The Play of Paradox: Stage and Sermon in Renaissance EnglandUniversity of Pennsylvania Press, 1995 - Počet stran: 213 The Play of Paradox: Stage and Sermon in Renaissance England is a wide-ranging investigation of Tudor/Stuart drama, Reformation preaching, and the relations between the two. The cross-fertilization between the two kinds of performance engendered among audiences a ready receptivity to the rhetorical use of paradox. The two modes similarly capitalized on characteristic Renaissance syntheses of magic, drama, and religion to develop strategies for negotiating state control. In chapters that set comedies and tragedies by Shakespeare, Jonson, Webster, and others side by side with sermons by Hooker, Andrewes, Donne, and popular preachers whose works have not been reprinted since the early seventeenth century, Bryan Crockett argues that stage and pulpit performances elicited similar responses to the political and theological divisions marked by the incessant polemics of the age. |
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Strana 77
... simply to expose and destroy the false body of Christ ; on November 24 of the same year he exposed the blood , too . It seems that a Cistercian monastery in Gloucestershire had been turning a tidy profit by exhibiting for adoration the ...
... simply to expose and destroy the false body of Christ ; on November 24 of the same year he exposed the blood , too . It seems that a Cistercian monastery in Gloucestershire had been turning a tidy profit by exhibiting for adoration the ...
Strana 133
... simply identifying with the protagonists and allowing them to make all the deci- sive moves . Of course , one hallmark of Jacobean drama is the playwrights ' willingness to present a variety of perspectives , to challenge preconceived ...
... simply identifying with the protagonists and allowing them to make all the deci- sive moves . Of course , one hallmark of Jacobean drama is the playwrights ' willingness to present a variety of perspectives , to challenge preconceived ...
Strana 158
... simply human terms , there can never be too much compassion . But it also means that simply human responses are utterly inadequate to cope with this world's evil . The action of the play calls for the audience to respond by embracing ...
... simply human terms , there can never be too much compassion . But it also means that simply human responses are utterly inadequate to cope with this world's evil . The action of the play calls for the audience to respond by embracing ...
Obsah
The Pulpit Performance and the TwoEdged Sword | 31 |
Holy Cozenage and the Renaissance Cult of the Ear | 50 |
Satire and Social Structure | 73 |
Autorská práva | |
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