Covering a wide variety of plays from 1550–1600, including Shakespeare's second tetralogy, this book explores moral, historical, and comic plays as contributions to Elizabethan debates on Anglo-foreign relations in England. The economic, social, religious, and political issues that arose from inter-British contact and Continental immigration into England are reinvented and rehearsed on the public stage. Kermode uncovers two broad 'alien stages' in the drama: distinctive but overlapping processes by which the alien was used to posit ideas and ideals of Englishness. Many studies of English national identity pit Englishness against the alien 'other' so that the native self and the alien settle into antithetical positions. In contrast, Aliens and Englishness reads a body of plays that represent Englishness as a state of ideological, invented superiority - paradoxically stable in its constant changeability, and brought into being by incorporating and eventually accepting, and even celebrati
The two plays presented in full in this volume – Wycherley's The Country Wife and Congreve's The Way of the World – illustrate the evolution of Restoration comedy between 1675 and 1700.Includes full t
The two plays presented in full in this volume – Wycherley's The Country Wife and Congreve's The Way of the World – illustrate the evolution of Restoration comedy between 1675 and 1700.Includes full t
'To portray the Holocaust, one has to create a work of art', says Claude Lanzmann, the director of Shoah. However, can the Holocaust be turned into theatre? Is it possible to portray on stage events that, by their monstrosity, defy human comprehension? These are the questions addressed by the playwrights and the scholars featured in this book. Their essays present and analyse plays performed in Israel, America, France, Italy, Poland and, of course, Germany. The style of presentation ranges from docudramas to avant-garde performances, from realistic impersonation of historical figures to provocative and nightmarish spectacles. The book is illustrated with original production photographs and some rare drawings and documents; it also contains an important descriptive bibliography of more than two hundred Holocaust plays.
This study is entirely devoted to African literary drama in French, a major component of African theatre. Beginning with a detailed analysis of its relationship to a variety of pre-colonial, but sometimes still contemporary traditions of performance which constitute part of its roots, Conteh-Morgan examines this drama both in its literary and theatrical dimensions. He discusses its development, themes and techniques and considers its attempts, since the 1980s, to move away from the predominantly text-based drama of first generation playwrights to a more performance-oriented one. The book is divided into two sections: part one offers a theoretical and historical background and part two analyses key individual plays central to the repertoire, including two from the Caribbean. All quotations from play texts are translated into English.
The myth of fire stolen from the gods appears in many pre-industrial societies. In Greek culture Prometheus the fire-stealer figures prominently in the poems of Hesiod, but in Prometheus Bound Hesiod's morality tale has been transformed into a drama of tragic tone and proportions. In the introduction, Mark Griffith examines how the dramatist has achieved this transformation, looking at the play from all angles - plot and characters, dramatic technique, style and metre. He includes a short section on the production of the play and on the questions of authenticity and date. The commentary guides the reader through problems of language, metre and content. An important feature of this volume is the appendix, which gathers together the existing fragments of the other two plays in the supposed Prometheus trilogy, quoting them in full in the original language and in translation, with short accompanying commentary. This is suitable for undergraduates and students in the upper forms of schools.
Originally published in 1969, this is a series of linked studies of the character, origins and history of the court-song of Renaissance Scotland, with substantial critical discussion on poets, musicians and court culture generally. Mrs Shire shows that the song repertory of Scotland in the sixteenth century is rewarding poetically and musically both in itself and for the part it plays in the Renaissance culture of Western Europe. The author focuses on two poets, Alexander Scott and Alexander Montgomerie and adds to the value of her work by her constant preoccupation with period and background. She sets herself to answer such questions as: who made the songs and how were they presented? Was the music more important than the words? Did the singers act or dance in performance? Were songs a central part of the life of the court? Her answers illuminate this previously unknown area of study.
The human brain contains billions of nerve cells whose activity plays a critical role in the way we behave, feel, perceive, and think. This two-volume set explains the basic properties of a neuron - an electrically active nerve cell - and develops mathematical theories for the way neurons respond to the various stimuli they receive. Volume 1 contains descriptions and analyses of the principal mathematical models that have been developed for neurons in the past thirty years. It provides a brief review of the basic neuroanatomical and neurophysiological facts that will form the focus of the mathematical treatment. Tuckwell discusses the mathematical theories, beginning with the theory of membrane potentials. He then goes on to treat the Lapicque model, linear cable theory, and time-dependent solutions of the cable equations. He concludes with a description of Rall's model nerve cell. Because the level of mathematics increases steadily upward from Chapter Two, some familiarity with differ
In this book, Jeanette Malkin considers a broad spectrum of post-war plays in which characters are created, coerced and destroyed by language. The playwrights examined include Handke, Pinter, Bond, Albee, Mamet and Shepard, as well as Vaclav Havel and two of his plays: The Garden Party and The Memorandum. These playwrights portray language's power within our political, social and interpersonal worlds. The violence that language does, the 'tyranny of words', grabs centre stage in their plays. Characters are manipulated and defined through language, their actions and identity limited by verbal options, in order to reveal the links between language and power. The book will be of interest to students and scholars of drama, theatre history, American and European literature, and comparative literature.
The Admiral's Men is the acting company that staged Christopher Marlowe's plays while its companion company was giving the first performances of Shakespeare. Unlike the Shakespeare company, there is plenty of evidence available telling us what the Admiral's company did and how it staged its plays. Not only do we know far more about the design of its two playhouses, the Rose and the Fortune, than we know of any other playhouse from the time, including the Globe, but we have Henslowe's Diary. This recorded everything the Admiral's company performed from 1594 to 1600 and after, what the company bought to stage its plays, who performed which parts, who wrote which plays and even how much they were paid. The first history to be written of the Admiral's Men, this book tells us not only a great deal about the company's own work, but also how the Shakespeare company operated.
Property (T) is a rigidity property for topological groups, first formulated by D. Kazhdan in the mid 1960's with the aim of demonstrating that a large class of lattices are finitely generated. Later developments have shown that Property (T) plays an important role in an amazingly large variety of subjects, including discrete subgroups of Lie groups, ergodic theory, random walks, operator algebras, combinatorics, and theoretical computer science. This monograph offers a comprehensive introduction to the theory. It describes the two most important points of view on Property (T): the first uses a unitary group representation approach, and the second a fixed point property for affine isometric actions. Via these the authors discuss a range of important examples and applications to several domains of mathematics. A detailed appendix provides a systematic exposition of parts of the theory of group representations that are used to formulate and develop Property (T).
Over the last two hundred years some important ways of understanding theatre history have been undervalued or ignored by scholars. Leading theatre historian Jacky Bratton employs new approaches to examine and challenge this development and to discover how theatre history has been chronicled and how it is interpreted. Using a series of case studies from nineteenth-century British theatre, Bratton examines the difference between the existence of 'the drama' (plays and play literature) and 'the stage' (performance, theatre building, and attendance). By rejecting literary history, Bratton experiments with other ways of analysing the past, and the ways that have actually seemed relevant to the people on stage. This book suggests new histories: of theatrical story-telling, of performing families, and of the disregarded dramatic energy of Victorian entertainment. As a result, we gain a new perspective on theatre history, not only for the Romantic and Victorian periods, but for the discipline
The Victorian Clown, first published in 2006, is a micro-history of mid-Victorian comedy, spun out of the life and work of two professional clowns. Their previously unpublished manuscripts - James Frowde's account of his young life with the famous Henglers' circus in the 1850s and Thomas Lawrence's 1871 gag book - offer unique, unmediated access to the grass roots of popular entertainment. Through them this book explores the role of the circus clown at the height of equestrian entertainment in Britain, when the comic managed audience attention for the riders and acrobats, parodying their skills in his own tumbling and contortionism, and also offered a running commentary on the times through his own 'wheezes' - stand-up comedy sets. Plays in the ring connect the circus to the stage, and both these men were also comic singers, giving a sharp insight into popular music just as it was being transformed by the new institution of music hall.
Women on Stage in Stuart Drama provides a 'prehistory' of the actress, filling an important gap in established accounts of how women came to perform in the Restoration theatre. Sophie Tomlinson uncovers and analyzes a revolution in theatrical discourse in response to the cultural innovations of two Stuart queens consort, Anna of Denmark and the French Henrietta Maria. Their appearances on stage in masques and pastoral drama engendered a new poetics of female performance, which registered acting as a powerful means of self-determination for women. The pressure of cultural change is inscribed in a plethora of dramatic texts that explore the imaginative possibilities inspired by female acting. These include plays by the key royalist women writers Margaret Cavendish, Duchess of Newcastle, and Katherine Philips. The material explored by Tomlinson illustrates a fresh vision of theatrical femininity and encompasses an unusually sympathetic interest in questions of female liberty and selfhood.
This book is an in-depth study of the topic of rape in classical Athens. Its central focus is on violent sexual encounters but it also raises questions about the nature and ingredients of any type of sexual activity in Athens. In particular it concentrates on two related areas: the law of classical Athens, especially as represented by speeches delivered in court, and the plays of Menander. These work at complementary levels in respect of period, subject matter and concerns with social conformity, while at the same time being widely different genres of discourse. It is argued that within the evaluation of heterosexual activity in Athens considerations about the consent of the female party were never the key factor. Rather it was the status of the two parties, in social, marital and political terms which ultimately determined whether or not a sexual act was regarded as acceptable.
A detailed introduction to Molière and his plays, this Companion evokes his own theatrical career, his theatres, patrons, the performers and theatre staff with whom he worked, and the various publics he and his troupes entertained with such success. It looks at his particular brands of comedy and satire. L'École des femmes, Le Tartuffe, Dom Juan, Le Misanthrope, L'Avare and Les Femmes savantes are examined from a variety of different viewpoints, and through the eyes of different ages and cultures. The comedies-ballets, a genre invented by Molière and his collaborators, are re-instated to the central position which they held in his œuvre in Molière's own lifetime; his two masterpieces in this genre, Le Bourgeois gentilhomme and Le Malade imaginaire, have chapters to themselves. Finally, the Companion looks at modern directors' theatre, exploring the central role played by productions of his work in successive 'revolutions' in the dramatic arts in France.
In this book, Joy McCorriston examines the continuity of traditions over millennia in the Near East. Tracing the phenomenon of pilgrimage in pre-Islamic Arabia up through the development of the Hajj, she defines its essential characteristics and emphasizes the critical role that pilgrimage plays in enabling and developing socioeconomic transactions. Indeed, the social identities constructed through pilgrimage are key to understanding the long-term endurance of the phenomenon. In the second part of the book, McCorriston turns to the household, using cases of ancient households in Mesopotamian societies, both in the private and public spheres. Her conclusions tie together broader theoretical implications generated by the study of the two phenomena and offer a new paradigm for archaeological study, which has traditionally focused on transitions to the exclusion of continuity of traditions.
The second edition of The Biomarker Guide is a fully updated and expanded version of this essential reference. Now in two volumes, it provides a comprehensive account of the role that biomarker technology plays both in petroleum exploration and in understanding Earth history and processes. Biomarkers and Isotopes in the Environment and Human History details the origins of biomarkers and introduces basic chemical principles relevant to their study. It discusses analytical techniques, and applications of biomarkers to environmental and archaeological problems. The Biomarker Guide is an invaluable resource for geologists, petroleum geochemists, biogeochemists, environmental scientists and archaeologists.
The employment of mythological language and imagery by an Epicurean poet - an adherent of a system not only materialist, but overtly hostile to myth and poetry - is highly paradoxical. This apparent contradiction has often been ascribed to a conflict in the poet between reason and intellect, or to a desire to enliven his philosophical material with mythological digressions. This book attempts to provide a more positive assessment of Lucretius' aims and methodology by considering the poet's attitude to myth, and the role which it plays in the De Rerum Natura, against the background of earlier and contemporary views. The author suggests that Lucretius was not only aware of the tension between his two roles as philosopher and poet, but attempted to resolve it by developing his own, Epicurean poetic, together with a bold and innovative theory of the origins and meaning of myth.
Using the complete, unabridged texts established in the New Cambridge Shakespeare edition, Naxos are making audio versions of all of Shakespeare's plays and the Sonnets. The first titles, Romeo and Juliet and Hamlet, are now available, both as audio cassettes and as compact discs, sold jointly by Cambridge University Press and Naxos. Each recording has a full cast of well-known professional actors, accompanied by appropriate music from the Naxos catalogue. A set of three or four cassettes/cds is accompanied by notes and a play synopsis. The CUP versions feature the New Cambridge Shakespeare design and logo. The next two titles are A Midsummer Night's Dream and The Sonnets. The full text of The Dream has been recorded, with Warren Mitchell as Bottom, Michael Maloney as Oberon and Sarah Woodward as Titania.
