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, and dampening the optimistic, Caesarean or Tityrean strain by projecting it into the past, identifying it with youthful hopes which have already proved vain, and that Spenser does this for a specific religious and political purpose – a rearguard action against the forces which threaten the Protestant Reformation in England, focused particularly on Elizabeth’s planned marriage to the Duc d’Alençon. It may be objected that this is a selective reading, and that there are other concerns, other eclogues and other shepherds in the Calender. To cite only one instance, my

in Spenser and Virgil
Coriolanus in Budapest in 1985

explicitly and officially recognized. However, when Gábor Székely staged his Coriolanus at Budapest’s Katona József Theatre four years earlier in September 1985, such explicit public recognition was restricted by the system of ‘goulash communism’ which then prevailed. Under this system, Hungarians enjoyed relative material wealth, but were unable to express overt political dissent freely. 1 The

in Coriolanus
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Fulke Greville’s Mustapha

also be complemented by an interest in exploring political ideas and the role of stoicism as a potential response to the tragic situation and its relationship with tragic heroism. This return to these conventions of classical tragedy, along with the genre's general bypassing of the commercial theatres, has had a considerable bearing upon the critical reception of closet tragedy that persisted throughout the majority of the twentieth century. Numerous twentieth-century commentators tended to regard the development of closet tragedy as something

in The genres of Renaissance tragedy

opposing end them.’ Part II – The political Hamlet The metaphysical complications attached by Shakespeare to the protagonist of Saxo/Belleforest are rooted in an essentially political dilemma. Hamlet’s malcontent and menacing behaviour, projected into the Mousetrap, is presumed to revolve around his anomalous position vis-à-vis the throne of

in French reflections in the Shakespearean tragic
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that would avoid contentious hierarchies of value based on the specific historical characteristics of different cultural practices. All and any culture could thus be admired and valued as an exemplar both of culture as a signifying practice and culture as an example of human aspiration and endeavour. Politics The narratives, metaphors and abstractions that structured accounts of

in Cultural value in twenty-first-century England
Caesar under Thatcher

play and its stage history. While Julius Caesar is clearly about political theatre and theatrical politics, the two elements which construct those hybrids often sit uneasily together on the modern stage. How does a company stage political ideas without taking sides so completely that all nuance is lost, and how are such ideas made insistent and compelling rather than the stuff of abstract intellectual

in Julius Caesar
Shakespeare on the march

nor imposes on them a coherence they did not have. Specifically, I want to think about the implications of such an account for one politically savvy Englishman writing at the turn of the seventeenth century, William Shakespeare. If we want to grasp the relation between Scotland and England in the years just before and after the ascension of James I, I propose, we should think of them not so much as

in Shakespeare and Scotland
Revising Religio Medici in the English Revolution

Only a generation ago, the writings of Thomas Browne, the Norwich physician and polymath most famous for his Religio Medici (1642/3), seemed to be of little more than antiquarian interest, potshards of the Renaissance baroque stuck up in the nascent soil of the English civil war and of the modernity that conflict heralded. In the early 1970s, Cecil A. Sloane could blandly observe that ‘despite the religious and political upheavals of seventeenth-century England, Browne makes no reference to contemporary social events in his formal writings

in Aesthetics of contingency
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’s Renaissance literary identity in the late medieval period. Secondly, this volume addresses a wider range of topics and themes than much of the existing scholarly literature, and includes reflections on the emergence and evolution of print culture, the impact of English and European influences, the construction and negotiation of Dublin literary identities, the habits of reading in GRIBBEN 9781526113245 PRINT.indd 1 20/04/2017 15:33 2 Kathleen Miller early modern Dublin, contributions from non-anglophone contexts and the impact of Anglo-Irish political relations. This

in Dublin
Caesar at the millennium

The challenge for Julius Caesar in the twentieth century was the negotiation of the play’s politics once Welles had demonstrated the triumphs and perils of making explicit comparison with recent or contemporary events. From the Second World War onwards the oratory, heroism and spectacle of the nineteenth century were steadily replaced by more modernist notions of

in Julius Caesar