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Domestic tragedy and city comedy
Felicity Dunworth

function that is important in ensuring stability in the wider world. The complex social structures in such a world are always clearly adumbrated in this drama, with the family as the smallest unit of an integrated social world placed in a realised geographic locality and based upon economic interdependence. Locale is created through reference to recognisable neighbourhoods: to the length and time it takes to move around them, to the kind of people

in Mothers and meaning on the early modern English stage
Angelika Zirker

body, soul, and sins as well as their mutual interdependence make the speaker reflect on his fate, and what he reflects on (though only implicitly) is the relation of body and soul – and ‘I’. The soliloquy/inner dialogue is therefore not only a rhetorical form serving to achieve clarification and dramatic immediacy but also a mode inherently appropriate to, and expressive of, the speaker’s attitude towards the question of death, judgement, and life

in William Shakespeare and John Donne
Antagonism, parallelism, and chiasmus
Angelika Zirker

in the final couple ‘as the appropriate figure to convey this idea of reciprocal deception as well as the feeling of mutual interdependence’ (72). A similar relation can be stated with regard to Tarquin and Lucrece. 5 On the relatedness of chiasmus, contrast and also parallelism see, e.g., Davis, ‘Structural Secrets’ (238); Horvei, Study in Shakespearean Rhetoric

in William Shakespeare and John Donne
Yulia Ryzhik

Word (e.g., Acts 20:28–9). Pastoral, in other words, has long been used to figure forth both the abuse of power and the possibility of benign, albeit hierarchical, interdependence among God’s creatures. This highlights a distinction, in the Metamorphoses , between the vision of Pythagoras and that of the larger poem in which he appears. The one implies a radical levelling of living forms, the other posits enduring differentials of dignity and prestige. In other words, not all metamorphoses are equal. Some are clearly punitive, as when

in Spenser and Donne
Holy Sonnet ‘This is my Playes last Scene’
Angelika Zirker

to death as an exit from this world in his final sermon, ‘Deaths Duell’, where being born and death become dramatic acts, and birth is described as entering a world of death. Donne visualizes this notion in terms of a paradoxical interdependence of exitus and introitus , of going out and going in, which characterizes the relation of life and death: 11 But then this exitus a morte , is but

in William Shakespeare and John Donne
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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
Love’s Labour’s Lost and As You Like It
Richard Hillman

the House of Lorraine. Finally, the localisation of the action specifically in Navarre – presumably at Nérac, where the court was located, although no location is named (another deferral mechanism) – contributes to the double perspective. Both the political independence and interdependence of the kingdoms of France and Navarre are embedded in the play’s action, and would have been well understood by contemporary audiences. Whether the current King of Navarre would also accede to the French crown – and hold it securely – hovers as an issue in the background. So

in The Shakespearean comic and tragicomic
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Appropriation, dislocation, and crossmapping
Elisabeth Bronfen

clandestinely from within the system. If Westworld performs the violence sustaining a newly created world of hosts, modelled on the Western frontier, David Milch’s Deadwood explicitly draws on the westward expansion as part of the rebirth of the American nation after the Civil War. Chapter 5 thus returns to a discussion of the mutual interdependence between theatre and power in Shakespeare, using a macabre performance of King Lear by members of a travelling theatre company as the point of connection. At issue now, however, is a different Shakespeare ‘series

in Serial Shakespeare
The ends of incompletion
Chloe Porter

wish’; Apelles, in turn, is distraught by his patron’s demand, as the ending of the portrait will entail the end of his access to Campaspe. The painter’s reaction to the order, however, reveals the interdependence between ‘finish’ and image-breaking, as Apelles resolves ‘by device’ to give the portrait ‘a blemish’ in order to prolong the painting process and to declare his love to

in Making and unmaking in early modern English drama
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The discernment of angels
Anne Sweeney

metaphoric programme and its pastoral purposes must be viewed in the light of this interdependence. Such beauties were a double-edged sword though: Calvinist rejection of the relationship between sensual beauty and spirituality meant that the arts programmes of Rome were inevitably implicated in Catholic apologetics (as employed by Bellarmine, for instance). Beauty worked both to draw the soul Godwards and to

in Robert Southwell