Renaissance Plays: New Readings and Rereadings
Northwestern University Press, 1985 - Literary Criticism - 182 pages
Renaissance Drama, an annual and interdisciplinary publication, is devoted to drama and performance as a central feature of Renaissance culture. The essays in each volume explore traditional canons of drama, the significance of performance (broadly construed) to early modern culture, and the impact of new forms of interpretation on the study of Renaissance plays, theater, and performance.
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James P Hammersmith The Death of Castile
Charles W Hieatt Multiple Plotting in Friar Bacon
Susan McCloskey The Worlds of Edward II
Peggy Munoz Simonds The Iconography of Primitivism
Diana Benet The MasterWit is
Mary Laughlin Fawcett Chastity and Speech
Notes on Contributors
Actaeon action audience Balthazar Bartholomew Fair become Bel-imperia Belarius Ben Jonson Bruno's Castile causal cause characters chase chaste chastity Christopher Marlowe Clerimont Cloten Comedy comic Comus context Court courtiers courtly critics Cymbeline Dauphine death Desdemona Doctor Faustus dramatic Echo Edward Edward II effect emblem English Epicoene essay Faustus's fools Ford Ford's Fortinbras's Fressingfield Friar Bacon gallants Garden Gaveston's Greene's Guiderius Hamlet Henry VII Henry's Hieronimo Horatio hunt hunter ideal Imogen Isabella J. L. Austin James Jonson Katherine king king's Lacy Lady language London lords Lorenzo magic manipulator-actor Margaret and Bacon Marlowe Marlowe's means Milton moral Morose Mortimer Mortimer's movement multiple plot murder nature Othello parallel pastoral pattern Perkin Warbeck play play's Posthumus Prince Renaissance revenge role scene sense sequence Shakespeare's significance Spanish Tragedy speak speech stage structure suggests symbol Tamburlaine Tasso theatrical tion Tragedy Truewit Wild wits woman words