John Dryden’s Absalom and Achitophel and historical allegory
Marvell’s satires, ‘partial’ in formal as well as
The response to Dryden: general metaphors and
While few writers could have
failed to see the political diplomacy in the poem’s suspended
plotline, Johnson was by no means the only reader to criticize
Dryden’s unabashed abandonment of his poem’s symbolic
This book is about science in theatre and performance. It explores how theatre and performance engage with emerging scientific themes from artificial intelligence to genetics and climate change. The book covers a wide range of performance forms from the spectacle of the Paralympics Opening Ceremony to Broadway musicals, from experimental contemporary performance and opera to educational theatre, Somali poetic drama and grime videos. It features work by pioneering companies including Gob Squad, Headlong Theatre and Theatre of Debate as well as offering fresh analysis of global blockbusters such as Wicked and Urinetown. The book offers detailed description and analysis of theatre and performance practices as well as broader commentary on the politics of theatre as public engagement with science. It documents important examples of collaborative practice with extended discussion of the Theatre of Debate process developed by Y Touring theatre company, exploration of bilingual theatre-making in East London and an account of how grime MCs and dermatologists ended up making a film together in Birmingham. The interdisciplinary approach draws on contemporary research in theatre and performance studies in combination with key ideas from science studies. It shows how theatre can offer important perspectives on what the philosopher of science Isabelle Stengers has called ‘cosmopolitics’. The book argues that theatre can flatten knowledge hierarchies and hold together different ways of knowing.
Ralph Knevet's Supplement of the Faery Queene (1635) is a narrative and allegorical work, which weaves together a complex collection of tales and episodes, featuring knights, ladies, sorcerers, monsters, vertiginous fortresses and deadly battles – a chivalric romp in Spenser's cod medieval style. The poem shadows recent English history, and the major military and political events of the Thirty Years War. But the Supplement is also an ambitiously intertextual poem, weaving together materials from mythic, literary, historical, scientific, theological, and many other kinds of written sources. Its encyclopaedic ambitions combine with Knevet's historical focus to produce an allegorical epic poem of considerable interest and power. This new edition of Knevet's Supplement, the first scholarly text of the poem ever published, situates it in its literary, historical, biographical, and intellectual contexts. An extensive introduction and copious critical commentary, positioned at the back of the book, will enable students and scholars alike to access Knevet's complicated and enigmatic meanings, structures, and allusions.
amateur science, her theatrical
approach is characterised by her creative yet humble diplomacy on behalf
of those for whom she speaks. She is not setting herself up as an alternative expert, even an amateur one, but rather as a diplomat.
Isabelle Stengers has called for diplomacy as a response to the challenges of cosmopolitics. The risks of diplomacy are always in the potential to betray either your own people or other diplomats, both of whom
the diplomat has duties towards. Betrayal on some level is inevitable, but
the diplomat can also
, 1988), pp. 52–3.
4 Adam Smith, An Inquiry into the Nature and Causes of the Wealth of
Romanticism and the Chinese awakening
Nations, ed. R. H. Campbell and A. S. Skinner, 2 vols (Oxford: Oxford
University Press, 1972), II, p. 202.
5 See Robert Markley, The Far East and the English Imagination, 1600–
1730 (Cambridge: Cambridge University Press, 2006), pp. 75, 110.
6 See John L. Cranmer-Byng and John E. Wills Jr, ‘Trade and Diplomacy
with Maritime Europe, 1644–c.1800’, in John E. Wills Jr (ed.), China
and Maritime Europe, 1500–1800: Trade, Settlement
the installation of the sculpture,
while still others were written by Fausto Romano and Michaelangelo (c.
1544–6).37 More accessible to Bess and collaborators would have been Robert
Garnier’s Antonie, published in France in 1578 and translated by Mary Sidney
Herbert in 1592. Although Garnier’s closet drama displays much of Cleopatra’s
untrustworthiness, he still pictures her as a sovereign queen as well as wife
and mother, skilled in diplomacy and languages, dying from grief at the loss
of Antony. Bess’s decision that her figure of Cleopatra be attended by the
Priceless cultural assets from history and from the whole
world were the foundations of cultural value but the resources to
support the additional work of interpretation and presentation were also
put at risk by the changing economic situation. Commenting on the 2012
Royal Academy exhibition on ‘Constable, Gainsborough and the
Making of Landscape’, John Barrell noted that
embellishes inherited ideas
throughout The Goodly Gallery , his reasoning on wind is an
impressive act of imaginative diplomacy. Essentially, Fulke’s
solution is to allow for each theory to apply: Aristotle’s in
general, and the others in specific situations. Hence for Fulke, in most
circumstances: ‘The wynd is an Exhalation whote and drie,
into the aire by the power
his sword during an audience with the Queen. Further, it tells us something
about Spenser's subtlety and diplomacy that his various patrons did not get
along with each other: Grey resented Ralegh for undercutting him with the Privy
Council. Ralegh and Essex were frequently at odds. Spenser, it must be
concluded, had as much tact as wit.
The academic discourses in Familiar Letters , as Harvey
later confided in Foure Letters (1592), had to do