/hgq112.

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Gruss, Susanne. "Slippery Pirates: Generic Conventions and Discursive Instability in John Fletcher and Philip Massinger’s Pirate Plays." Humanities 9, no. 1 (2019): 7. http://dx.doi.org/10.3390/h9010007.

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The term piracy marks a slippery category in early modern England: as a legal denomination, it describes the feats of armed robbery at sea for which pirates were prosecuted but their state-sanctioned counterparts, privateers, were not; in a seaman’s professional life, being a pirate was often a phase rather than a stable marker of self-identification. Like their real-life models, literary pirates are contradictory creatures—they shed their pirate identity as quickly as they have adopted it, are used for veiled socio-political commentary, or trimmed to size in order to fit generic constraints. The slipperiness of the pirate has made him (and sometimes her) an attractive figure for early modern playwrights. I argue that John Fletcher and Philip Massinger appropriate the discursive instability of piratical individuals for their pirate plays. Rather than looking at the ideological and political implications of piracy, I analyze the pirate figures in Fletcher and Massinger’s The Double Marriage (1621) and The Sea Voyage (1622) as well as in Massinger’s The Renegado (1623–1624) and The Unnatural Combat (1624–1625) as literary creations. Alternating between the heroic and the villainous, their pirates are convenient plot devices that are attuned to the evolving generic conventions of the early Stuart stage in general and early Stuart tragicomedy in particular.
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Farajallah, Hana Fathi, and Amal Riyadh Kitishat. "The Self and the Other in Philip Massinger’s “The Renegado, the Gentleman of Venice”: A Structural View." Theory and Practice in Language Studies 9, no. 1 (2019): 118. http://dx.doi.org/10.17507/tpls.0901.17.

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Renaissance England (1500-1660) is the most flourishing era of English history which testified the emergence of classical humanistic arts. Of course, drama is a literary genre that prospered, then, to entertain the interests of the Royal ruling families, especially Queen Elizabeth 1 (1558-1603) and her successor King James 1 (1603-25), as theatres were built in London along with dramatic performances held in the courts like masquerades. This study aims at showing the distortion of Islam in Philip Massinger’s “The Renegado or The Gentleman of Venice”, via tackling the theme of “the self and the other” and analyzing the structure of the play. Why not, and English Renaissance citizens love to watch the non-Christians, the misbelievers, humiliated and undermined. Massinger, among other Elizabethan dramatists like William Shakespeare, uses the art of tragicomedy to show the Western hatred, which is “the self”, of the Oriental Islam that is in turn “the other”.
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Sanders, Julie. "Staging Spectatorship in the Plays of Philip Massinger (review)." Comparative Drama 45, no. 2 (2011): 142–45. http://dx.doi.org/10.1353/cdr.2011.0007.

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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 (2012): 134–36. http://dx.doi.org/10.1093/notesj/gjr250.

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Calvo García de Leonardo, Juan José. "«Que en estos nuestros reinos llamábamos…»: a la búsqueda de una naturalización coeva de títulos y fórmulas de tratamiento en la traducción de la dramaturgia estuarda." Hikma 18, no. 2 (2019): 37–65. http://dx.doi.org/10.21071/hikma.v18i2.11431.

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Resumen. La traducción de textos no-contemporáneos, ‘diacrónicos’, se puede plantear desde la lealtad romántica al original hasta la absoluta domesticación. Centrándonos en la onomástica de los títulos heredados y adquiridos y en las fórmulas de tratamiento, proponemos una naturalización histórica y cultural, de modo que la reacción del público ante la puesta en escena de la traducción sea lo más equivalente posible a la del público de la cultura de partida, hoy en día.La parte teórica arranca con la presentación y explicación de lo que entendemos como tres modos básicos de traslación, junto con la argumentación de nuestra propuesta metodológica. A continuación, se expone una taxonomía de títulos heredados o adquiridos y de las fórmulas de tratamiento posibles en los textos originales y su tratamiento traductológico, según nuestras premisas.La parte práctica se inicia con una breve comparación de las versiones que cuatro traducciones canónicas, al alemán, el francés, el italiano y el español, dieron a dos títulos heredados o adquiridos en dos comedias, dos obras históricas y una ‘problem comedy’ shakesperianas. Pero nuestro corpus propiamente hablando consta de seis títulos heredados o adquiridos (Lord, Lady, Sir, Gentleman, Mr., Mrs.), veinte fórmulas de tratamiento de respeto, entre pares, incluyendo seis insultantes o degradantes (Your Grace, Lady, Your Ladyship, Your Worship, Worshipful, Right Worshipful, Right honourable, Sir, Fellow, Goodman/Goodwife, Master, Mistress, Madam, Miss, Rascal, Rogue, Sirrah, Wench, Hussy, Slut) y cuatro fórmulas paródicas o burlescas (Your Mastership, Your Solicitorship, His Wise Head, Reverend Ladies), extraídos de tres comedias ‘estuardas’ (Carlos I y Carlos II) del siglo XVII: A new way to pay old debts (1633) de Philip Massinger, The country wife (1675) de William Wycherley y Love for love (1695) de William Congreve.Palabras clave: onomástica, equivalencia histórica y cultural, traducción, naturalización, comedia del inglés moderno temprano
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Liebler, Naomi Conn. "Joanne Rochester. Staging Spectatorship in the Plays of Philip Massinger. Studies in Performance and Early Modern Drama. Farnham: Ashgate Publishing Limited, 2010. ix + 172 pp. $99.95. ISBN: 978–0–7546–3080–7." Renaissance Quarterly 65, no. 3 (2012): 1019–20. http://dx.doi.org/10.1086/668401.

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Dissertations / Theses on the topic "Philip Massinger"

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Rochester, Joanne Marie. "Inset forms of art in the plays of Philip Massinger." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ53732.pdf.

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Abu-Baker, Mohamed Hassan. "Representations of Islam and Muslims in early modern English drama from Marlowe to Massinger." Thesis, University of Glasgow, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.322283.

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Pérez, Díez José Alberto. "'Love's Cure, or, The Martial Maid' by John Fletcher and Philip Massinger : a modern-spelling critical edition." Thesis, University of Birmingham, 2015. http://etheses.bham.ac.uk//id/eprint/6258/.

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This thesis is the first fully annotated modern-spelling critical edition of Love’s Cure, or The Martial Maid by John Fletcher and Philip Massinger. The play, first published in 1647 as part of the first Beaumont and Fletcher folio, has been neglected in performance and relatively unappreciated by scholarship. It had not been edited critically since George Walton Williams published his old-spelling edition in 1976, which included little accompanying commentary. This new edition offers a modernised text with annotation and a critical apparatus, generally following the editorial principles of the Arden Early Modern Drama series. It reconsiders the dating of the play, providing evidence to assign its composition to 1615. It traces the origins and processes of transmission of its main narrative source, La fuerza de la costumbre by Guillén de Castro, and also proposes for the first time a source for one of its characters in Guzmán de Alfarache by Mateo Alemán. Finally, it also reconsiders the staging possibilities of the play based on evidence from a practice-based project developed at the Shakespeare Institute in 2012 during rehearsals for a staged reading, a recording of which is included on DVD as an appendix.
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Clark, Rachel Ellen. "Textual Ghosts: Sidney, Shakespeare, and the Elizabethans in Caroline England." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1312205135.

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Massing, Till Philipp Georg [Verfasser], and Christoph [Akademischer Betreuer] Hanck. "Stochastic Properties of Student-Lévy Processes with Applications / Till Philipp Georg Massing ; Betreuer: Christoph Hanck." Duisburg, 2019. http://d-nb.info/1191693791/34.

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Templeman, Sally Jane. "Cooks, cooking, and food on the early modern stage." Thesis, University of Exeter, 2013. http://hdl.handle.net/10871/9824.

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This project aims to take the investigation of food in early modern drama, in itself a relatively new field, in a new direction. It does this by shifting the critical focus from food-based metaphors to food-based properties and food-producing cook characters. This shift reveals exciting, unexpected, and hitherto unnoticed contexts. In The Taming of the Shrew and Titus Andronicus, which were written during William Shakespeare’s inn-yard playhouse period, the playwright exploits these exceptionally aromatic venues in order to trigger site-specific responses to food-based scenes in these plays. Ben Jonson’s Bartholomew Fair brings fair-appropriate gingerbread properties onstage. When we look beneath the surface of this food effect to its bread and wine ingredients, however, it reveals a subtext that satirizes the theory of transubstantiation. Jonson expands on this theme by using Ursula’s cooking fire (a property staged in Jonson’s representation of Smithfield’s Bartholomew Fair) to engage with the prison narrative of Anne Askew, who was burned to death in front of Bartholomew Priory on the historic Smithfield for denying the doctrine of transubstantiation. This thesis also investigates water, which, for early moderns, was a complex and quasi-mystical liquid: it was a primary element, it washed sin from the world during the Great Flood, it was a marker of status, it was a medicine, and it was a cookery ingredient. Christopher Marlowe not only uses dirty water to humiliate his doomed monarch in Edward II, but he also uses it to apportion blame to the king for his own downfall. In Timon of Athens, Shakespeare draws on the theory of the elements to cast Timon as a man of water, who, Jesus-like, breaks up and divides (or splashes around) his body at his “last” supper. Fully-fledged cook characters were a relative rarity on the early modern stage. This project looks at two exceptions: Furnace in Philip Massinger’s A New Way to Pay Old Debts and the unnamed master cook in John Fletcher’s The Tragedy of Rollo, Duke of Normandy. Both playwrights use their respective gastronomic geniuses to demonstrate the danger that lower-order expertise poses to the upper classes when society is in flux. Finally, this project demonstrates that a link existed between ornate domestic food effects and alchemy. It shows how Philip Massinger’s The Great Duke of Florence and Thomas Middleton’s Women, Beware Women use food properties associated with alchemy to satirize notions of perfection in their play-worlds.
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Books on the topic "Philip Massinger"

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Philip Massinger. Twayne Publishers, 1987.

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The moral art of Philip Massinger. Bucknell University Press, 1993.

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Staging spectatorship in the plays of Philip Massinger. Ashgate, 2010.

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Massinger, Philip. Philip Massinger. Reprint Services Corporation, 1992.

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Massinger, Philip. Plays of Philip Massinger. HardPress, 2020.

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Massinger, Philip. The Plays Of Philip Massinger. Kessinger Publishing, LLC, 2007.

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Douglas, Howard, ed. Philip Massinger: A critical reassessment. Cambridge University Press, 1985.

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Douglas, Howard, ed. Philip Massinger: A critical reassessment. Cambridge University Press, 1985.

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Howard, Douglas. Philip Massinger: A Critical Reassessment. Cambridge University Press, 1985.

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Garrett, Martin. Massinger. Taylor & Francis Group, 2014.

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Book chapters on the topic "Philip Massinger"

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Mittelbach, Jens. "Massinger, Philip." In Kindlers Literatur Lexikon (KLL). J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_14275-1.

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Mittelbach, Jens. "Massinger, Philip: Das dramatische Werk." In Kindlers Literatur Lexikon (KLL). J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_14276-1.

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Kluge, Walter. "Massinger, Philip: A New Way to Pay Old Debts." In Kindlers Literatur Lexikon (KLL). J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_14277-1.

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Stelzer, Emanuel. "Philip Massinger’s The Picture (1630)." In Portraits in Early Modern English Drama. Routledge, 2019. http://dx.doi.org/10.4324/9780429436697-8.

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Robinson, Benedict S. "The “Turks,” Caroline Politics, and Philip Massinger’s The Renegado." In Localizing Caroline Drama. Palgrave Macmillan US, 2006. http://dx.doi.org/10.1057/9780230601611_9.

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Homem, Rui Carvalho. "Philip Massinger." In The Cambridge Companion to Shakespeare and Contemporary Dramatists. Cambridge University Press, 2012. http://dx.doi.org/10.1017/cco9780511994524.016.

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"Arthur Symons, Introduction to Philip." In Massinger. Routledge, 2002. http://dx.doi.org/10.4324/9780203405048-56.

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"NATHAN FIELD, ROBERT DABORNE, and PHILIP MASSINGER, letter to Philip Henslowe, c. 1613." In Massinger. Routledge, 2002. http://dx.doi.org/10.4324/9780203405048-7.

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"Wit’S Recreations, ‘To Mr. Philip Massinger’, 1640." In Massinger. Routledge, 2002. http://dx.doi.org/10.4324/9780203405048-17.

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"Philip Massinger, ‘A Charme for a Libeller’, 1630." In Massinger. Routledge, 2002. http://dx.doi.org/10.4324/9780203405048-13.

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