By Arthur F. Kinney
This expansive, inter-disciplinary advisor to Renaissance performs and the area they performed to supplies readers a colourful evaluation of England's nice dramatic age.
- Provides an expansive and inter-disciplinary method of Renaissance performs and the realm they performed to.
- Offers a colorful and entire review of the fabric stipulations of England's most crucial dramatic interval.
- Gives readers evidence and knowledge besides updated interpretation of the performs.
- Looks on the drama when it comes to its cultural enterprise, its collaborative nature, and its ideological complexity.
Chapter 1 The Politics of Renaissance England (pages 11–24): Norman Jones
Chapter 2 Political notion and the Theater, 1580–1630 (pages 25–39): Annabel Patterson
Chapter three spiritual Persuasions, c.1580–c.1620 (pages 40–49): Lori Anne Ferrell
Chapter four Social Discourse and the altering financial system (pages 50–67): Lee Beier
Chapter five London and Westminster (pages 68–82): Ian W. Archer
Chapter 6 Vagrancy (pages 83–92): William C. Carroll
Chapter 7 relations and loved ones (pages 93–108): Martin Ingram
Chapter eight commute and alternate (pages 109–120): William H. Sherman
Chapter nine daily customized and pop culture (pages 121–134): Michael Bristol
Chapter 10 Magic and Witchcraft (pages 135–144): Deborah Willis
Chapter eleven Playhouses (pages 145–161): Herbert Berry
Chapter 12 The Transmission of an English Renaissance Play?Text (pages 163–179): Grace Ioppolo
Chapter thirteen taking part in businesses and Repertory (pages 180–192): Roslyn L. Knutson
Chapter 14 needs to the satan Appear?: Audiences, Actors, degree company (pages 193–211): S. P. Cerasano
Chapter 15 “The Actors are Come Hither”: touring businesses (pages 212–222): Peter H. Greenfield
Chapter sixteen Jurisdiction of Theater and Censorship (pages 223–236): Richard Dutton
Chapter 17 Medieval and Reformation Roots (pages 237–256): Raphael Falco
Chapter 18 the tutorial Drama (pages 257–265): Robert S. Knapp
Chapter 19 “What Revels are in Hand?”: Performances within the nice families (pages 266–280): Suzanne Westfall
Chapter 20 Progresses and court docket Entertainments (pages 281–293): R. Malcolm Smuts
Chapter 21 Civic Drama (pages 294–313): Lawrence Manley
Chapter 22 Boy businesses and personal Theaters (pages 314–325): Michael Shapiro
Chapter 23 Revenge Tragedy (pages 326–335): Eugene D. Hill
Chapter 24 Staging the Malcontent in Early sleek England (pages 336–352): Mark Thornton Burnett
Chapter 25 urban Comedy (pages 353–366): John A. Twyning
Chapter 26 family Tragedy: inner most lifestyles at the Public level (pages 367–383): Lena Cowen Orlin
Chapter 27 Romance and Tragicomedy (pages 384–398): Maurice Hunt
Chapter 28 Gendering the level (pages 399–415): Alison Findlay
Chapter 29 Closet Drama (pages 416–430): Marta Straznicky
Chapter 30 Continental impacts (pages 432–445): Lawrence F. Rhu
Chapter 31 Christopher Marlowe (pages 446–463): Emily C. Bartels
Chapter 32 Ben Jonson (pages 464–481): W. David Kay
Chapter 33 Sidney, Cary, Wroth (pages 482–506): Margaret Ferguson
Chapter 34 Thomas Middleton (pages 507–523): John Jowett
Chapter 35 Beaumont and Fletcher (pages 524–539): Lee Bliss
Chapter 36 Collaboration (pages 540–552): Philip C. McGuire
Chapter 37 John Webster (pages 553–566): Elli Abraham Shellist
Chapter 38 John Ford (pages 567–583): Mario Digangi
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Extra resources for A Companion to Renaissance Drama
After the disastrous defeat at the Yellow Ford in 1599, Elizabeth sent the chivalrous earl of Essex to Ireland to take command. Bragging he would quickly defeat O’Neill, he dallied. Then, when directly ordered by the queen to attack, he made a truce instead. It left the Irish in control of all that they had taken and enraged Elizabeth. Although she commanded him not to leave his post, Essex decided that he had to return to court to defend himself from his enemies there. In July 1598, abandoning the army, he arrived unexpectedly at court, bursting into Elizabeth’s bedroom while she was at her toilette.
The nation was horriﬁed. Philip IV of Spain found his bluff called. He was not very interested in alliance with Great Britain and now, with Charles in his court, he raised the stakes, demanding religious toleration for Catholics. After six months Charles, though an ardent lover, admitted defeat and withdrew. Britain went mad with joy when Charles returned without a bride. He and Buckingham now followed an anti-Spanish policy, and James gave them their head. In 1624 Parliament was called in an attempt to get money for what they hoped would be a war on Spain.
What, then, would qualify as political thought in a fuller sense? First, I take it that political thought is abstract. Though it will be generated, rescuscitated, or corrected by particular examples of successful or unsuccessful polity, it must be larger than they are, and hence of transhistorical interest and duration. There will always be counter-examples to any political axiom, no matter how strong or thoughtful. Second, 28 Annabel Patterson it must concern itself at some point with the structures of government, asking such questions as these: why do we have governments?
A Companion to Renaissance Drama by Arthur F. Kinney