Search results

You are looking at 41 - 50 of 59 items for :

  • social archaeology x
  • Manchester Shakespeare x
Clear All
Abstract only
Richard James Wood

Sidney’s works as examples of cultural analysis in the terms outlined by Raymond Williams in his book The Long Revolution , The Defence of Poesy could be considered as an example of the ‘ideal’ category, ‘in which culture is a state or process of human perfection, in terms of certain absolute or universal values’. In such terms, the Arcadia would fall into the ‘social’ category, in which the ‘analysis of culture … is the clarification of the meanings and values implicit and explicit in a particular way of life, a particular culture’. 21 Here, it is the

in Sidney's Arcadia and the conflicts of virtue
Abstract only
The visual turn in Antony and Cleopatra
Richard Wilson

mixed-genre, socially inclusive plays’; and his response to the ‘sovereign eye’ [Sonnet 33] was always to question the wryness of perspective vision and the illusoriness of its ‘regal phantasm’ by insisting that ‘eyes corrupt with overpartial looks’ [Sonnet 137]. 29 By valorizing the democratic ‘gaze’ and aesthetic sociality above aesthetic separation and the distanced ‘look’, he therefore

in Free Will
Scatology and its discontents in The Miller’s Tale and The Summoner’s Tale
Peter J. Smith

Chaucer’s fart. The first: Galen (writing not of course specifically about Chaucer, nor even literature) offers a lively account of the retching response of an intolerant body. If forced to digest something inimical to it, the stomach will be queasy, eager to excrete that which induces revulsion – for ‘body’, we might also read social body, political ideology or religious system. In literary terms, read

in Between two stools
Foreign Antony and Cleopatra in Britain and abroad
Carol Chillington Rutter

done, the play's full text. Zadek kept his audiences in the theatre for just under four hours. With no interval. But reviewers didn't complain. ‘Light, fast, witty, ironic’ and ‘stripped of its usual archaeological clutter’, the play raced by ‘on the wings of Mercury’, telling a ‘queasily anti-heroic’ story by ‘emphasising those elements that undercut the lovers’ word-drunkenly glorified estimate of themselves’ ( Guardian , 18 August 1994). To one reviewer, this Antony and Cleopatra had more in common with Troilus and Cressida , that

in Antony and Cleopatra
Abstract only
The archaeology of the Spenserian stanza
Richard Danson Brown

are layered into this structure. The bulk of this chapter therefore considers the chief competitors to the Spenserian – the sixain, rhyme royal, and ottava rima – to understand what was new about Spenser's stanza. By extension, as a hybrid form devised for the purpose of writing a national epic, the Spenserian demands a quasi-archaeological approach to uncover its sources. It is not simply a new version of existing forms but is, rather, a synthesis of radically disparate impulses and motifs which enables new ways of writing, which in themselves embody new ways of

in The art of The Faerie Queene
Abstract only
Shakespeare and the supernatural
Victoria Bladen and Yan Brailowsky

performative considerations, Kapitaniak argues that the various nicknames that Hamlet gives the ghost do not necessarily invoke a demonic connotation, as is commonly assumed, but may well have their origins in previous theatrical precedents. These precedents, or traditions, suggest that embodying the supernatural requires a leap of faith, one in which audiences choose to believe, basing their choice on (often obscure) knowledge from the past. While Kapitaniak's work of linguistic archaeology reinvestigates the theatrical space of the ghost in terms of the

in Shakespeare and the supernatural
Abstract only
The echoes of Rome in Julius Caesar
Richard Wilson

historical life by the State of the absolute monarchy … brings into clear view the irreversible time of the bourgeoisie. The bourgeoisie is attached to labour time … [when] all social life has already been concentrated within the ornamental poverty of the Court, the tinsel of the state administration which culminates in ‘the vocation of the king’; and all

in Free Will
Abstract only
Forms of translation in the work of Richard Hakluyt
Henry S. Turner

, of historical reconstruction through archaeological artefacts and other objects, of universities and desktops and instruments and other intellectual hardware. This sense of ‘material humanism’ was central to Hakluyt’s translation work and indeed to his entire life project, whether through the physical documents he laboured to collect or through the globes and navigational

in Formal matters
Abstract only
Regime change in Macbeth
Richard Wilson

the importance of mirror symbolism in the consolidation of absolutism, see in particular Timothy Murray, ‘Richelieu’s Theater: The Mirror of a Prince’, Renaissance Drama , 8 (1977), 275–98. 6 Michel Foucault, The Order of Things: An Archaeology of the Human Sciences , trans. Anon. (London

in Free Will
Abstract only
Spenser, Donne, and the philosophic poem
Yulia Ryzhik

emerges from the notion of ‘encounter’ itself. In a now-famous address, Mary Louise Pratt evoked the notion of ‘contact zones’ – ‘social spaces where cultures meet, clash, and grapple with each other, often in contexts of highly asymmetrical relations of power’ – as opposed to the more cohesive, egalitarian, and stable notion of ‘community’. 45 Quickly absorbed into theoretical vocabulary across a range of fields, the idea of the ‘contact zone’ as a shifting locus of encounter, often identified with trading posts and border cities, is now ubiquitous in discussing early

in Spenser and Donne