The spectator’s God’s-eye view
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The conclusion turns a critical lens on the academic periodisation of ‘medieval’ and ‘early modern’ performance forms and the supersessionary models of theatre they produce. First, it extends discussions of subjective experiences of time to focus on a play’s spectators. It identifies in the York Fall of the Angels a contract of temporal double-think required from audience members who knew and anticipated a play’s plot, yet were simultaneously engaged with the ‘now’ of the performance. It also examines what happens to this God-like perspective if a play breaks this contract of narrative anticipation. Second, it discusses an episode from the 1611 manuscript of the Cornish Gwreans an bys, in which Seth makes a conscious effort to preserve historical knowledge for future generations by burying books. It argues that this apocryphal episode is not merely an act of pleasurable nostalgia: it operates as an act of resistance towards consigning the popular stories of the old faith to the past.

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Gender, anti-Semitism and temporality in medieval biblical drama


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