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Figures of comparison and repetition in Spenser’s Cantos of Mutabilitie and Donne’s Anniversaries
Yulia Ryzhik

titanomachy and a trial: Mutabilitie would metonymically ‘displace’ (VII.vi.10) Cynthia from her palace and the other gods from ‘heauen’ (VII.vi.16). The Anniversaries offer a dramatic monologue based on the fantastic premise that a fourteen-year-old girl’s death has left the present world a ‘carkasse’ ( First Anniversarie ( FA ), line 339). The temporalities of the Cantos and Anniversaries also strikingly diverge. Framed as an act of memory told by an archival narrator who then only occasionally interpolates or apostrophizes, the Cantos are veiled, like the rest

in Spenser and Donne
Foreign Antony and Cleopatra in Britain and abroad
Carol Chillington Rutter

, perhaps to archive a mnemonic of the political thinking the Romeinse Tragedies had provoked them to; perhaps to prompt later postings on social media. Here, then, was the ‘Generation Y’ version of Glasgow's experience at the Citz in the 1970s, where ‘The plays never “finished” when the lights went down because the foyer and streets outside were always alive with discussion … and those conversations persisted for ages’ (see Chapter 5 ). ‘Live’ discussion yields in the digital age to virtual conversation; bodies on the street in three dimensions yield to flat

in Antony and Cleopatra
Jeremy Tambling

Archival anachrony When in the chronicle of wasted time I see descriptions of the fairest wights, And beauty making beautiful old rhyme In praise of ladies dead and lovely knights, Then in the blazon of sweet beauty’s best, Of hand, of foot, of lip, of eye, of brow, I see

in On anachronism
Erith Jaffe-Berg

delegation of Mantuan dignitaries (a letter from Gianfrancesco Anguissola to the Duke of Mantua dated 7 March 1567: ASMn:AG 40 c.22). Interestingly, among the other companies that were mentioned as travelling with this large delegation, archival evidence also reflects that during the visit there were feats of danger presented by the Turks (‘pericolo rappresentato dai Turchi’). Here

in Transnational connections in early modern theatre

This volume considers transnational and intercultural aspects of early modern theatre, drama and performance. Its twelve chapters, loosely cosmographically grouped into West, North and South, compose a complex image of early modern theatre connections as a socially, economically, politically and culturally realised tissue of links, networks, influences and paths of exchange. With particular attention to itinerant performers, court festival, and the significant black, Muslim and Jewish impact, they combine disciplines and methods to place Shakespeare and his contemporaries in the wider context of early performance culture in English, Spanish, French, Dutch, German, Czech and Italian speaking Europe. Their shared methodological approach examines transnational connections by linking abstract notions of wider theatre historical significance to concrete historical facts: archaeological findings, archival records, visual artefacts, and textual evidence. Crucial to the volume is this systematic yoking of theories with surviving historical evidence for the performative event – whether as material object, text, performative routine, theatregrams, rituals, festivities, genres, archival evidence or visual documentation. This approach enables it to explore the infinite variety of early modern performance culture by expanding the discourse, questioning the received canon, and rethinking the national restrictions of conventional maps to reveal a theatre that truly is without borders.

Telling stories from the Cavendish financial accounts
Alison Wiggins

, materiality and archival afterlife.2 It is concerned with how these conventional texts could be customised to serve the agendas of individuals or to accommodate the requirements of particular communities. It is concerned with how and why a person might draw up a set of financial accounts, but also with the implications of choices made over scribes, handwriting, presentation, personal spelling system and linguistic scripts. It is concerned with financial accounts as texts that had communicative functions related to their moment of production, but which could also carry

in Bess of Hardwick
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Rhe conversion of Venetian convent architecture and identity
Saundra Weddle

as a Priorate. By 1460, a group of tertiaries established residence in a nearby house, where, in 1470, church authorities eventually sent professed nuns from the convents of San Bernardino in Padua and Santa Chiara in Murano to educate the women in the Franciscan vita regolare. Before long the entire monastic complex of Santa Croce was ceded to the nuns. Archival records

in Conversions
Kevin Colls, William Mitchell and Paul Edmondson

After comprehensive archival research and archaeological interpretation, new artistic representations of New Place during Shakespeare’s ownership have been created by Phillip Watson ( Figures 5.12 – 16 , Plate 14 ). The results represent the most detailed and accurate impressions of New Place to date and illustrate the most likely version of the house as it may have been during Shakespeare’s occupancy

in Finding Shakespeare’s New Place
Musical spectacle at the Paris court of Maria de’ Medici, the Italian Minerva of France
Janie Cole

my new archival finds to argue that Maria was highly active as a patron of court theatrical productions and already developing a personal iconography of female imagery not just during her regency from 1610 to 1617, but increasingly from her ascent in 1600. This figurative language drew on the French cult of Astraea (often as Minerva), to form the core of Maria’s performance

in Transnational connections in early modern theatre
Denim and silk
Robert Shaughnessy

. Orlando arrived to wrestle in exceedingly skimpy leather briefs that revealed a good deal of buttock and that (at least during the performance recorded for the archive video) excited a fair amount of ribald juvenile laughter. The banishment took place in the same cloth-draped space, and the transition from the end of this scene to the next – the move to the ‘forest’ – was effected by an act of

in As You Like It