Early responses to Renaissance drama文艺复兴戏剧的早期反响

内容概要

Charles Whitney is Professor of English at the University of Nevada, Las Vegas.

书籍目录

List of illustrationsAcknowledgmentsIntroductionPART Ⅰ  TAMBURLAINE, SIR JOHN, AND THE FORMATION OF EARLY MODERN RECEPTION　1  Tamburlaine intervenes    The scandal of sadomasochism: liberating the Protestant aesthetic    The scourge of God, here and now    Emblems for relentless forces    Aftermath: idealization and travesty    From Tamburlaine to Hamlet  2  Versions of Sir John    The Oldcastle controversy    The orature of Sir John    Carnival and Lent    Between Carnival and modern aestheticsPART Ⅱ  AUDIENCES ENTERTAINING PLAYS  3  Playgoers in the theatrum mundi to i6i7    John Davies of Hereford and the authority of the audience    The Inns of Court and the culture of playgoing    Playgoing, poetry, and love-making: Edmund Spenser and Robert Tofte    Simon Forman and the uses of the theatre  4  Common understanders    Service workers and the interpretive authority of labor    Out of service and in the playhouse: Richard Norwood and Early Response to Dr. Faustus    "Vagrant" youth: apprentices, craft servants, and others    A note on fishwives    Low audiences, pluralistic theatre  5  Playgoing and play-reading gentlewomen    The theatre of meditation: Amelia Lanyer and the tragic Cleopat    Reprobation as resistance: Joan Drake and Jonson's Ananias    Anne Murray Halkett and the theatre of Cavalier life    Private shows: Dorothy Osborne and the courtship of Richard I1  6  Jonson and Shakespeare: living monuments and public spheres    The uses of Jonson    Milton's Shakespeare: theatres of God and manNotesBibliographyIndex

作者简介

It is often assumed that we can never know how the earliest audiences responded to the plays and playbooks of Shakespeare, Marlowe, and other Renaissance dramatists. In this study, old compilations of early modern dramatic allusions provide the surprising key to understanding pre-1660 reception. Whether or not it begins with powerful emotion, that reception creatively applies and appropriates the copious resources of drama for diverse purposes, lessons, and interests. Informed also by critical theory and historical research, this understanding reveals the significance of response to Tamburlaine and Falstaff as well as the importance of drama to Edmund Spenser, John Donne, John Milton, and many others. It makes possible the study of particular responses of women and of workers and contributes to the history of subjectivity, reading, civil society, and aesthetics, and demands a fresh view of dramatic production.

 Early responses to Renaissance drama文艺复兴戏剧的早期反响下载