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Janice Valls- Russell

instance of ‘Shakespeare’s deep imaginative collocations’, the creative process Ruth Morse unravels in her discussion of Pygmalion in the closing essay of this volume and that, in King John , is both textual and spatial. 5 Trojan collocations Hercules and Neptune lead into Trojan territory via what A. E. B. Coldiron describes as ‘medievally mediated’ tropes of Troy that reached

in Interweaving myths in Shakespeare and his contemporaries
Europa, between consent and rape
Gaëlle Ginestet

’s multiple metamorphoses but from the association of different images of rain and liquidity, and the process illustrates both the mutability of the mythological material and the creative processes that result from a reorganisation of motifs associated with individual myths. After imagining himself as the rain that would ‘descend’ (‘descendre’) into Danae’s/Phillis’s lap, the speaker projects himself in a

in Interweaving myths in Shakespeare and his contemporaries
Instead of a conclusion
Ruth Morse

recognition and recovery. The theatre is one of the few places where we see that transformative magic, that creative strength, and eight times a week. Shakespeare’s plays have that advantage over Pygmalion’s private bliss. The Winter’s Tale is not another riff on Pygmalion, but something new, that was not in Shakespeare’s source. Apollo’s oracle pronounced the queen innocent, but there

in Interweaving myths in Shakespeare and his contemporaries
The English Comedy as a transnational style
Pavel Drábek

have bearing on questions of authorship, but it can also help identify the type of creative novelty – the ‘added value’ 4 – that English comedians brought to well-known plays and plots. There are numerous instances of plays performed by the English actors based on continental stories, and ‘returned back’ with them from England to mainland Europe, or maybe

in Transnational connections in early modern theatre
Abstract only
Tamsin Badcoe

the sea. 25 Such interstitial dwelling places for the imagination cease being static literary topoi , or common places, in Spenser’s writings and instead perform the self-conscious activity of the poet, imitative of both world and creative process: the poet’s gestures towards the familiar, the grounded, and the proximate are typically distanced or undermined by habits of thought that rely on figurative language to turn, or move, from one place to somewhere else entirely, thus testing the limits of the credible. 26 Underlying these complex

in Edmund Spenser and the romance of space
The world of Lucian in Thomas Heywood’s stage poetry
Camilla Temple

, this chapter explores the significance of the dialogue form as it imagined an alternative kind of theatrical world for the Renaissance stage. The eclectic nature of Heywood’s Pleasant Dialogues reflects the creative nexus into which Lucian was placed in the early modern period and shows how his work was connected to other examples of the dialogue form; Heywood was alert to the way Lucian’s forms oscillated between genres. Lucian is particularly influential for any post-classical dramatist because his dialogues represented a hybrid between the different styles

in Thomas Heywood and the classical tradition
The Jacobean Antony and Cleopatra
Carol Chillington Rutter

the Banketinge house’ on ‘the first of Nouember’ (Chambers 1923 , IV, 171). This packed entertainment schedule would climax with Queen Anna's ‘great maske’ on Twelfth Night. The masque was a project of Anna's own devising, and it built on the ‘creative agenda for self-display’ that she'd first put squarely in view a year earlier (Barroll 2001 , 74). In Queen Elizabeth's court (and in Shakespeare's plays to date) such ‘shows had been associated with men, not women’, and with young blades like Romeo, Lorenzo and Benedick, not princes (Barroll

in Antony and Cleopatra
Movement as emotion in John Lyly
Andy Kesson

notion that the act of narration and reception had consequences for a character’s sexual status – the writing here calls for collaborative and creative readership. The reader is expected to ‘imagine’ as well as ‘guess’ the fictive worlds they encounter. These calls for imaginative reception continue into Lylian drama: his first play, Campaspe , for example, opened

in The Renaissance of emotion
Georgia Shakespeare 2001 and 2009
Andrew James Hartley

contrary – but neither his fellow conspirators nor the audience were let in on what those thoughts were. The conspirators as a whole may have had good reason to fear Caesar’s rise to power, but their motives were muddied by personal resentments and private ambitions, and the production did not clarify which concerns were dominant. Not all the critics liked such ambiguity. Curt Holman, writing for Creative

in Julius Caesar
Abstract only
Jeremy Tambling

, ‘if we translate scientific abstraction back into concrete individual experience, we see that the “ancients” and authority simply correspond to the father, and nature once more becomes the tender and kindly mother who had first nourished him’ ( SE 11.122). The creative drive rests with the mother, and a narcissism related to being with her. Freud notes the then newness of the word

in Literature and psychoanalysis