Recurring to the governing idea of her 2005 study Shakespeare on the Edge, Lisa Hopkins expands the parameters of her investigation beyond England to include the Continent, and beyond Shakespeare to include a number of dramatists ranging from Christopher Marlowe to John Ford. Hopkins also expands her notion of liminality to explore not only geographical borders, but also the intersection of the material and the spiritual more generally, tracing the contours of the edge which each inhabits. Making a journey of its own by starting from the most literally liminal of physical structures, walls, and ending with the wholly invisible and intangible, the idea of the divine, this book plots the many and various ways in which, for the Renaissance imagination, metaphysical overtones accrued to the physically liminal.
“On the Edge of the S(h)elf: Arbella Stuart.” In Women on the Edge, edited by Lisa Hopkins and Aidan Norrie, 159–78. Amsterdam: Amsterdam University Press, 2019. Hopkins, Lisa. Renaissance Drama on the Edge. Farnham, UK: Ashgate, 2014.
4 Hopkins, Shakespeare on the Edge. 5 See: “The Agas Map” for a spectacular digital use of the map itself. 6 Hopkins, Renaissance Drama on the Edge, 171, 8. 7 Hopkins, Renaissance Drama on the Edge, 15. 8 Salzman, Editors Construct the ...
Works like John Wolfe's twotracts ADiscourse Uppon a Question of the Estateof this Time and AnAnsweare tothe Supplication Against him, who seemingto give theKing counsel tobecome a Catholike, indevourethto stirre up hisgood Subjectes ...
During the century some twenty - five stage plays containing this stereotypical musical scene were performed in the ... of the inspired poet as dreamer has its roots , a characterization we find in the work of many Renaissance poets .
In “Italy in the Drama of Europe,” ed. Albert Russell Ascoli and William West. Special issue, Renaissance Drama 36/37 (2010): 379–95. ———. “Mon ami, ce héros.” In Le personnel du théâtre de Pierre Corneille, ed.
Nor is the aesthetic power of the language of drama central to it, at present. The power and glory of Renaissance plays, or of a writer as recent as Synge, is the language; but for fifty years or more we've been satisfied in the theater ...
This pioneering collection of non-Shakespearean Renaissance drama has now been updated to include more early material, plus Mary Sidney’s The Tragedy of Antony, John Marston’s The Malcontent and Ben Jonson’s Masque of Queens.
In doing so, this volume offers a variety of perspectives on the immigrant experience in Shakespearean drama and how the influential nature of the foreigner affects perceptions of community and identity; and, collection questions what is at ...
This collection examines some of the people, places, and plays at the edge of early modern English drama. Recent scholarship has begun to think more critically about the edge, particularly in relation to the canon and canonicity.
This volume includes essays that employ a range of cutting-edge approaches to elucidate questions such as the social, religious, legal, and political functions of drama, how the staged body transmits emotions to the audience, and the ways ...