Contrary to the widespread assumption that Elizabethan drama grows out of an essentially homiletic tradition, The Tudor Play of Mind proposes that many important plays—including such diverse works as Gorboduc, Endimion, Tamburlaine, The Spanish Tragedy, Every Man in His Humour, and Bussy D’Ambois—are informed by the ancient rhetorical tradition of posing questions and arguing them in utramque partem emphasized in humanist education. This accounts for the complex and often ambivalent responses they demand. In support of this thesis, Joel B. Altman shows how abstract debate questions were developed into increasingly subtle mimetic fictions in the sixteenth century. He discusses the significance of this process for the drama through detailed analyses of early debate plays, the Terentian commentaries and English comedy, Lyly's court allegories, Senecan tragedy, and the experimental plays of Marlowe. Altman’s argument that Tudor playwrights offered their audiences dramatized inquiries will profoundly affect our interpretation of individual plays and our assessment of the larger cultural function of drama in the period. This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1978.

Sets out the principles of banking law and explains both case law and legislation. Author from University of Sydney, Australia.

This bibliography will give comprehensive coverage to published commentary in English on Shakespeare and the Classical Tradition during the period from 1961-1985. Doctoral dissertations will also be included. Each entry will provide a clear and detailed summary of an item's contents. For pomes and plays based directly on classical sources like Antony and Cleopatra and The Rape of Lucrece, virtually all significant scholarly work during the period covered will be annotated. For other works such as Hamlet, any scholarship that deals with classical connotations will be annotated. Any other bibliographies used in the compiling of this volume will be described with emphasis on their value to a student of Shakespeare and the Classics.

John Lyly is the first collection of essays dedicated solely to the work of this University Wit, celebrity prose writer, and playwright to the court of Elizabeth. Lyly's energy and wit inspired his contemporaries to follow new directions in prose fiction and stage comedy, and his writings still illuminate sixteenth-century culture for the modern reader. The twenty-four essays in this selection include some older classics, but most date from 1990 onwards and reflect current critical concerns with politics and sexuality, class and audience. Both Euphues books and the eight plays receive some detailed attention. The essays are grouped into four sections: Lessons in Wit, Courting the Queen, Playing with Desire, and Performing Lyly. A biographical summary and critical survey are provided in the introduction; other voices and insights are alluded to in the notes and listed in the wide-ranging bibliography.

Under an alphabetical list of relevant terms, names and concepts, the book reviews current knowledge of the character and operation of theatres in Shakespeare's time, with an explanation of their origins>

This third edition of The Taming of the Shrew, one of Shakespeare's most popular yet controversial plays, includes a new introductory section which pays lively attention to twenty-first-century stage performances, textual and critical studies. Ann Thompson describes the 'deeply problematic' nature of debates about the play and its reception.

After explaining how and why women have been excluded from the rhetorical tradition from antiquity through the Renaissance, Cheryl Glenn provides the opportunity for Sappho, Aspasia, Diotima, Hortensia, Fulvia, Julian of Norwich, Margery Kempe, Margaret More Roper, Anne Askew, and Elizabeth I to speak with equal authority and as eloquently as Plato, Aristotle, Cicero, and Augustine. Her aim is nothing less than regendering and changing forever the history of rhetoric. To that end, Glenn locates women’s contributions to and participation in the rhetorical tradition and writes them into an expanded, inclusive tradition. She regenders the tradition by designating those terms of identity that have promoted and supported men’s control of public, persuasive discourse—the culturally constructed social relations between, the appropriate roles for, and the subjective identities of women and men. Glenn is the first scholar to contextualize, analyze, and follow the migration of women’s rhetorical accomplishments systematically. To locate these women, she follows the migration of the Western intellectual tradition from its inception in classical antiquity and its confrontation with and ultimate appropriation by evangelical Christianity to its force in the medieval Church and in Tudor arts and politics.

Laura Levine examines the ways in which Shakespeare, Marlowe and Jonson addressed a generation's anxieties about gender and the stage and identifies the way the same 'magical thinking' informed documents we much more readily associate with extreme forms of cultural paranoia.

This strong and timely collection provides fresh insights into how Shakespeare's plays and poems were understood to affect bodies, minds and emotions. Contemporary criticism has had surprisingly little to say about the early modern period's investment in imagining literature's impact on feeling. Shakespearean Sensations brings together scholarship from a range of well-known and new voices to address this fundamental gap. The book includes a comprehensive introduction by Katharine A. Craik and Tanya Pollard and comprises three sections focusing on sensations aroused in the plays; sensations evoked in the playhouse; and sensations found in the imaginative space of the poems. With dedicated essays on Hamlet, Macbeth, Othello and Twelfth Night, the collection explores how seriously early modern writers took their relationship with their audiences and reveals new connections between early modern literary texts and the emotional and physiological experiences of theatregoers.

There has never been a retrospective on Christopher Marlowe as comprehensive, complete and up-to-date in appraising the Marlovian landscape. Each chapter has been written by an eminent, international Marlovian scholar to determine what has been covered, what has not, and what scholarship and criticism will or might focus on next. The volume considers all of Marlowe’s dramas and his poetry, including his translations, as well as the following special topics: Critical Approaches to Marlowe; Marlowe’s Works in Performance; Marlowe and Theatre History; Electronic Resources for Marlovian Research; and Marlowe’s Biography. Included in the discussions are the native, continental, and classical influences on Marlowe and the ways in which Marlowe has interacted with other contemporary writers, including his influence on those who came after him. The volume has appeal not only to students and scholars of Marlowe but to anyone interested in Renaissance drama and poetry. Moreover, the significance for readers lies in the contributors’ approaches as well as in their content. Interest in the biography of Christopher Marlowe and in his works has bourgeoned since the turn of the century. It therefore seems especially appropriate at this time to present a comprehensive assessment of past and present traditional and innovative lines of inquiry and to look forward to future developments.