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Representations of Irish political leaders in the ‘Haughey’ plays of Carr, Barry and Breen
Anthony Roche

money in thy purse’ as the more apposite. But the Shakespeare play which most proliferates intertextually in Charlie is Julius Caesar. Charlie himself, in recalling his meeting with Margaret Thatcher, invokes the figure of Caesar and his ‘great campaigns’ (p. 43) to lament the fact that ‘I would never be tested on a great stage’. The references to the play itself are most prominent when he and his backers are considering the heave against Jack Lynch. To P.J. Mara’s query as to whether it is too soon, Haughey responds: ‘There is a tide [in the affairs of men,] which

in Irish literature since 1990
Steve Sohmer

. In December 1601 the company’s repertory included a number of luminous alternatives. Setting aside Shakespeare’s histories as long in the tooth and inappropriate for a festive evening, the company might have played Julius Caesar or an early Hamlet (neither a dainty dish to set before a Queen) or As You Like It , which I believe they had played before Elizabeth on

in Reading Shakespeare’s mind
Steve Sohmer

. One assessment of the perfection and holiness of seven – exactly contemporaneous with Shakespeare’s writing of Julius Caesar – can be found in A New Treatise of the Right Reckoning of Yeares, and Ages of the World, and mens lives (1599) by Robert Pont (1524–1606). 19 In his preface Pont explains, ‘there is a marvelous sympathie of periodes of times, in

in Reading Shakespeare’s mind
Open Access (free)
Irish drama since 1990
Clare Wallace and Ondrej Pilný

artistic director and co-founder of Loose Canon Theatre Company (1996) leads a full-time ensemble of performers in an ongoing actor training programme. The company’s philosophy foregrounds the role of the actor in the theatre experience. Since 1996 they have produced principally works of Elizabethan and Jacobean drama ( Julius Caesar, Coriolanus, Hamlet, Macbeth, The Revenger’s Tragedy, The White Devil, The Duchess of Malfi) as well as modern European classics such as Ibsen’s Hedda Gabler. In overtly claiming a genealogy of performance/directing, Byrne is remarkable for

in Irish literature since 1990
Steve Sohmer

repetition. Most of Shakespeare’s foolers occur only once, for example Hamlet’s ‘dram of eale’ (Second Quarto (Q2), throughline 1432) and the playwright’s tantalizing allusion to the words Cicero said and Casca dared not repeat ( The Tragedy of Julius Caesar 1.2.299). By comparison, Shakespeare’s presentation of the forged letter and M.O.A.I. crux – the turning-point in the

in Reading Shakespeare’s mind
Author: Jacopo Pili

Anglophobia in Fascist Italy traces the roots of Fascist Anglophobia from the Great War and through the subsequent peace treaties and its development during the twenty years of Mussolini’s regime. Initially, Britain was seen by many Italians as a ‘false friend’ who was also the main obstacle to Italy’s foreign policy aspirations, a view embraced by Mussolini and his movement. While at times dormant, this Anglophobic sentiment did not disappear in the years that followed, and was later rekindled during the Ethiopian War. The peculiarly Fascist contribution to the assessment of Britain was ideological. From the mid-1920s, the regime’s intellectuals saw Fascism as the answer to a crisis in the Western world and as irredeemably opposed to Western civilisation of the sort exemplified by Britain. Britain was described as having failed the ‘problem of labour’, and Fascism framed as a salvation ideology, which nations would either embrace or face decay. The perception of Britain as a decaying and feeble nation increased after the Great Depression. The consequence of this was a consistent underrating of British power and resolve to resist Italian ambitions. An analysis of popular reception of the Fascist discourse shows that the tendency to underrate Britain had permeated large sectors of the Italian people, and that public opinion was more hostile to Britain than previously thought. Indeed, in some quarters hatred towards the British lasted until the end of the Second World War, in both occupied and liberated Italy.

Natalie K. Eschenbaum

meaning here), as well as with pleasure. Venery might stupefy the other senses, but it does this by intensifying their pleasures. In Exotericarvm Exercitationvm (1557) Julius Caesar Scaliger originally suggested that titillation was a sixth sense for a different reason. Daniel Jaeckle explains, ‘in a section on touch and taste, Scaliger argues that the desire to copulate depends on a sixth sense that somehow includes touch and sight MUP_Smith_Printer.indd 125 02/04/2015 16:18 126 The senses in context and results in titillation’.29 Scaliger says that this ‘sextus

in The senses in early modern England, 1558–1660
Corin Redgrave

. Corin Redgrave is an actor, director and author. Since his debut in 1962 his work has been divided almost evenly between theatre, film and television. He is the author of Michael Redgrave: My Father (RCB, Fourth Estate, 1995) and Julius Caesar and the English Revolution (Faber & Faber, 2002). As a playwright he has written Roy and Daisy (1998), Fool for the Rest of his

in British cinema of the 1950s
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A theatre maker in every sense
Brian Singleton

after she left it, to reprise her role as Portia in Shakespeare’s Julius Caesar at His Majesty’s in 1932, again under the Asche–Brayton brand, though Asche was no longer leading man material and played Casca. While critics praised Brayton’s return to the stage and indeed her performance, the production was generally criticised for being nostalgic and outmoded, and signalled how out of touch Asche and Brayton as producers had become. Yet, as evidenced in the souvenir programme for the production, this revival was a clear attempt by both of them to salvage their

in Stage women, 1900–50
Open Access (free)
Conversations about the past in Restoration and eighteenth-century England
Daniel Woolf

Walker, the quarrelsome Garter King of Arms, asserted to Samuel Pepys ‘that there was none of the families of princes in Christendom that do derive themselfs so high as Julius Caesar, nor so far by a thousand years, that can directly prove their rise’. 51 Disputed facts were sometimes the occasion of arguments, and by the early eighteenth century Richard Steele found it possible to satirize club-andcoffee-house wagers over history in a bet between two gentlemen, one a recognized authority on ancient sex scandals, ‘upon a point of history, to wit, that Caesar never lay

in The spoken word