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Josette Bushell-Mingo’s Cleopatra, Royal Exchange, Manchester, 2005; Tarell Alvin McCraney’s ‘radical edit’, Royal Shakespeare Company, The Public and GableStage, 2013
Carol Chillington Rutter

published in 1805 showing these last throes, the gruesome ‘Revenge taken by the Black Army for the cruelties practised on them by the French’, blacks stringing up whites, all of these men in the same Napoleonic uniforms, illustrated McCraney's production programme.) But the subjection that French military action couldn't achieve, French political chicanery did. France demanded ‘reparations’ before the French state would recognise the new nation. Haitians were required to compensate former plantation owners for ‘loss of property’ – that is, for themselves as slaves. While

in Antony and Cleopatra
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Reading Old Testament women in early modern England, 1550–1700
Victoria Brownlee and Laura Gallagher

hailed as virtuous wifely exemplars. 21 Although Old Testament women were frequently categorised as godly or wicked, the biblical narratives within which these women reside often reveal more complex figures than marriage and conduct writings suggest. Take Abigail, for example. 1 Samuel 25 details how she makes reparations to David and his army for Nabal’s churlishness by

in Biblical women in early modern literary culture 1550–1700
Revising Religio Medici in the English Revolution
Matthew C. Augustine

, as hopelesse of their reparations ’ (p. 3). As Wilding rightly notes, the breakdown of state censorship after the calling of the Long Parliament, the abolition of Star Chamber, and the impeachment of Strafford and Laud, had opened the way for an outpouring of Puritan writing and millenarian prophecy in the early 1640s. Seen in this light, Browne’s tone of remonstrance and regret, coupled with his reference to the ‘tyranny’ of the press – its autonomous operation, irrespective of any authority – takes on a plausibly partisan cast. 19 Browne

in Aesthetics of contingency