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Spenser, Sidney, and the early modern chivalric code

that defined itself and its enemies by nationality and religion. However barbaric Henry Sidney's memoirs may seem to those who, like Ascham, reject chivalric romance, this code crossed lines of national and religious identity in a way that was to become inconceivable in the eighteenth, nineteenth, and our own centuries. In the late sixteenth century, a community of honour united the Irish chieftain, old English lord, and English military

in The early Spenser, 1554–80
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Queen Elizabeth, and Joan La Pucelle in 1 Henry VI

While the obstinacy behind such resistance appears somewhat more level-headed and the fuel for a more credible claim than that belonging to Joan, both personalities possess a self-determined resilience, perhaps even an arrogance, which spites an otherwise mighty and fearful opposition; however, ultimately, Joan loses her battle to survive. Questions of nationality and national

in Goddesses and Queens
Macbeth’s national identity in the eighteenth century

persistent and popular but quite unfounded rumour that Bute was bedding the King’s mother. During and after his disastrous premiership, Bute was a prime target for lampoons, cartoons and caricatures, all of which attacked him on the grounds of his nationality. Bute’s Scottishness served as a static point of reference in the midst of complex and bitterly personal faction fighting. A

in Shakespeare and Scotland
Playing black in late seventeenth-century France and Spain

, both in the rank-based and ethnicity-based senses of the term racial . Yet, the play itself is one of the most racially hybrid theatrical objects of the period: it hybridises performance traditions that differ in nationality (French vs. Spanish), and in social rank (court ballet culture vs. popular theatrical culture). On the one hand, Boursault’s play denigrates rank and

in Transnational connections in early modern theatre

moment (and performed at another such moment) carries meaning for both. 20 What brings these meanings into proximity with one another in Richardus Tertius is that together they construct an idea of nationality which is formed out of an emotional engagement with history: the historic mother queen becomes, when dramatised, an emblem of the well-being of England now . 21 This gives an extra resonance to the link between Elizabeth

in Mothers and meaning on the early modern English stage
The English Comedy as a transnational style

was not the necessary criterion for its plays, and they bear ‘a surprising degree of un-Englishness’ (Drábek and Katritzky 2016: 1531). Nor were the actors themselves limited to British nationality: from very early on, the English Comedy was also practised by comedians born in Germany, the Low Countries, the Czech lands or Austria. It was a distinctive theatrical style

in Transnational connections in early modern theatre

: Cambridge Scholars Press , 2008 ), pp. 211–20 . Maus , K. Eisaman , ‘ The Spanish Tragedy , or, The Machiavel’s Revenge ’, in S. Simkin (ed.), Revenge Tragedy ( Basingstoke : Palgrave Macmillan , 2001 ), pp. 88–106 . Mulryne , J. R. , ‘ Nationality and language in Thomas Kyd’s The Spanish Tragedy ’, in J. P. Maquerlot and M. Willems (eds), Travel and Drama in Shakespeare’s Time ( Cambridge and New

in Doing Kyd
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’ conversions. Her chapter asks us to consider how tropes of masculinity and effeminacy were used to respond to and negotiate religious difference, and how the comforting fictions of the stage sought to establish both gendered and religious identity as tied to nationality, and as staunchly immutable. In its closing account of women’s perceived religious fickleness, Houston’s chapter suggests the need for

in Conversions
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Macbeth

Elizabeth I's Marriage in Plays and Entertainments, 1561–1581’, The Historical Journal , 38 (1995), pp. 257–74; and Kevin Dunn, ‘Representing Counsel: Gorboduc and the Elizabethan Privy Council’, English Literary Renaissance , 33 (2003), pp. 279–308. 3 Andrew Hadfield, ‘Tragedy and the Nation State’, in Emma Smith and Garrett A. Sullivan Jr (eds), The Cambridge Companion to English Renaissance Tragedy (Cambridge: Cambridge University Press, 2010), pp. 30–43 (p. 36). 4 The renegotiation of nationality can also be seen in

in The genres of Renaissance tragedy
Dynastic policy and colonial expansion in revenge tragedy

nationality either. The dramatis personae contain no particularly Spanish names, apart from Pedro and possibly Pedringano, a combination of Pedro and the Spanish morpheme found in fulano, zutano, mengano, perengano (meaning ‘this, that and the other’). Lorenzo could be Spanish – Philip II’s magnum opus at El Escorial may have provided inspiration. But Lorenzo is also an Italian name, as in Lorenzo

in Doing Kyd