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Boika Sokolova
,
Kirilka Stavreva
, and
J. C. Bulman

, and the frivolously amoral Christians whose discrimination against him culminated in his tragic collapse at the trial and subsequent heroic exit in the manner of Irving (Verch, p. 87). Piscator’s staging anticipated Jonathan Miller’s self-consciously ‘Victorian’ Merchant for the National Theatre in 1970 in which Laurence Olivier, as we have seen, played Shylock as a direct

in Shakespeare in Performance
Bill Alexander and Antony Sher
Boika Sokolova
,
Kirilka Stavreva
, and
J. C. Bulman

apparently remote argument unexpectedly cuts close to the bone’ ( Sunday Times , 3 May 1987). Cutting through all pretence of social morality, it illustrates the universality of racial intolerance and exposes the mechanisms by which prejudice is made legitimate. In effect, Alexander magnifies anti-Semitism by having us view it through the lens of discrimination against blacks, a form

in Shakespeare in Performance
Abstract only
Emptying the virtuous middle in Elizabethan Ireland
,

determinations of right or wrong; its violence appears variously arbitrary and overdetermined, excessive and unmoored from the dialectical processes of rational discrimination. 43 Book V depicts a world with no effective system of checks and balances in place to define, enforce, and sustain a properly Aristotelian code of moral conduct. In this space, Hadfield argues, ‘there is no

in Spenser’s ethics
Virtuous discipline in the mutable world
Andrew Wadoski

nature, operating not with rational discrimination, but rather like a tempest levelling all in his path: But all those pleasant bowres and Pallace braue, Guyon broke downe, with rigour pittilesse; Ne ought their goodly workmanship might saue Them from the tempest of his wrathfulnesse, But that their blisse

in Spenser’s ethics
Abstract only
An alternative virtue for a fallen world
Andrew Wadoski

of reason in selecting … commitments’. 34 The Stoics regard this process as the normative basis for moral judgment, understanding it as selecting commitments that are wholly within one’s control while avoiding those that are not, while making coherent and rational discriminations among the choices with which the world confronts us. For Milton, that commitment is to interpersonal imperatives of social life

in Spenser’s ethics
Abstract only
Fashioning the imperial commonwealth
Andrew Wadoski

transcend such perilous change. Rather, the transformations compelled by ‘the nature of all humaine thinges’ play crucial roles in the essential functions of civil life: shaping forms of social organization, determining and authorizing virtuous agency, activating the discriminations that allow us to make basic judgements between good and bad, and orienting the ends and ambitions of moral action and

in Spenser’s ethics
Boika Sokolova
,
Kirilka Stavreva
, and
J. C. Bulman

advance the moral agenda of a nation, as these remarks made in 1881 suggest: ‘If you uphold the theatre honestly, liberally, frankly, and with discrimination, the stage will uphold in the future, as it has in the past, the literature, the manners, the morals, the fame, and the genius of our country’ (Irving, The Drama , p. 31). These are the words of

in Shakespeare in Performance
Abstract only
John Drakakis

: The antiquarian sense of a man, a community, a whole people, always possesses an extremely restricted field of vision; most of what exists it does not perceive at all, and the little it does see it sees much too close up and isolated; it cannot relate what it sees to anything else and it therefore accords everything it sees equal importance and therefore to each individual thing too great importance. There is a lack of that discrimination of value and that sense of proportion which would distinguish between the

in Shakespeare’s resources

This book is the first ever concordance to the rhymes of Spenser’s epic. It gives the reader unparalleled access to the formal nuts and bolts of this massive poem: the rhymes which he used to structure its intricate stanzas.

As well as the main concordance to the rhymes, the volume features a wealth of ancillary materials, which will be of value to both professional Spenserians and students, including distribution lists and an alphabetical listing of all the words in The Faerie Queene. The volume breaks new ground by including two studies by Richard Danson Brown and J. B. Lethbridge, so that the reader is given provocative analyses alongside the raw data about Spenser as a rhymer. Brown considers the reception of rhyme, theoretical models and how Spenser’s rhymes may be reading for meaning. Lethbridge in contrast discusses the formulaic and rhetorical character of the rhymes.

Carol Chillington Rutter

eunuchs’, Shakespeare’s Margaret on the stage was role-playing issues women recognised, issues consistent with their growing awareness of their political exclusion, their bewilderment, grievance and frustration with social inequalities and sexual discrimination. Margaret anticipated contemporary stereotypes: 5 in youth, a sex object men imagine using to lever themselves into positions of

in Shakespeare’s histories and counter-histories