Pub Date : 2024-03-08DOI: 10.1177/01847678241235129
Sarah Carter
{"title":"Book Review: Shakespeare, Tragedy and Menopause: The Anxious Womb by McMahon Victoria L.","authors":"Sarah Carter","doi":"10.1177/01847678241235129","DOIUrl":"https://doi.org/10.1177/01847678241235129","url":null,"abstract":"","PeriodicalId":517401,"journal":{"name":"Cahiers Élisabéthains","volume":"2014 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140071411","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-03-01DOI: 10.1177/01847678241234608
Peter Malin
This article reconsiders metatheatre in Macbeth and Measure for Measure, examining how characters find themselves entrapped in scenarios not of their own making, and how the creators of such scenarios can lose control of them. It examines the plays’ metatheatrical language, with a particular focus on the word ‘show’; argues that Macbeth's cauldron scene and the final scene of Measure for Measure function as these plays’ equivalents of the familiar ‘play-within-the-play’; and tentatively suggests how the two plays’ engagement with dramatic entrapment might resonate with the manipulative control facilitated by twenty-first-century social media platforms.
{"title":"‘Fairest show’: Dramatic entrapment in Macbeth and Measure for Measure","authors":"Peter Malin","doi":"10.1177/01847678241234608","DOIUrl":"https://doi.org/10.1177/01847678241234608","url":null,"abstract":"This article reconsiders metatheatre in Macbeth and Measure for Measure, examining how characters find themselves entrapped in scenarios not of their own making, and how the creators of such scenarios can lose control of them. It examines the plays’ metatheatrical language, with a particular focus on the word ‘show’; argues that Macbeth's cauldron scene and the final scene of Measure for Measure function as these plays’ equivalents of the familiar ‘play-within-the-play’; and tentatively suggests how the two plays’ engagement with dramatic entrapment might resonate with the manipulative control facilitated by twenty-first-century social media platforms.","PeriodicalId":517401,"journal":{"name":"Cahiers Élisabéthains","volume":"25 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140020201","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-03-01DOI: 10.1177/01847678241235132
Luca Baratta
The present article follows the editorial vicissitudes of Erasmus of Rotterdam's Julius within England's boundaries, where it was translated in 1533–34, in 1673, and in 1719. By interweaving the publishing history of these three English editions with their cultural milieu, it will appear evident that they were ideologically motivated products whose circulation directly coincided with an upheaval in Catholic matters in the country. The final purpose of this article is to demonstrate how Erasmus’ Julius, with its negative protagonist, was too compelling a weapon not to be used to stigmatise Catholicism and to prevent it from returning to the British Isles.
{"title":"‘A Pope Shut out of Heaven Gates (Thrice)’: Erasmus’ Julius as a tool of anti-Catholic propaganda in early modern England","authors":"Luca Baratta","doi":"10.1177/01847678241235132","DOIUrl":"https://doi.org/10.1177/01847678241235132","url":null,"abstract":"The present article follows the editorial vicissitudes of Erasmus of Rotterdam's Julius within England's boundaries, where it was translated in 1533–34, in 1673, and in 1719. By interweaving the publishing history of these three English editions with their cultural milieu, it will appear evident that they were ideologically motivated products whose circulation directly coincided with an upheaval in Catholic matters in the country. The final purpose of this article is to demonstrate how Erasmus’ Julius, with its negative protagonist, was too compelling a weapon not to be used to stigmatise Catholicism and to prevent it from returning to the British Isles.","PeriodicalId":517401,"journal":{"name":"Cahiers Élisabéthains","volume":"268 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140037581","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}