Search results

You are looking at 1 - 6 of 6 items for :

  • "Conspiracy theory" x
  • Manchester Shakespeare x
Clear All
Shakespeare’s other (smarter) audience
Steve Sohmer

, 1979 ); Clare Asquith, Shadowplay: The Hidden Beliefs and Coded Politics of William Shakespeare (New York: Public Affairs, 2005 ); Gerald M. Pinciss, Forbidden Matter: Religion in the Drama of Shakespeare and his Contemporaries (Newark: University of Deleware Press, 2000 ), and one less familiar and little but dandy psychological/conspiracy theory

in Shakespeare for the wiser sort
Alexandra Gajda

The final ‘proof’ that Essex offered of this conspiracy theory to James was his interpretation of his own political disgrace – the suppression of ‘all noble vertuous and heroicall spirits’ – as a synecdoche for the state of the realm itself. Even in the mid-1590s, while the political relationship between Essex and the Cecils had functioned in outward harmony, the private correspondence of the earl and

in Essex
Abstract only
The Spanish Tragedy IV.iv in performance
Tony Howard

become one with myth.’) But his show dissolves into postmodern uncertainty and post-9/11 conspiracy theories. Some believe they witnessed an accident; others are certain Kadife murdered him in revenge; others think there was an unseen army sniper. The courts fudge history with a meaningless verdict: ‘Negligent homicide’ (pp. 416–17). Meanwhile Pamuk also politicises the fate of Kyd’s Isabella: the actor

in Doing Kyd
The abortive Northern Rebellion of 1663
Alan Marshall

: Allen Lane, 2005), pp. 9–​33; Samuel Rawson Gardiner, What Gunpowder Plot Was (London: Longmans, 1897); Alan Haynes, The Gunpowder Plot (Stroud:  History, 2010). For conspiracies in general, see David Coady, Conspiracy Theories: The Philosophical Debate (Aldershot: Ashgate, 2006), pp. 1–​12; Complots et Conjurations dans l’Europe Moderne, ed. by Yves Marie Bercé and Elena Fasano Guarini (Rome: École Franҫaise de Rome, 1996), pp. 425, 436. 14 [William Hill], A Brief Narrative of that Stupendous Tragedie &c (London, 1662); Royce MacGillivray, Restoration Historians and the

in From Republic to Restoration
Abstract only
Richard Wilson

and women are merely players ’ [ As You, 2,7,139 ]. Later, Auster’s Prospero-like controller retires to a Caribbean island populated by ‘blue-eyed Africans’ that is ‘a laboratory of human possibilities’; and The Tempest haunts the novel as a paradigm for the conspiracy theory Schmitt calls political romanticism: the idea that, just as ‘Prospero holds the “mechanical play” of the drama in his hands

in Free Will
The Authorized Version and the Book of Common Prayer at the Restoration
David Bagchi

confessionally elusive. The magisterial style of the Authorized Version, on the other hand, calls for an equally magisterial author, and it is not surprising to hear that, in the United States, it is often credited to King James VI and I himself, or even to St James.11 No doubt this need also explains the frequently heard suggestion (heard more frequently now that the internet has given free rein to conspiracy theories) that Shakespeare had a hand in the work.12 Needless to say, the story of how both texts came about is a good deal more complicated. To that story we now

in From Republic to Restoration