Pub Date : 2022-01-12DOI: 10.1177/01847678211072270
A. Hiscock
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Pub Date : 2022-01-05DOI: 10.1177/01847678211069466
J. Alsop
The convoluted and contested foundation of the Grammar School at Oundle, Northamptonshire, in 1573 illustrated the complexities involved in giving concrete shape to pious wishes in 16th-century post-mortem bequests. Although the founder was Sir William Laxton (d. 1556), the key figure was his widow, the assertive matriarch Dame Joan Kirkeby-Luddington-Laxton, the richest woman of early Elizabethan London. This paper analyses the politics, religious context, and family strife of this dispute, and in so doing illuminates the contours of early Elizabethan London.
1573年，北安普敦郡温德尔文法学校（Grammar School at Oundle，Northamptonshire）的基础错综复杂，充满争议，这说明了在16世纪的死后遗产中，将虔诚的愿望具体化所涉及的复杂性。尽管创始人是威廉·拉克斯顿爵士（1556年），但关键人物是他的遗孀，自信的女家长琼·科克比·勒丁顿·拉克斯顿夫人，伊丽莎白时代早期伦敦最富有的女性。本文分析了这场争论的政治、宗教背景和家庭冲突，并以此阐明了伊丽莎白时代早期伦敦的轮廓。
{"title":"‘More like a tavern than a school house’: Family strife, religious change, and the founding of Oundle Grammar School, 1556–1578","authors":"J. Alsop","doi":"10.1177/01847678211069466","DOIUrl":"https://doi.org/10.1177/01847678211069466","url":null,"abstract":"The convoluted and contested foundation of the Grammar School at Oundle, Northamptonshire, in 1573 illustrated the complexities involved in giving concrete shape to pious wishes in 16th-century post-mortem bequests. Although the founder was Sir William Laxton (d. 1556), the key figure was his widow, the assertive matriarch Dame Joan Kirkeby-Luddington-Laxton, the richest woman of early Elizabethan London. This paper analyses the politics, religious context, and family strife of this dispute, and in so doing illuminates the contours of early Elizabethan London.","PeriodicalId":42648,"journal":{"name":"CAHIERS ELISABETHAINS","volume":"107 1","pages":"24 - 38"},"PeriodicalIF":0.5,"publicationDate":"2022-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49358594","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-29DOI: 10.1177/01847678211069467
Iman Sheeha
Analyses of service in The Changeling have focused on De Flores as an embodiment of contemporary fears about servants, neglecting his mistress's agency and the play's engagement with anxieties about women's authority, especially their power over servants. They also ignore two other servants, Diaphanta and Lollio, whose relationships with their mistresses are equally revealing of those anxieties. This article argues that The Changeling stages alliances between mistresses and servants as threatening to patriarchal authority. It revises the dominant critical reading of the play, showing that while the castle plot dissolves the mistress–servant alliance, the hospital plot is less straightforward.
{"title":"‘Of counsel with [m]y mistress’: The mistress–servant alliance in Thomas Middleton and William Rowley's The Changeling (1622)","authors":"Iman Sheeha","doi":"10.1177/01847678211069467","DOIUrl":"https://doi.org/10.1177/01847678211069467","url":null,"abstract":"Analyses of service in The Changeling have focused on De Flores as an embodiment of contemporary fears about servants, neglecting his mistress's agency and the play's engagement with anxieties about women's authority, especially their power over servants. They also ignore two other servants, Diaphanta and Lollio, whose relationships with their mistresses are equally revealing of those anxieties. This article argues that The Changeling stages alliances between mistresses and servants as threatening to patriarchal authority. It revises the dominant critical reading of the play, showing that while the castle plot dissolves the mistress–servant alliance, the hospital plot is less straightforward.","PeriodicalId":42648,"journal":{"name":"CAHIERS ELISABETHAINS","volume":"107 1","pages":"4 - 23"},"PeriodicalIF":0.5,"publicationDate":"2021-12-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48853918","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-06DOI: 10.1177/01847678211062924
Elena Pellone
Compagnia de’ Colombari, directed by Karin Coonrod, fashioned The Merchant in Venice from the stones of the Venetian Ghetto: Shylock's haunting ghost corporealised under moonlight. This 2016 production followed Max Reinhardt's Venetian Merchant in 1934: another lingering ghost of Shylock. These productions intersected in a vision to create bonds between strangers. Looking back on them in the Covid-19 pandemic context of isolation and intolerance, they remind us of the restorative hope in a globalised theatre. This essay engages with the way the Ghetto, Venice and Shylock speak back, inverting the perspective of the ‘other’, framed by personal reflections of the author-actor playing Nerissa.
{"title":"Shylock’s ghosts","authors":"Elena Pellone","doi":"10.1177/01847678211062924","DOIUrl":"https://doi.org/10.1177/01847678211062924","url":null,"abstract":"Compagnia de’ Colombari, directed by Karin Coonrod, fashioned The Merchant in Venice from the stones of the Venetian Ghetto: Shylock's haunting ghost corporealised under moonlight. This 2016 production followed Max Reinhardt's Venetian Merchant in 1934: another lingering ghost of Shylock. These productions intersected in a vision to create bonds between strangers. Looking back on them in the Covid-19 pandemic context of isolation and intolerance, they remind us of the restorative hope in a globalised theatre. This essay engages with the way the Ghetto, Venice and Shylock speak back, inverting the perspective of the ‘other’, framed by personal reflections of the author-actor playing Nerissa.","PeriodicalId":42648,"journal":{"name":"CAHIERS ELISABETHAINS","volume":"12 30 1","pages":"63 - 81"},"PeriodicalIF":0.5,"publicationDate":"2021-12-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"65228283","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-23DOI: 10.1177/01847678211063631
Nathalie Rivere de Carles
Óscar Alfredo Ruiz Fernández, England and Spain in the Early Modern Era: Royal Love, Diplomacy, Trade and Naval Relations, 1604–25 (London: Bloomsbury Academic, 2020), xi+281 pp., ISBN 978-1-78-453117-1, £81.00 (hbk), ISBN 9781350245303, £26.00 (pbk), ISBN 9781350133426, £21.00 (epub). Ana Sáez-Hidalgo and Berta Cano-Echevarría (eds), Exile, Diplomacy and Texts: Exchanges between Iberia and the British Isles, 1500–1767, Intersections: Interdisciplinary Studies in Early Modern Culture, 74 (Leiden: Brill, 2021), xii+232 pp., ISBN: 9789004273658, €105 (hbk), ISBN: 9789004438040, open access (epub).
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Pub Date : 2021-11-01DOI: 10.1177/01847678211044445c
L. Potter
rushing to its conclusion, 5.3, the echo scene, always provides a moment of stasis and recollection before the murders of the final scene. The blue-toned filter lost its surreal feel, instead of enhancing a mood of melancholy, in which the pure tones of the Duchess’s repeated words reasserted her loving presence after the sinister soundtrack of the prison scenes before she was muted forever. In violent contrast, the last scene was dominated by bloody redness, with video being used to suggest the skull beneath the skin of Bosola and the Aragonnian brothers as they met their deaths. Only when Delio (Andy Owens) appeared, in something resembling natural lighting, holding a baby girl in his arms – a Duchess still? – did the production loose its unnervingly tight hold. As a connective technology that for the past year has primarily been used in the home, Zoom theatre has often been associated with intimacy and the ways in which the domestic setting has been turned into a cultural space during the pandemic. The main achievement of Creation’s Malfi is its successful experimentation with techniques for envisioning psychosis and trauma, and the deep psychological layers its video superimpositions portray.
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Pub Date : 2021-11-01DOI: 10.1177/01847678211044445d
R. Hatfull
control the timing, but they all came off as well as one could expect, in what seemed to be a cross between screen acting and live stand-up. The TSMGO productions have recently started to use a signer, and they also gave the text of the play in subtitles as well as some predictably inaccurate voice-recognition transcriptions of the chat (I felt for the signer who had to do this as well, after having been onstage throughout and acting as energetically as anyone). All this is an indication of how international this company has become. Although much of the chat on Zoom is pretty silly, it sometimes contributed valuable comments. For instance, in answer to Chess’s asking whether anyone could find a way to queer the subplot, someone suggested that it could be taken, particularly in the Alchemist scene, as another example of fluidity and metamorphosis. All three productions were immensely enjoyable, and I found it equally enjoyable to see how completely the participants and creators were identified with the plays. It was clear from all the post-show discussions that the present approach to Renaissance drama is presentist. This means, among other things, not rejecting any way in which readers can make a text their own, least of all closing it off with ‘historical alterity’ – that is, telling people that it can’t possibly have meant what they want it to mean. In the case of Lyly’s plays, the results are delightful, and I hope that these enterprising groups will turn to other non-Shakespearean plays where there is much more largely unexplored territory.
{"title":"Performance Review: Romeo and Juliet by Simon Godwin","authors":"R. Hatfull","doi":"10.1177/01847678211044445d","DOIUrl":"https://doi.org/10.1177/01847678211044445d","url":null,"abstract":"control the timing, but they all came off as well as one could expect, in what seemed to be a cross between screen acting and live stand-up. The TSMGO productions have recently started to use a signer, and they also gave the text of the play in subtitles as well as some predictably inaccurate voice-recognition transcriptions of the chat (I felt for the signer who had to do this as well, after having been onstage throughout and acting as energetically as anyone). All this is an indication of how international this company has become. Although much of the chat on Zoom is pretty silly, it sometimes contributed valuable comments. For instance, in answer to Chess’s asking whether anyone could find a way to queer the subplot, someone suggested that it could be taken, particularly in the Alchemist scene, as another example of fluidity and metamorphosis. All three productions were immensely enjoyable, and I found it equally enjoyable to see how completely the participants and creators were identified with the plays. It was clear from all the post-show discussions that the present approach to Renaissance drama is presentist. This means, among other things, not rejecting any way in which readers can make a text their own, least of all closing it off with ‘historical alterity’ – that is, telling people that it can’t possibly have meant what they want it to mean. In the case of Lyly’s plays, the results are delightful, and I hope that these enterprising groups will turn to other non-Shakespearean plays where there is much more largely unexplored territory.","PeriodicalId":42648,"journal":{"name":"CAHIERS ELISABETHAINS","volume":"106 1","pages":"98 - 102"},"PeriodicalIF":0.5,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"65227770","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-01DOI: 10.1177/01847678211039874g
Peter J. Smith
Janice Valls-Russell is a principal research associate and a member of the Institute for Research on the Renaissance, the Neo-Classical Era and the Enlightenment (IRCL), a joint research centre of France’s National Centre for Research (CNRS) and University Paul-Valéry Montpellier 3. Her most recent book, co-edited with Boika Sokolova, is Shakespeare’s Others in 21-century European Performance: ‘The Merchant of Venice’ and ‘Othello’ (2021).
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Pub Date : 2021-11-01DOI: 10.1177/01847678211039874i
L. Hopkins
sidered more widely as core features of Richard II. The final chapter in the volume is aimed at instructors and students looking to engage with Richard II as a subject of study. Esme Miskimmin’s ‘Learning and teaching resources: text, context and performance’ begins with an assessment of the Arden (third series), RSC, and Oxford Shakespeare editions of the play. Miskimmin draws attention to the defining features of each edition, separating those that are best suited to early-stage students from those that support more advanced study. The remainder of the chapter highlights themes and contexts of Richard II that work particularly well as bases for educational activities: the play’s scrutiny of the concept of ‘performance’, for example, and textual variations between Quarto and Folio. Miskimmin points the reader towards passages in the text that are ripe for close analysis and suggests further reading for each of the areas discussed in her chapter. Seasoned academics and new readers alike will find Richard II: A Critical Reader a useful addition to their libraries and reading lists. The essays assembled by Davies and Duxfield all work well as standalone pieces; as a whole, the volume addresses foundational questions about Richard II as well as breaking new ground in its analyses of the play. I would note, however, that this book (particularly its ‘New directions’ section) would have benefitted from a more diverse assembly of contributions and contributors. The original research included in the book is excellent, but it overlaps thematically in places and does not extend far beyond textual and historical analysis. Other volumes in the Arden Early Modern Drama Guides series have included ‘New directions’ essays on the plays in performance, on film, and in relation to issues of race and gender. With a wider range of critical perspectives, this Critical Reader could have provided even more valuable insights into the landscape of current scholarly research on Richard II.
被更广泛地认为是理查二世的核心特征。本卷的最后一章针对的是希望将理查二世作为研究对象的教师和学生。埃斯米·米斯基明（Esme Miskimmin）的《学习和教学资源：文本、背景和表演》（Learning and teaching resources:text，context and performance）以对该剧的阿登（Arden）（第三辑）、皇家莎士比亚剧团（RSC）和牛津莎士比亚剧团（Oxford Shakespeare）版本的评估开始。Miskimmin提请注意每个版本的定义特征，将最适合早期学生的版本与支持更高级学习的版本区分开来。本章的其余部分强调了理查二世的主题和背景，这些主题和背景特别适合作为教育活动的基础：例如，该剧对“表演”概念的审视，以及夸托和福利奥之间的文本变化。Miskimmin向读者指出文本中适合仔细分析的段落，并建议进一步阅读她章节中讨论的每个领域。经验丰富的学者和新读者都会发现《理查二世：批判读者》是他们图书馆和阅读列表中一个有用的补充。戴维斯和杜克斯菲尔德的散文集都是独立作品；总的来说，这本书解决了关于理查二世的基本问题，并在对该剧的分析中开辟了新的领域。然而，我要注意的是，这本书（特别是“新方向”部分）将受益于更多样化的贡献和贡献者。书中的原始研究非常出色，但在某些地方主题重叠，并没有远远超出文本和历史分析。《阿登早期现代戏剧指南》系列的其他书籍包括关于表演、电影以及种族和性别问题的“新方向”文章。有了更广泛的批判性视角，这位《批判性读者》本可以为当前关于理查二世的学术研究提供更有价值的见解。
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