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Robert Shaughnessy

follow I consider how this task might have been carried out within the frameworks of rehearsal and repertory; but first, in order to situate Rosalind’s role within the larger part-based ecology of playhouse rehearsal and performance practice, and also to emphasize how radical a theatrical experiment it actually was, we need to acknowledge the broader early modern context of part-based playmaking. David

in As You Like It
Tamsin Badcoe

destruction. Embodied by the characters of Marinell and Florimell, the ‘creatures of sea and of meadows, wave and flower’, whose paired nature underlines the narrative’s cosmic scope and interest in c oncordia , the spaces of the central books speak of the capacity for growth, development, and change. 28 The oppositional ecologies find temporary resolution, of course, in Marinell and Florimell’s union at the Castle of the Strond in Book V, where the antagonisms of ocean waves and fertile land are reconciled, and where empty imitations are dissolved, like the false

in Edmund Spenser and the romance of space
Tamsin Badcoe

its further wasting through systematic depopulation, geographic re-inscription, and georgic recolonisation’. 55 For all their instabilities and ambiguities, the fertile ecologies of Ireland were seen by the English as fundamentally generative, ultimately offering Spenser the scope to imagine work perceived as salvage. 56 Surveying alluvial waters Within the context of Book V’s allegorical interest in degeneration, the challenge facing Artegall, who operates in a world ‘runne quite out of square’ (V.pro.1), seems to be to continue the work of the surveying angel

in Edmund Spenser and the romance of space
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Spenser, Donne, and the trouble of periodization
Yulia Ryzhik

hierarchies and boundaries to hint at an alternative ‘vision of connection and interdependence that we now call ecological’, or even ‘post-humanist’. 46 If Gregerson’s chapter concerns primarily earthly ecologies and worldly matters, Ramachandran’s takes Spenser and Donne beyond the sphere of the moon to address cosmic matters – both in the sense of ‘cosmos’ as an orderly universe and in the sense of formal aesthetics. Situating Spenser’s Fowre Hymnes and Donne’s Anniversaries within the rich continental tradition of philosophical poetry, Ramachandran makes a strong

in Spenser and Donne
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Gwilym Jones

keeps them ironically separate. An activist might insist that this aesthetic move finds remarkable analogies in positions propounded by climate change deniers, and that Duncan notes the sweetness of the air up to the point that Macbeth, of the filthy air, kills him. But the play does not need to be brought into the present for its ecology to ring true to us: its ‘shadowy world of irony and difference

in Shakespeare’s storms
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Appropriation, dislocation, and crossmapping
Elisabeth Bronfen

’Neill puts it, ‘that is sowed in the media ecology and scattered through it’. 6 By disseminating and dispersing the original text, these iterations leave the original dramas behind and, instead, favour derivations that mingle Shakespeare with his contemporary media appropriation. In the process, a sense of Shakespeare’s proximity to the current cultural moment is forged, as is an awareness of his historical remoteness. He occupies the present and yet is not properly part of it, instead straddling both temporal sites. Shakespeare is sowed in history, and yet, by virtue

in Serial Shakespeare
Tamsin Badcoe

Fabric”: London as a “World City”’, in The Tempest and Its Travels , ed. Peter Hulme and William H. Sherman (London: Reaktion, 2000), pp. 13–26 and Steve Mentz, ‘Isle of Tempests’, in Shipwreck Modernity: Ecologies of Globalization, 1550–1719 (Minneapolis: University of Minnesota Press, 2015), pp. 51–74. 10 Greene, ‘Island Logic’, in The Tempest and Its Travels , pp. 138–45 (p. 138). 11 Ibid., p. 139. 12 Roger Ascham, The Scholemaster (London, 1570), sig. Iii v

in Edmund Spenser and the romance of space
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The site of New Place from the prehistoric to the early medieval period
William Mitchell and Kevin Colls

. (forthcoming). Nash’s House, Stratford-upon-Avon: Archaeological Excavations 2015 (Centre of Archaeology, University of Staffordshire). Mullin , D . ( 2011 –12). Prehistoric Pottery from New Place (unpublished). Mulville , J . ( 2008 ). ‘Foodways and Social Ecologies from the Middle Bronze Age

in Finding Shakespeare’s New Place
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Storm and the event
Gwilym Jones

happened, is happening, will happen or a mixture of all three. Indeed, the qualities of nature that have been exemplified in conceptions of wilderness have themselves been problematised since the 2000s by, for example, Timothy Morton. 45 The idealised nature is, in such readings, troublesome for ecology in the same way that the heath is problematic for readings of Lear . In coming to terms with nature as

in Shakespeare’s storms
Yulia Ryzhik

annotation and commentary concerning Burghley [as a primary target of satire in Mother Hubberds Tale ] is broad, diverse, and remarkably consistent … while the government’s long-standing censorship of the offending remarks served only to confirm such impressions’. 12 In many respects, the premise of the beast fable as a genre is flatly opposed to that of Pythagoras’s unifying ecology. It is almost too obvious to be noted, and yet it is worth estranging the obvious for a moment. To represent human vice and folly in the guise of beasts is imagined

in Spenser and Donne