This study examines the complex relationship between theological conviction and artistic expression among a diverse group of religious dissidents. Kendall argues that there existed a distinctly radical tradition of dissent poetics whose presence may be discerned among the popularizers of Wycliffite ideas, the Edwardian hot gospelers, and the Elizabethan Puritans. These religious reformers challenged the mainstream of literary thought in the late Middle Ages and Renaissance. Originally published in 1986. A UNC Press Enduring Edition -- UNC Press Enduring Editions use the latest in digital technology to make available again books from our distinguished backlist that were previously out of print. These editions are published unaltered from the original, and are presented in affordable paperback formats, bringing readers both historical and cultural value.

Performance and identity in nineteenth and early twentieth-century Arican-American creative work.

Shakespeare, Dissent and the Cold War is the first book to read Shakespeare's drama through the lens of Cold War politics. The book uses the Cold War experience of dissenting artists in theatre and film to highlight the coded religio-political subtexts in Hamlet, King Lear, Macbeth and The Winter's Tale.

This pathbreaking work analyzes melodrama as not merely a theatrical genre but as a behavioral paradigm of the nineteenth century, manifest in the theater, in literature, and in society. It shows how the melodramatic mode reaffirmed the familial, hierarchical, and public grounds for ethical behavior and identity that characterized models of social exchange and organization.

"This book focuses on the attempts of three seventh-century Palestinian intellectuals--John Moschos, Sophronius of Jerusalem, and Maximus the Confessor--to determine the Church's power and place during a period of profound crisis, as the eastern Roman empire suffered serious reversals in the face of Persian and then Islamic expansion. Through their stories, Booth documents nothing less than a profound change in the very nature of the self-perception of a religious society. Although focused on the first half of the seventh century, this book throws bright light both behind itself--on the nature of the role of the holy man in late antiquity--and in front of itself--on the nature of the Byzantine Orthodoxy that would emerge in the middle ages, and which is still central to the churches of Greece and Eastern Europe"--

"Robinson analyzes Hein's plays, short stories, and novels within a context of East German political intrigue and cultural policy. He devotes particular attention to Hein's prose fiction, which has achieved Anglo-American recognition with the translation of two novels. The Distant Lover and The Tango Player."--BOOK JACKET.

This is a collection of Terry Eagleton's best criticisms and book reviews. His skill in this field is notable: never content merely to assess the ideas of a writer, Eagleton, in his inimitable style, always paints a vivid theoretical fresco as the background to his engagement with the texts.

Based on newly discovered letters and memos, this riveting scholarly history of the conservative justice who became a free-speech advocate and established the modern understanding of the First Amendment reconstructs his journey from free-speech skeptic to First Amendment hero.

This analysis of twenty published texts by David Hare employs definitions from contemporary semiotic literary theory as a means of describing typologies of political drama. By tracing the incorporation of stylistic devices from agitational propaganda (caricature, self-referentiality, the frisson between oral and visual signification) throughout the typologies, the study illustrates how each text subverts audience expectation based on established dramatic genres. The collection of texts is seen as inherently self-referential and politically subversive. At the centre of each typology is a protagonist who functions as a martyr to or parodic emblem of contemporary society. Consistently, the hermeticism of public institutions which represent the political status quo makes them immune from any form of individual protest from the Left or Right. In the satirical anatomy, the emblem of political dissent is coopted by involvement within the institution, or the stage is dominated by a conservative who controls the action. In the demythology, private individuals are seen as incapable of altering the public frame of history; but here private suffering subverts the collective mythology of the historical construct. In the martyrology, the emblem of dissent is associated with a moral virtue which is inimical to contemporary society, the audience's expectation of the triumph of the individual being subverted when he/she is expelled from the onstage world on the grounds of political ideology. It is only in the final typology, the conversion, that a conservative emblem is seen as directly influenced by such martyrdom, and the audience is provided with an actual example of political change. Thus, the study describes how each typology builds on the construction of the previous, and all generate from agitational propaganda.