Search results

You are looking at 1 - 10 of 52 items for :

  • "middle class" x
  • Manchester Shakespeare x
  • Refine by access: All content x
Clear All
Metamorphoses of early modern comedy in eighteenth-century bourgeois theatre
Friedemann Kreuder

frenzy. From the point of view of both roles and plot, Emilia Galotti is recognised as a leading example of bourgeois tragedy ( Bürgerliches Trauerspiel ), an eighteenth-century genre that contrasts middle-class virtues and morals, here embodied by Emilia, with the excessive, corrupt world of the aristocracy, here represented by Prince Gonzaga. Lessing created his

in Transnational connections in early modern theatre
Print culture, multimodality, and visual design in Derricke’s Image of Irelande
Andie Silva

One of the most detailed visual accounts of Irish customs and culture, the twelve illustrations in The Image of Ireland (1581) represent an impressive achievement in visual design and textual navigation. Part diagram, part graphic novel, each image features small letters connecting its actions to the narrative poem below. A look at other printed illustrations from the period (particularly those produced by Dutch woodcutters) demonstrates that John Derricke’s work carefully responded to contemporary themes and popular visual protocols. Further, the twelve illustrations offered a unique combination of form, design, and functionality not unlike modern hypertexts. Taking into consideration the early print marketplace in general and the demands from Day’s workroom in particular, this chapter suggests that The Image of Ireland’s illustrations were designed to be printed and circulated separately from Derricke’s poem. Derricke’s illustrations can be understood within the context of increasingly multimodal and dynamic reading practices among middle-class readers and are evidence of Day’s incredibly diverse market of book-buyers.

in John Derricke’s The Image of Irelande: with a Discoverie of Woodkarne
Abstract only
Andrew Wadoski

University of London – Achimota in Ghana, Makerere in Uganda, and the University of the West Indies in Mona Jamaica, and so on. All of these colleges were established in the post-War period, when British colonialism, unable to exist according to the old rules, saw the necessity of creating an African middle class for future partnership. 4

in Spenser’s ethics
Abstract only
From commentary on poetry to poetry as commentary
William John Kennedy

. Middle-class merchants and military adventurers could gain language experience through travel abroad. London had long attracted foreign-born merchants and artisans, and polyglot language-learning manuals emphasised the acquisition of their languages for practical purposes. While the anonymous A Plain Pathway to the French Tongue (c. 1571) advertised itself as Very profitable for Marchants , William

in The early modern English sonnet
Abstract only
Shakespeare’s shifting sonnets. From Love’s Labour’s Lost to The Passionate Pilgrim
Sophie Chiari

nobility and gentry is not known’, Peter Hyland observes, ‘but it is estimated to have been no more than 2 per cent’. Yet, this small elite constituted ‘a very powerful and very privileged group’. 41 But with the advent of print culture, an educated middle class, including women, started reading poems, too. If the enclosed sonnets in Love’s Labour’s Lost seem

in The early modern English sonnet
The open structure of The Silver Age
Yves Peyré

Matthias A. Shaaber noted, is dramatised ‘with vigour and variety’. 5 Harry Levin contended that Heywood merely ‘jumbled a medley of Greek myths into a sequence of five plays’, and the critic particularly frowned at ‘the irrelevant gallimaufries of The Silver Age and The Brazen Age ’ 6 – not so irrelevant to Adams, who described the series as ‘a philanthropic attempt to popularize Greek culture among the middle classes of London’. 7 The pedagogic intent was taken up by Mowbray Velte, who maintained that Heywood ‘wrote specifically to gratify and educate the

in Thomas Heywood and the classical tradition
John Drakakis

Christopher Sly of The Taming of a Shrew should regard what he has seen as a blueprint for ‘taming’ his own wife. The title of the chapter in which Greer’s comments on Shakespeare’s play appear is ‘The middle-class myth of love and marriage’, although the approving manner in which she describes the Kate–Petrucchio relationship accredits it with a limited veracity beyond the status of ‘myth’. The preoccupation of Elizabethan patriarchy with the problem of female resistance, and the interference of an older generation in the sexual

in Shakespeare’s resources
Foreign Antony and Cleopatra in Britain and abroad
Carol Chillington Rutter

of all, with McIntosh's Cleopatra, Geraint Wyn Davies's Antony and Ben Carlson's Octavius, the casting at the centre of Griffin's production was equally weighted with actors who were clearly in the same show. (By contrast, at the RSC, the actors seemed on different planets. Kathryn Hunter's ‘lightning mood-swings’ from ‘grotesque comedy’ to ‘black farce’ made her Cleopatra ‘near-certifiably psychotic’, ‘a crank in the grip of a Cleopatra-complex’, an incomprehensible erotic partner for Darell D’Silva's ‘rather middle-class and middle scale Antony’ and an unlikely

in Antony and Cleopatra
Jean R. Brink

of a middle-class tradesman. Alexander Judson takes literally Spenser's allusions to his Spencer patrons and elaborates his kinship ties with the wealthy Spencers of Althorp. Andrew Hadfield records and reconciles both of these hypotheses concerning Spenser's lineage: Grosart's middle-class tradesman background and the aristocratic connections emphasized by Judson. 11 The biographies of Grosart

in The early Spenser, 1554–80
Jean R. Brink

contextualizing Spenser's View of the Present State of Ireland , Debora Shuger explains that, to many Elizabethans, Ireland represented their own medieval past, a feudal world in which there was no middle class. Aristocratic noblemen held sway over their vassals, most of whom lacked the self-reliance of the English yeoman, merchant, or guildsman. 1 To cite only characteristically medieval events which occurred: rival

in The early Spenser, 1554–80