Individual sign in
Create Profile
Sign in via Institution
You're not logged in.
You're not logged in.
Sign in via Institution
Individual sign in
Create Profile
You're not logged in.
You're not logged in.
London and The Hague, 1638
Performing quacks at court
in
Transnational connections in early modern theatre
The final tournament entry of a court festival of February 1638 at The Hague: ‘The knights of the dromedary and alchemists’, features actual farces and plays performed by a genuine troupe of street charlatans, and noblemen disguised as named healers, including two well-known quacks of the time, Mondor and Braguette. Drawing on English and Dutch images, and influences from London court masques and other European court festival, the Parisian stage, Spanish literature, and Italian commedia dell’arte, many previously disregarded in this context, this essay considers the itinerant charlatan, quack or street healer as a theme in early modern court festival, with particular reference to medical and theatrical influences on the stage names of the six courtiers of the 1638 tournament entry.
INFORMATION
TABLE OF CONTENTS
-
-
Part I: West
-
Part II: North
-
Part III: South
METRICS
| All Time | Past Year | Past 30 Days | |
|---|---|---|---|
| Abstract Views | 18 | 18 | 18 |
| Full Text Views | 1 | 1 | 1 |
| PDF Downloads | 0 | 0 | 0 |
RELATED CONTENT
Introduction
Disrupting the critical genealogy of the Gothic
This introduction presents an overview of the key concepts discussed in the subsequent chapters of this book. The book demonstrates that incest was representative of a range of interests crucial to writers of the Gothic, often women or homosexual men who adopted a critical stance in relation to the heteronormative patriarchal world. Incest, a sexual act associated with transgression, violations of power and violence, has readily been conflated with sexual violence in Gothic scholarship and consigned to one of two gendered plots. Sexuality, questions of ownership, inheritance, women's subjugation to male authority, laws of coverture and primogeniture and issues concerning gender roles pervade Gothic works from the mid-eighteenth century on. The incest thematic as employed by women writers in the early modern period is shown to be transgressively endogamic in Maureen Quilligan's excellent work on incest in Elizabethan England.
‘Unimaginable sensations’
Father– daughter incest and the economics of exchange
There are several problems that usually emerge in scholarship examining representations of father-daughter incest in the Gothic, even in works by scholars whose goal is to lay bare the feminist themes that are central to the genre. Principal among these is that representations of father-daughter incest often cause works to be placed in the gendered subgenre of Female Gothic and to be viewed through a lens predicated on this generic division. This chapter examines the incestuous relationships between fathers and daughters in Horace Walpole's The Castle of Otranto, Ann Radcliffe's The Romance of the Forest and Mary Shelley's Matilda and the texts' attendant scholarship. These three works have been selected in order to compare the way that incest is rendered in a representative chronology of Gothic texts beginning with what has been traditionally defined as the original Gothic novel.