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The mother and creativity
Jeremy Tambling

about creativity, about writing, and about art. Klein’s essay ‘Infantile Anxiety Situations Reflected in a Work of Art and the Creative Impulse’ (1929) begins with a one-act opera L’Enfant et les sortilèges (‘The Child and the Queer Goings-On’) which had premiered four years earlier. The music was by Maurice Ravel (1875–1937), the words by the French author Colette (1873–1954); she had originally

in Literature and psychoanalysis
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Marlowe’s Tamburlaine the Great
Andrew Duxfield

for inspiration. Nonetheless, the de casibus tradition continued to flourish in the second half of the sixteenth century, and continued to exert influence over the creative work of early modern dramatists. In this chapter, as well as briefly tracing the genealogy of the de casibus tradition from Boccaccio to Elizabethan London, I will examine the influence of and engagement with the de casibus tradition in Christopher Marlowe's Tamburlaine the Great (1587). In this reading, I aim to show that Marlowe's drama exploits a tension that lies at the heart of all

in The genres of Renaissance tragedy
The intrusion of the time into the play
Richard Wilson

‘double worship’ of Shakespeare’s creative field, ‘Where one part does disdain … the other insult’ [ 3,1,145–7 ], torn between the country and the city, or the patrimonial authority of the aristocratic patron and the proprietary authority of an emerging public that was ready to pay the price for its pleasure, and buy its ‘sport for a penny’: 44

in Free Will
Shakespeare in production at the Citizens’ Theatre, Glasgow, 1970–74
Adrienne Scullion

robust understanding of dramaturgy and the potential of the theatrical canon to adapt and to be adapted. In the programme note for this production Havergal reflected on the previous two seasons and expanded on his vision of theatre as ‘event’. He also reset the Citizens’ Theatre Company as engaged in a creative dialogue with its audiences

in Shakespeare and Scotland
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Gwilym Jones

which the wind’s characteristics are employed by creative writers. Even when winds were described in meteorological terms, there was a dispute over the basic principles, as inherited from the Classical texts. As is evident in the above quotation from Aristotle, one existing theory was that wind was simply ‘air in motion’. That notion, found in Hippocrates, continued to hold sway

in Shakespeare’s storms
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Peter J. Smith

slipperiness of its allegorical nature, ensure that critics and scholars, in their attempts to answer the riddle, have themselves been reduced to the level of the bewildered steward. The chapter concludes with a discussion of the work of the pacifist and Quaker Reginald Reynolds, who responds creatively to the scatology of the early modern period and offers a rare post-Victorian enthusiasm for it – while, at

in Between two stools
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Our Lyly?
Andy Kesson

impossible to locate a historicised study of the creative process purely in the intentions of dramatists’, who were ‘unable, or in many cases unwilling, to exercise sole authority over their plays’. 41 The turn to repertory studies was in part prompted by Barthes’s and Foucault’s famous rejection of the concept of the author as a unifying source of authority, whilst Gayatri Chakravorty Spivak

in John Lyly and Early Modern Authorship
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Ben Jonson’s admiration for Southwell’s ‘burning Babe’
Anne Sweeney

standards of his day, unusual, and, as it focused to an unusual degree on creative arts and the uses to which they can be put, it is relevant to Southwell’s development as a writer. In answering my own question about Jonson’s estimation of ‘The burning Babe’, therefore, it becomes necessary to inquire into aspects of the life, training, and various agendas of the man who wrote it. The first part of this

in Robert Southwell
Shakespeare in the time of the political
Richard Wilson

other men’s blood.’ 20 These winter words may well be melodramatic, but they underline Bond’s message, which is that Shakespeare’s creative freedom, as the sovereignty of an artist who sits serenely cultivating his own garden, is the aesthetic interest earned from a deadly non-commitment: I howled when

in Free Will
Scotland’s screen destiny
Mark Thornton Burnett

Scottish identity, becomes the driving-force of much of the best creative writing about Scotland in the 1990s’. 10 What is characteristic of the literary work Craig identifies is also, I would suggest, the dominant signature of filmic representations and, in particular, of recent interpretations of Macbeth on screen. By concentrating on one feature film of Macbeth (Jeremy Freeston

in Shakespeare and Scotland