Breaking new ground in the study of tragedy, early modern theatre, and literary London,Metropolitan Tragedydemonstrates that early modern tragedy emerged from the juncture of radical changes in ...London's urban fabric and the city's judicial procedures. Marissa Greenberg argues that plays by Shakespeare, Milton, Massinger, and others rework classical conventions to represent the city as a locus of suffering and loss while they reflect on actual sources of injustice in sixteenth- and seventeenth-century London: structural upheaval, imperial ambition, and political tyranny.
Drawing on a rich archive of printed and manuscript sources, including numerous images of England's capital, Greenberg reveals the competing ideas about the metropolis that mediated responses to theatrical tragedy. The first study of early modern tragedy as an urban genre,Metropolitan Tragedyadvances our understanding of the intersections between genre and history.
El volumen (publicado tambien con acceso libre en internet, https://digitalisdsp.uc.pt/bitstream/10316.2/44015/1/Irreligiosidad.pdf) se abre con un prologo en ingles de M. Domingo Gygax ...("Irreligiosity in Fifth-Century Athens", pp. 11-14) que sirve de presentacion y ubica los problemas fundamentales de concepto y metodo que presenta el abordaje de un tema capital en la evolución del pensamiento y las ideas de la Atenas clasica. El autor destaca cómo la ciudad intervino en los debates religiosos mientras que, de otro lado, en la cultura helenica no existia una imposición de una ortodoxia religiosa que provocase una reacción; en todo caso, por ello mismo el fenómeno pudo ser menos visible, y al mismo tiempo mas enconado en Atenas, donde mas textos estaban en circulación. A continuación, Ramón Palerm revisa en la sección siguiente ("Comedia", pp. 154-205) los loci de la obra aristofánica con escenas relativas a la divinidad (Sócrates y la impiedad; la intervención en la guerra; las nuevas condiciones económicas, etc.). Por ultimo, F. Frazier ("Regards Grecs sur L'Athenes du Vе siecle et 'L' irreligion' de Platon a Plutarque", pp. 295-357) constituye un ensayo a modo de epílogo que comienza planteando la dimensión cívica o política de la religión griega, dimensión cruzada por la dicotomía entre el pensamiento sobre el hecho religioso y los actos determinados que concretizan el mismo, todo lo cual va a determinar el tratamiento de las cuestiones de irreligiosidad.
As well as 'play-makers' and 'poets', playwrights of the early modern period were known as 'play-patchers' because their texts were made from separate documents. This book is the first to consider ...all the papers created by authors and theatres by the time of the opening performance, recovering types of script not previously known to have existed. With chapters on plot-scenarios, arguments, playbills, prologues and epilogues, songs, staged scrolls, backstage-plots and parts, it shows how textually distinct production was from any single unified book. And, as performance documents were easily lost, relegated or reused, the story of a play's patchy creation also becomes the story of its co-authorship, cuts, revisions and additions. Using a large body of fresh evidence, Documents of Performance in Early Modern England brings a wholly new reading to printed and manuscript playbooks of the Shakespearean period, redefining what a play, and what a playwright, actually is.
Hopkins argues the succession to the throne was a burning topic not only in the final years of Elizabeth but well into the 1630s, and drama, with its disguised identities and oblique relationship to ...reality, was a safe way to air it. Hopkins analyzes some of the ways in which plays-from Marlowe's and Shakespeare's to Webster's and Ford's-reflect, negotiate and dream the issue of the succession.
Through a series of interdisciplinary studies this book argues that the Athenians themselves invented the notion of 'classical' tragedy just a few generations after the city's defeat in the ...Peloponnesian War. In the third quarter of the fourth century BC, and specifically during the 'Lycurgan Era' (338–322 BC), a number of measures were taken in Athens to affirm to the Greek world that the achievement of tragedy was owed to the unique character of the city. By means of rhetoric, architecture, inscriptions, statues, archives and even legislation, the 'classical' tragedians (Aeschylus, Sophocles and Euripides) and their plays came to be presented as both the products and vital embodiments of an idealised Athenian past. This study marks the first account of Athens' invention of its own theatrical heritage and sheds new light upon the interaction between the city's literary and political history.
This analysis of five exemplary domestic plays-the anonymousArden of FavershamandA Warning for Fair Women(1590s), Thomas Heywood'sA Woman Killed with Kindness(1607), Thomas Middleton'sWomen Beware ...Women(ca. 1613), and Walter Mountfort'sThe Launching of the Mary, or The Seaman's Honest Wife (1632)-offers a new approach to the emerging ideology of the private and public, or what Ann C. Christensen terms "the tragedy of the separate spheres." Feminist scholarship has identified the fruitful gaps between theories and practices of household government in early modern Europe, while work on the global Renaissance attends to commercial expansion, cross-cultural encounters, and colonial settlements.Separation Scenesbrings these critical concerns together to expose the intimate and disruptive relationships between the domestic culture and business culture of early modern England.Separation Scenesargues that domestic plays make the absence of husbands for business the subject of tragedy by focusing not on where men traveled but on whom and what they left behind. Elements that critics have rightly associated with domestic tragedy-adultery, sensational murders, and the lavishly articulated operations of domestic life-define this world, which, Christensen argues, was equally shaped by the absence of husbands. Her interpretations of these domestic plays invite us to historicize and further complicate the seemingly universal binary between a feminine "private sphere" and a masculine "public sphere."Separation Scenesdemonstrates how domestic drama played an active, dynamic, and critical role in deliberating the costs of commercial travel as it disrupted domestic conduct and prompted realignments within the home.
