Illegitimate Power: Bastards in Renaissance DramaManchester University Press, 1994 - 282페이지 In Renaissance drama, the bastard is an extraordinarily powerful and disruptive figure. We have only to think of Caliban or of Edmund to realise the challenge presented by the illegitimate child. Drawing on a wide range of play texts, Alison Findlay shows how illegitimacy encoded and threatened to deconstruct some of the basic tenets of patriarchal rule. She considers bastards as indicators and instigators of crisis in early modern England, reading them in relation to witchcraft, spiritual insecurities and social unrest in family and State. The characters discussed range from demi-devils, unnatural villains and clowns to outstandingly heroic or virtuous types who challenge officially sanctioned ideas of illegitimacy. The final chapter of the book considers bastards in performance; their relationship with theatre spaces and audiences. Illegitimate voices, Findlay argues, can bring about the death of the author/father and open the text as a piece of theatre, challenging accepted notions of authority. |
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135 페이지
... argues that it is obvious that ' Nature had some peculier respect of Bastardes ' by referring to other ' Bastard thinges ' . He first gives the example of mules who can bear greater burdens ' than naturall Horses do or can ' and then ...
... argues that it is obvious that ' Nature had some peculier respect of Bastardes ' by referring to other ' Bastard thinges ' . He first gives the example of mules who can bear greater burdens ' than naturall Horses do or can ' and then ...
207 페이지
... argue that he cannot be a hero since he is not at the centre of the political action is unfair because he could only make history in this way by becoming a villain ( a bastard usurper ) . Criticisms which argue that the end of the play ...
... argue that he cannot be a hero since he is not at the centre of the political action is unfair because he could only make history in this way by becoming a villain ( a bastard usurper ) . Criticisms which argue that the end of the play ...
224 페이지
... argues that ' since all will be / Villains , why should I practise honesty ? ' ( Div ) . The question assumes that ... argue with certainty how a bastard's lines were originally delivered , reference to modern televised productions helps ...
... argues that ' since all will be / Villains , why should I practise honesty ? ' ( Div ) . The question assumes that ... argue with certainty how a bastard's lines were originally delivered , reference to modern televised productions helps ...
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accursed share actor alien Antipater Antipater's argues Arthur audience authority Bakhtin Barnabe Barnes base bastard characters bastard villain beggar behaviour birth body Brome brother Caliban chastity Church Corydon culture dangerous demonised devil discourse dramatic Dramatists Edgar Edmund Edmund Ironside Edricus English evil father female feminine forces Gaspar grotesque Hercules hero Herod Heywood hierarchy honour ideas identity illegitimacy illegitimate inheritance King John King Lear Late Lancashire Witches legitimate world London lust male marriage masque Misfortunes of Arthur moral Mordred mother murder natural child noble Oldrents Oxford paternity patriarchal performance Philip play play's plots position Prince Prospero psychomachia rebellion rebels Renaissance Drama Renaissance England Revenger's Tragedy Richard Brome role scene sexual Shakespeare shows Sir Richard social society soliloquy sonne speech Springlove stage subversive Suckabus theatre theatrical Thersites Thomas Thomas Heywood thou Tiberius Nero Tragedy University Press unnatural vice virgin virtuous voice witch woman women