The Theatre of Civilized Excess: New Perspectives on Jacobean TragedyRodopi, 2007 - 223 стор. Jacobean tragedy is typically seen as translating a general dissatisfaction with the first Stuart monarch and his court into acts of calculated recklessness and cynical brutality. Drawing on theoretical influences from social history, psychoanalysis and the study of discourses, this innovative book proposes an alternative perspective: Jacobean tragedy should be seen in the light of the institutional and social concerns of the early modern stage and the ambiguities which they engendered. Although the stage's professionalization opened up hitherto unknown possibilities of economic success and social advancement for its middle-class practitioners, the imaginative, linguistic and material conditions of their work undermined the very ambitions they generated and furthered. The close reading of play texts and other, non-dramatic sources suggests that playwrights knew that they were dealing with hazardous materials prone to turn against them: whether the language they used or the audiences for whom they wrote and upon whose money and benevolence their success depended. The notorious features of the tragedies under discussion - their bloody murders, intricately planned revenges and psychologically refined terror - testify not only to the anxiety resulting from this multifaceted professional uncertainty but also to theatre practitioners' attempts to civilize the excesses they were staging. |
Зміст
| 7 | |
Dangerous Eloquence in The Atheists Tragedy 300 | 90 |
Women Beware Women | 159 |
Bibliography | 194 |
Index | 218 |
Інші видання - Показати все
The Theatre of Civilized Excess: New Perspectives on Jacobean Tragedy Anja Müller-Wood Обмежений попередній перегляд - 2007 |
The Theatre of Civilized Excess: New Perspectives on Jacobean Tragedy Anja Müller-Wood Попередній перегляд недоступний - 2007 |
Загальні терміни та фрази
aesthetic allegory ambiguous Antonio argument aristocratic Atheist's Tragedy audience authority Benjamin Bianca bourgeois Bussy D'Ambois Bussy's Cambridge University Press Castabella Chapman characters Charlemont context critical cultural D'Amville D'Amville's death depicted desire discourse Duchess of Malfi duel Duke early modern stage early modern theatre echo economic Elizabethan embodied emotional excess fact fantasy Foucault George Chapman George Puttenham gesture hero Hobbes honour Ibid ideal illuminates illustrates imagination inherent interpretation Jacobean Drama Jacobean tragedy John Webster Lacan Lacanian language Leantio's Levidulcia linguistic Literature Livia London masque Maximus meaning Middleton Montsurry Montsurry's moral Narcissus narrative notion Oxford performance perspective play's playwright political potential Puttenham rational relationship Renaissance Drama representation represents rhetoric Routledge scene Shakespeare Slavoj Žižek social speech sprezzatura strategy structure subversive suggests Tamyra theatre practitioners theatrical Thomas Middleton torture Tourneur's play tragic ultimately violence Walter Benjamin Women Beware Women words York Žižek
Популярні уривки
Сторінка 186 - In such condition there is no place for industry, because the fruit thereof is uncertain, and consequently no culture of the earth, no navigation nor use of the commodities that may be imported by sea, no commodious building, no instruments of moving and removing such things as require much force, no knowledge of the face of the earth; no account of time, no arts, no letters, no society, and, which is worst of all, continual fear and danger of violent death, and the life of man solitary, poor, nasty,...
Сторінка 69 - Shall this move me? If all my royal kindred Lay in my way unto this marriage, I'd make them my low footsteps...
Сторінка 103 - ... affectionate study of eloquence and copie of speech, which then began to flourish,—- This grew speedily to an excess ; for men began to hunt more after words than matter ; and more after the choiceness of the phrase, and the round and clean composition of the sentence, and the sweet falling of the clauses...
Сторінка 18 - But more important was the multiplication of discourses concerning sex in the field of exercise of power itself: an institutional incitement to speak about it, and to do so more and more; a determination on the part of the agencies of power to hear it spoken about, and to cause it to speak through explicit articulation and endlessly accumulated detail.
Сторінка 63 - Cast in one figure, of so different temper. For her discourse, it is so full of rapture, You only will begin then to be sorry When she doth end her speech, and wish, in wonder, She held it less vain-glory to talk much, Than your penance to hear her. Whilst she speaks, She throws upon a man so sweet a look That it were able to raise one to a galliard.
Сторінка 141 - Then cut him up, and with my soul's beams search The cranks and caverns of his brain, and study The errant wilderness of a woman's face ; Where men cannot get out, for all the comets That have been lighted at it ; though they know That adders lie a-sunning in their smiles, That basilisks drink their poison from their eyes, And no way there to coast out to their hearts...
Сторінка 71 - How superstitiously we mind our evils! The throwing down salt, or crossing of a hare, Bleeding at nose, the stumbling of a horse, Or singing of a cricket, are of power To daunt whole man in us.
Сторінка 115 - Evil as such which it cherished as enduring profundity, exists only in allegory, is nothing other than allegory, and means something different from what it is. It means precisely the non-existence of what it presents.
Сторінка 82 - Come, I'll be out of this ague, For to live thus is not indeed to live; It is a mockery and abuse of life. I will not henceforth save myself by halves; Lose all, or nothing.
Сторінка 63 - For the devil speaks in them. But for their sister, the right noble duchess, You never fix'd your eye on three fair medals Cast in one figure, of so different temper.