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Regime change in Macbeth
Richard Wilson

Gunpowder Plot, of those very judges and politicians who, as terrorism’s intended targets, were now waging the king’s own war of terror against his Catholic foes. By reflecting the reigning ruler in his pomp, after earlier denying Macbeth the banquet Banquo’s ghost interrupts, and finally serving up to the incomer James his predecessor’s framed head as though on a platter, it is therefore

in Free Will
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Matthew Dimmock

terrorism. 11 These recognisable trajectories demystify and fall back on gendered assumptions about the shifting expectations of women between the two monolithic blocs of ‘Islam’ and ‘the West’. There is little room for nuance, particularly since this specific group of converts is also burdened with the expectation, in certain quarters, that they are best placed to act as an intellectual

in Conversions
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The Spanish Tragedy IV.iv in performance
Tony Howard

report or the internet YouTube image. 30 STRANGE AND FRIGHTFUL DREAMS OF REVENGE Repeated endlessly on television and inspiring countless books, essays and websites (‘War, terrorism and spectacle’; ‘9/11, Spectacles of terror and media manipulation’; ‘The Babel conspiracy’ …), 9/11 redefined Hieronimo’s words: ‘See

in Doing Kyd
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Marlowe’s Tamburlaine the Great
Andrew Duxfield

Shakespeare’s ‘Henry V’ (Aldershot: Ashgate, 2001), pp. 58–62 and passim ; Alan Shepard, Marlowe’s Soldiers: Rhetorics of Masculinity in the Age of the Armada (Aldershot: Ashgate, 2002), pp. 21–52; Robert A. Logan, ‘Violence, Terrorism, and War in Marlowe's Tamburlaine Plays’, in Sara Munson Deats, Lagretta Tallent Lenker and Merry G. Perry (eds), War and Words: Horror and Heroism in the Literature of Warfare (Lanham, MD: Lexington, 2004), pp. 65–82. On Tamburlaine as a more generally paradoxical figure, see Daniel Vitkus, Turning Turk: English Theater and the

in The genres of Renaissance tragedy
Robert Shaughnessy

German Left. This was due partly to the group’s canny manipulation of its outlaw-chic image, and partly to its grasp of the avant-garde theatricalism of terror, but mostly to its capacity to articulate some of the more utopian aspects of the broader left agenda. Terrorism expert Konrad Kellen defines the RAF’s ideology as ‘millenarian’, and defines their aim as nothing less than ‘a total transformation

in As You Like It
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Robert Shaughnessy

’s girlfriend, Dil (Jaye Davidson) – who, to Fergus’s horror, is revealed as male. Fergus subsequently both tentatively accepts Dil as his lover and renounces terrorism: the redemptive move poses gender-switching as a magic-realist resolution to the seemingly irreconcilable antagonisms of ‘the Troubles’. The second of three British films released in 1992 to engage with androgyny and gender ambiguity (the others

in As You Like It
Caesar under Thatcher
Andrew James Hartley

their funding cut outright, but the RSC was able to weather the storm. In 1985 they negotiated a three-year sponsorship with the Royal Insurance Company worth about £1 million, though there was some anxiety about reliance on a corporate support which was considered fleeting. In 1986 the RSC lost about £1 million in American tourist revenue due to fear – said Terry Hands – of terrorism, and a similar

in Julius Caesar
Anne Sweeney

: Portrait of a Queen (London: Hutchinson, 1976 ), pp. 65, 71–2; Philip Hughes, The Reformation of England , rev. 5th edn, 3 vols (New York: Macmillan, 1963 ), 111, pp. 270–1, 327, n. 1; and John Hungerford Pollen, S.J., ‘Religious Terrorism under Queen Elizabeth’, The Month , 105.489 (March 1905), 271–87. 23

in Robert Southwell
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The thought of the outside in Shakespeare’s histories
Richard Wilson

dissolute young men, become Fugitives, Rebels and Traitors’, 51 indoctrinated into French extremes. It confirms, that is to say, the analysis of historians that ‘The most important factor influencing resistance by Elizabethan Catholics’ was the volte face on polical terrorism by their French co-religionists when confronted by the succession of Navarre, they ‘suddenly adopted

in Shakespeare’s histories and counter-histories
Milton and the Restoration
Warren Chernaik

‘Covenant of Grace … written in the hearts of believers’, see De Doctrina Christiana, i. xxvi and xxviii, Complete Prose Works, vi, 517, 521; and A Treatise of Civil Power in Complete Prose Works, vii, 259. 111 John Carey, ‘A Work in Praise of Terrorism? September 11 and Samson Agonistes’, Times Literary Supplement, 6 September 2002, pp. 15–​16. 112 Carey, ‘A Work in Praise of Terrorism?’, pp.  15–​16. Carey is attacking Stanley Fish’s claim that Samson’s acts are ‘praiseworthy’ because he believes he is submitting to the divine will: see Fish, How Milton Works

in From Republic to Restoration