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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82 페이지
... political writings was dualist in nature : it accepted the truth of detailed examples of his observations , seeing these in con- temporary practice , even though it refused to acknowledge his secular presuppositions ( Raab 1964 : 70 ) ...
... political writings was dualist in nature : it accepted the truth of detailed examples of his observations , seeing these in con- temporary practice , even though it refused to acknowledge his secular presuppositions ( Raab 1964 : 70 ) ...
116 페이지
... political interest for its audience in 1588 because of its debates about government and the relevance of its subject matter to current events . Mordred's long discussions with Conan analyse the social consitution of Renaissance England ...
... political interest for its audience in 1588 because of its debates about government and the relevance of its subject matter to current events . Mordred's long discussions with Conan analyse the social consitution of Renaissance England ...
238 페이지
... political effec- tiveness ( Braunmuller 1988 : 321 ) . Sir Richard therefore behaves radically by bringing into a public arena – the theatre – the barely articulated awareness that the chronicles were themselves moulded for specific ...
... political effec- tiveness ( Braunmuller 1988 : 321 ) . Sir Richard therefore behaves radically by bringing into a public arena – the theatre – the barely articulated awareness that the chronicles were themselves moulded for specific ...
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action activities alien Antipater appears argues Arthur audience authority base bastard characters become behaviour birth Birth of Merlin body born brother calls cause child Church claims common constructed court culture dangerous death describes desire devil direct drama effect elements England English evil example father female figure final follow forces gives Hercules hero hierarchy ideas identity illegitimacy illegitimate important inheritance John King language legitimate lines London Lord male marriage means moral mother murder nature opposition Oxford paternity patriarchal performance play plots political popular position present Press references relationship Renaissance represents Richard role ruling says scene seems sexual Shakespeare share shows social society soliloquy speech stage structure subversive suggests tells theatre Thomas thou true University unnatural values vice villain voice witch woman women