Search results

You are looking at 1 - 3 of 3 items for :

  • "Margreta De Grazia" x
  • Refine by access: All content x
Clear All
Abstract only
Stephen Orgel

? None of this bears on the more basic question, the first question students ask, of why Hamlet is not king to begin with. Why did he not he succeed his father? In a provocative recent reading of the play, Margreta de Grazia makes this the missing key: he has been disinherited, in violation of every expectation. This, not his father’s death and his mother’s o’er-hasty marriage, is

in Spectacular Performances
‘Postcolonial’ as periodizer
Andrew Sartori

entire chapter to the field: Rochona Majumdar, Writing Postcolonial History (London: Bloomsbury, 2010), chapter 4. 41 Ananya Jahanara Kabir and Deanne Williams, ‘Introduction: A Return to Wonder’, in Ananya Jahanara Kabir and Deanne Williams (eds), Postcolonial Approaches to the European Middle Ages: Translating Cultures (Cambridge: Cambridge University Press, 2005), p. 1; Margreta de Grazia, ‘The Modern Divide: From Either Side’, Journal of Medieval and Early Modern Studies , 37

in Post-everything
Abstract only
The Dunsoete Agreement and daily life in the Welsh borderlands
Lindy Brady

overkingship in the seventh century’, Midland History 30 (2005): 1–19; H.  P.  R. Finberg, ‘Mercians and Welsh’, in Lucerna – Studies of Some Problems in the Early History of England (London, 1964): 66–82; and Nicholas Brooks, ‘The formation of the Mercian kingdom’, in The Origins of Anglo-Saxon Kingdoms, ed. Bassett, 159–70. 41 For overviews of postcolonial approaches to the Middle Ages, see Gabrielle M. Spiegel, ‘Épater les médiévistes’, History and Theory 39 (2000): 243–50, Margreta de Grazia, ‘The modern divide: from either side’, Journal of Medieval and Early Modern

in Writing the Welsh borderlands in Anglo-Saxon England