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Journal articles on the topic 'Elizabethan Drama'

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Published: 4 June 2021

Last updated: 18 May 2024

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1

Alqadumi, Emad A. "The iconoclastic theatre: transgression in Christopher Marlowe’s Tamburlaine." EJOTMAS: Ekpoma Journal of Theatre and Media Arts 7, no. 1-2 (April 15, 2020): 281–93. http://dx.doi.org/10.4314/ejotmas.v7i1-2.18.

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This article examines Christopher Marlowe’s iconoclasm as a dramatist by probing transgressive features in his Tamburlaine the Great, parts I and II. By depicting instances of excessive violence, from the perspective of this study, Marlowe flouts everything his society cherishes. His Tamburlaine demystifies religious doctrines and cultural relations; it challenges the official view of the universe and customary theatrical conventions of Renaissance drama. It destabilizes the norms and values of the Elizabethans and brings about a crisis between the Elizabethan audience and their own culture. Furthermore, Marlowe’s experimentalism in Tamburlaine expands the imaginative representations to include areas never formerly visited, consequently creating an alternative reality for his audience and transforming the popular English theatre in an unprecedented manner. Keywords: Drama, Christopher Marlowe, Elizabethan theatre, Literature, Iconoclasm

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2

Adha, Ruly. "Elizabethan Period (The Golden Age of English Literature)." JADEs : Journal of Academia in English Education 1, no. 1 (June 15, 2020): 84–95. http://dx.doi.org/10.32505/jades.v1i1.2707.

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English literature has been developed in some period. Each period has its own characteristics which portrayed the condition of the age. The period of English literature is started from Old English until Modern English. English literature becomes glorious when Queen Elizabeth I ruled England. This age is known as Elizabethan period. In this period, there are many literary works such as poetry, drama which are produced by famous artists. The literary works produced in Elizabethan period is famous and the existence of the literary works can be seen nowadays. Furthermore, some literary works, such as drama, are reproduced into movie. Therefore, this period is also known as the golden age of English Literature.

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3

Huxtable, Ryan J. "The Intoxications of Elizabethan Drama." Perspectives in Biology and Medicine 42, no. 1 (1998): 103–17. http://dx.doi.org/10.1353/pbm.1998.0035.

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4

Dahl, Christian. "Slagscener i det elizabethanske teater." Passage - Tidsskrift for litteratur og kritik 33, no. 80 (December 23, 2018): 125–44. http://dx.doi.org/10.7146/pas.v33i80.111728.

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Christian Dahl: “Battle scenes in the Elizabethan theater”This article analyses the widespread use of staged battle in Elizabethan theater by use of data extracted from Folger Library’s Digital Anthology of Early English Drama. Between 1576 and 1616, hundreds of battle scenes were produced on English stages but although a substantial number is still available for study, only few scholars have recognized their significance. The many battle scenes both attest to the Elizabethans’ vivid interest in history and to the cultural impact of England’s increasing military engagement on the Continent and in Ireland at the end of Elizabeth’s reign. It is often assumed that histories and battle scenes were particularly popular in the 1590’ies and then fell out of fashion early in the 17th century, but the article demonstrates that staged war remained a frequent occurrence in the first two decades of the century and never disappeared entirely. The article discusses visual and, in particular, acoustic representation of warfare based on the evidence of surviving plays and other documents. The article will also (very) briefly sketch the narrative development of battle scenes that took place in the 1590ies.

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5

Lange, Marjory, and Peter Iver Kaufman. "Prayer, Despair, and Drama: Elizabethan Introspection." Sixteenth Century Journal 28, no. 2 (1997): 692. http://dx.doi.org/10.2307/2543559.

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6

Jr., Chris Hassel, and Peter Iver Kaufman. "Prayer, Despair, and Drama: Elizabethan Introspection." Shakespeare Quarterly 49, no. 4 (1998): 454. http://dx.doi.org/10.2307/2902248.

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7

Gyde, Humphrey, and Peter Iver Kaufman. "Prayer, Despair, and Drama: Elizabethan Introspection." Yearbook of English Studies 29 (1999): 290. http://dx.doi.org/10.2307/3508967.

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8

HUNTER, G. K. "NOTES ON ‘ASIDES’ IN ELIZABETHAN DRAMA." Notes and Queries 44, no. 1 (March 1, 1997): 83–85. http://dx.doi.org/10.1093/nq/44-1-83.

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9

HUNTER, G. K. "NOTES ON ‘ASIDES’ IN ELIZABETHAN DRAMA." Notes and Queries 44, no. 1 (1997): 83–85. http://dx.doi.org/10.1093/nq/44.1.83.

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10

Blank, Daniel. "Actors, Orators, and the Boundaries of Drama in Elizabethan Universities." Renaissance Quarterly 70, no. 2 (2017): 513–47. http://dx.doi.org/10.1086/693180.

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AbstractThis article discusses the debates over drama that took place in the English universities during the late sixteenth century. It reconsiders the career of the Oxford academic and theologian John Rainolds, whose objections to student performance are usually conflated with attacks upon professional drama. This article argues instead that his opposition arose largely from two related institutional concerns: the equation of drama with rhetorical exercises and the increasing use of spectacle in university plays. The controversy over theatrical performance is thus cast in a new light as an inquiry into the place and purpose of drama within university culture.

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11

Howard, Jean E. "Recent Studies in Elizabethan and Jacobean Drama." Studies in English Literature, 1500-1900 27, no. 2 (1987): 321. http://dx.doi.org/10.2307/450469.

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12

Simmons, J. L. "Recent Studies in Elizabethan and Jacobean Drama." Studies in English Literature, 1500-1900 29, no. 2 (1989): 357. http://dx.doi.org/10.2307/450479.

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13

Frey, Charles. "Recent Studies in Elizabethan and Jacobean Drama." Studies in English Literature, 1500-1900 26, no. 2 (1986): 345. http://dx.doi.org/10.2307/450512.

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14

Kirsch, Arthur. "Recent Studies in Elizabethan and Jacobean Drama." Studies in English Literature, 1500-1900 30, no. 2 (1990): 335. http://dx.doi.org/10.2307/450521.

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15

Levenson, Jill L. "Recent Studies in Elizabethan and Jacobean Drama." Studies in English Literature, 1500-1900 28, no. 2 (1988): 331. http://dx.doi.org/10.2307/450556.

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16

Homan, Sidney. "Recent Studies in Elizabethan and Jacobean Drama." Studies in English Literature, 1500-1900 25, no. 2 (1985): 439. http://dx.doi.org/10.2307/450731.

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17

Marcus, Leah S. "Recent Studies in Elizabethan and Jacobean Drama." Studies in English Literature, 1500-1900 32, no. 2 (1992): 361. http://dx.doi.org/10.2307/450741.

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18

Lancashire, Anne. "Recent Studies in Elizabethan and Jacobean Drama." Studies in English Literature, 1500-1900 31, no. 2 (1991): 387. http://dx.doi.org/10.2307/450817.

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19

Smith, Bruce R. "Recent Studies in Elizabethan and Jacobean Drama." Studies in English Literature, 1500-1900 33, no. 2 (1993): 425. http://dx.doi.org/10.2307/451007.

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20

SEDRAKYAN, Anush. "TWO CONFLICTING ETHICAL CODES IN SHAKESPEAREAN DRAMA." Foreign Languages in Higher Education 20, no. 3 (21) (November 17, 2016): 164–69. http://dx.doi.org/10.46991/flhe/2016.20.3.164.

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This paper mainly pinpoints the peculiarities of Elizabethan secular drama. Drama as a genre in that period fluctuates between Reformation and Catholicism. That determines the special morality and ethical code. This code includes the selection of Pagan or Christian hero based on the priority of the objective, which is reached by comparing two heroes – Shylock and Hamlet.

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21

Burt, Richard, and Curtis C. Breight. "Surveillance, Militarism and Drama in the Elizabethan Era." Shakespeare Quarterly 49, no. 4 (1998): 464. http://dx.doi.org/10.2307/2902253.

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22

Peterson, Richard S., and Robin Headlam Wells. "Elizabethan Mythologies: Studies in Poetry, Drama and Music." Shakespeare Quarterly 49, no. 2 (1998): 220. http://dx.doi.org/10.2307/2902308.

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23

Parry, Graham, and Robin Headlam Wells. "Elizabethan Mythologies: Studies in Poetry, Drama and Music." Modern Language Review 91, no. 2 (April 1996): 444. http://dx.doi.org/10.2307/3735027.

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24

Maufort, Marc. "Recent Trends in Elizabethan and Jacobean Drama Studies." Revue belge de philologie et d'histoire 67, no. 3 (1989): 607–13. http://dx.doi.org/10.3406/rbph.1989.3686.

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25

HUNTER, G. K. "The Beginnings of Elizabethan Drama: Revolution and Continuity." Renaissance Drama 17 (January 1986): 29–52. http://dx.doi.org/10.1086/rd.17.41917212.

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26

Brown, Pamela Allen. ":Aliens and Englishness in Elizabethan Drama." Sixteenth Century Journal 42, no. 4 (December 1, 2011): 1145–47. http://dx.doi.org/10.1086/scj23210660.

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27

Khan, Kehkashan. "RHYTHMIC BEAUTY IN THE PLAYS OF RENAISSANCE." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–3. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3397.

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The Theatres were very much in vogue in the Elizabethan England. For the spectators, theatres were not merely places of amusement & entertainment but also of social gathering & instruction. Both Marlowe & Shakespeare are great dramatists & poets of Elizabethan age. Their poetry & music lend a unique power & beauty to their plays.Marlowe, the predecessor of Shakespeare, infused his own soul into his characters like a lyric poet. He is regarded as the Morning Star of Song & the first & foremost lyricist of English Stage. He poetized the English dramas. His play Doctor Faustus reads more like a poem than a drama. His passage on Helen is one of the loveliest of lyrics. In its idealization of beauty, in its riot of colour, in its swift transition from one myth to another, in music & melody, in its passionate exuberance & abundance the passage remains unsurpassed.

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28

Daghamin, Rashed, Fatin Abu Hilal, and Mamoon Alqudah. "The Development of the Historical Jewish-Christian Conflict in a Selection of Elizabethan Plays." Hebron University Research Journal (HURJ): B- (Humanities) 18, no. 2 (December 1, 2023): 293–322. http://dx.doi.org/10.60138/182202311.

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The study seeks to examine the historical and the socio-political representation of Jews in the Elizabethan drama through a close examination of the three major Jewish characters in the selected plays: Barabbas in Christopher Marlowe’s The Jew of Malta, Shylock in William Shakespeare’s The Merchant of Venice, and Gerontus in Robert Wilson’s The Three Ladies of London. The study investigates the root causes of the historical tension between Jews and Christians as represented in the plays; these motives are ascribed to religious differences, usury and social crimes linked to Jews, mutual hate crimes and economic rivalry between the two groups. These factors have heightened the ongoing hatred and deepened the conflict between the two communities. As a result, several stereotypes of Jews have been developed, the idea that enhanced the establishment of various forms and practices of the so-called anti-Semitism in the Western culture. To critically examine the stereotyping of the Jew character in the selected plays, the Critical Race Theory (CRT) is adopted throughout the paper as a framework. Remarks that have been labeled as anti-Semitic identified in the texts describe Jews as blasphemous, cruel, murderers, unscrupulous usurers, miserly and cowards. Shakespeare’s Shylock and Marlowe’s Barabbas are labelled negatively as foul-mouthed individuals, unfriendly, deceitful, shrewd, scheming, racists, and manipulative. The Jew character in these plays is the antagonist of the rising New Elizabethan Man. On the other hand, Wilson’s portrayal of Gerontus is less rigid and different; he is shown as honest, kind, forgiving, and virtuous. Wilson is rather sympathetic to his Jewish characters and he does not openly present Jewish stereotypes and anti-Semitic representations. This study shows how Elizabethan drama developed different conflicting discourses about Jewishness and the other races. The Jewish image in the Elizabethan drama reflects the complication of history, religion and culture in establishing discourses of representation. The establishment of the Protestant faith in England may have enforced some revised versions of anti-Semitism in the Elizabethan age.

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29

Winston, Jessica. "Seneca in Early Elizabethan England*." Renaissance Quarterly 59, no. 1 (2006): 29–58. http://dx.doi.org/10.1353/ren.2008.0232.

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AbstractIn the 1560s a group of men associated with the universities, and especially the early English law schools, the Inns of Court, translated nine of Seneca’s ten tragedies into English. Few studies address these texts and those that do concentrate on their contributions to the development of English drama. Why such works were important for those who composed them remains unclear. This essay examines the translations against the background of the social, political, and literary culture of the Inns in the 1560s. In this context, they look less like forms of dramatic invention than kinds of writing that facilitated the translators’ Latin learning, personal interactions, and political thinking and involvement.

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30

Ceramella, Nick. "Machiavelli: His Influence on the Elizabethan Drama and Beyond." Linguistics and Literature Review 05, no. 02 (October 2019): 107–25. http://dx.doi.org/10.32350/llr.52.03.

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31

Schoenfeldt, Michael. "Prayer, Despair, and Drama: Elizabethan Introspection. Peter Iver Kaufman." Modern Philology 97, no. 2 (November 1999): 257–60. http://dx.doi.org/10.1086/492843.

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32

Hutson, William. "Elizabethan Stagings of Hamlet: George Pierce Baker and William Poel." Theatre Research International 12, no. 3 (1987): 253–60. http://dx.doi.org/10.1017/s0307883300013717.

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On 21 February 1900, William Poel staged the First Quarto Hamlet for a single performance in the Carpenters' Hall, London. On 5 and 6 April 1904, George Pierce Baker mounted a production of Hamlet with Johnston Forbes Robertson in Sanders Hall at Harvard University. The two productions shared a number of remarkable similarities. Both were attempts to stage the play in the Elizabethan manner; therefore, they departed from illusionistic traditions of the nineteenth century. Although there were distinct differences – for example, one had a cast of amateurs, one was professional; one was performed for the public, one for a university – each was an important step in the reformation of Elizabethan staging. The productions also reflected the pursuits of two men who, although they had similar ideas about Elizabethan drama, were motivated by different objectives.

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33

Fedoriaka, Liudmyla, and Iryna Klymenko. "THOMAS NASHE IS NOT A SATIRIST: THE IMAGE OF “THE BLACK DEATH” IN HIS POETRY." Fìlologìčnì traktati 14, no. 2 (2022): 126–40. http://dx.doi.org/10.21272/ftrk.2022.14(2)-13.

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The authors of this article focus on poetics of “triptych about the Black death”, which is included in the play “Summer’s Last Will and Testament” (1592) written by the Elizabethan writer Thomas Nashe. As this writer is well-known to modern literary scholars mostly as a talented satirist, the author of a novel and numerous pamphlets, the attention to his poetic heritage is nowadays surprisingly relevant from the view point of their thematic vector and from the viewpoint of the author’s contribution into the development of the Elizabethan poetic tradition. The three poems about the London plague of 1592-1594 forced T. Nashe to change both his lifestyle and concepts of his fiction. Faced with inevitable illness and death, the writer demonstrated his imagination about plague in poems that enrich the fictional structure of drama. Being united by the ideas of the life transience and the fear of death, the author’s psycho-emotional state and his contemporaries’ universal vision of the medical disaster are manifested in different ways. In this article, there is also an attempt to find out the ideological and fictional specificity of the poems and their correlation with the structural and compositional organization of the play, as well as to define so-called theatricality as an artistic feature of drama. Some unfamiliar facts from the author’s life and socio-cultural context are also placed in the given article. Having analyzed the poems, the authors of the research came to conclusion that their uniqueness lies in the following: in his first drama Nashe represented his first poems, moreover, for the first time in the Late Renaissance literature, they were devoted to the Black death. This artistic achievement differs Th. Nashe from contemporary men-of-letter. Thanks to these poems, Nashe can be henceworth considered not only a great satirist, but also as a talented poet of the Elizabethan age.

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34

Binth e Zia, Atifa, Anila Akbar, and Zafar Iqbal Bhatti. "AN ALTERNATIVE PERSPECTIVE: SHAKESPEARE AND THE WORLD OF FAIRIES IN A MIDSUMMER NIGHT’S DREAM." Humanities & Social Sciences Reviews 9, no. 2 (April 29, 2021): 632–36. http://dx.doi.org/10.18510/hssr.2021.9259.

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Purpose: This research aims to explore the world of fairies in a comedy, A Midsummer Night’s Dream (1605) written by William Shakespeare. This study proposes that the concept of fairies described by William Shakespeare is mere supernatural rather than being philosophical as the Elizabethan age itself is defined for its prudence and emerging philosophies. Further, This study intends to present an alternative perspective on Elizabethan Fairies. Methodology: This research is hermeneutic in approach and descriptive in nature. The sources are collected in the form of both print and web. The primary text used for this research is Shakespeare's A Midsummer Night’s Dream (1605). Findings: Shakespeare not only changes the physiognomy of Elizabethan fairies but also alters the functions that are associated with them.Elizabethan Fairies were known for their awe and evil-doing but the world of fairies that Shakespeare describes in the play is to some extent altered. Aplication of the study: This study is relevant to the field of literature, Elizabethan Literature ,and Occult philosophy. Students and researchers of Elizabethan drama will find it useful. Novelity or Originality of the study: The study is hitherto a novel approach to Elizabethan supernatural powers. By considering this alternative viewpoint, this qualitative study intends to study the world of fairies of this play in depth by focusing on multiple standpoints of the Elizabethan age contradicting with Shakespearian fairies characterized in A Midsummer Night’s Dream.

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35

Crouch, Patricia, and Anne B. Mangum. "Reflection of Africa in Elizabethan and Jacobean Drama and Poetry." Sixteenth Century Journal 35, no. 2 (July 1, 2004): 586. http://dx.doi.org/10.2307/20477001.

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36

Suzuki, Mihoko. "Gender, Class, and the Social Order in Late Elizabethan Drama." Theatre Journal 44, no. 1 (March 1992): 31. http://dx.doi.org/10.2307/3208514.

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37

Glasgow, Kelley. ":Shakespeare’s Golden Ages: Resisting Nostalgia in Elizabethan Drama." Sixteenth Century Journal 54, no. 1-2 (March 1, 2023): 183–86. http://dx.doi.org/10.1086/728489.

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38

Javed, Muhammad. "A Study of Elizabethan Period (1558-1603)." IJOHMN (International Journal online of Humanities) 6, no. 2 (April 21, 2020): 65–86. http://dx.doi.org/10.24113/ijohmn.v6i2.174.

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In this study, the researcher has mentioned the writers and their major works in Elizabethan age (1558-1603). The researcher has mentioned almost nineteen writers and their famous works. By reading this research paper, any general reader can easily understand that who are the major writers of the age and what are their famous works. The language and method of presenting the data are very easy. The researcher also has mentioned the major contributions of this era’s writers. As we know that University Wits also fall in this era, thus the researcher has mentioned them and their works too. S. Dutta (2014) declared that The University Wits is a phrase used to title a group of late 16th-century English pamphleteers and playwrights who were studied at the universities Cambridge and Oxford. They appeared famous worldly writers. This era has reminisced for its richness of drama and poetry. This era ended in 1603. Elizabeth turns out to be one of the greatest prominent royals in English history, mainly after 1588, when the English beat the Spanish Armada which had been sent by Spain to reestablish Catholicism and defeat England. All the way through the Elizabethan age, English literature has changed from a shell into a delightful being with imagination, creativeness, and boundless stories. It was not about mystery or miracle plays and the poetry was not nearby religion and the principles addressed in the Church.

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39

Taleb Al-Olaqi, Fahd Mohammed. "Greene's Selimus (1594): A Scourge of God to the Ottomans." International Journal of Comparative Literature and Translation Studies 5, no. 1 (January 31, 2017): 40. http://dx.doi.org/10.7575/aiac.ijclts.v.5n.1p.40.

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The Ottomans were represented in the imagination of Elizabethan drama. However, the Ottoman Sultans were remarkably in demand on Elizabethan stage. Robert Greene's Selimus (1594) shows a real interest in exploring and understanding the psyche of the Ottoman Sultan. The play's pattern theme of patricide explores the unnatural characteristics of the Ottoman royal family. The dramatic scenes of the murderous actions are engaging in lawless incursion upon ancient historical claims. Selimus appears as a proud ambitious tyrant, polluted with the blood of his own brothers. The fraternal conflict forms the inevitable bloodshed in transferring power to descendants in the Ottoman Empire. Greene depicts Sultan Selimus as the scourge of God to the Ottoman House. He holds some philosophy which is contrary to Elizabethan ethical and succession rules. Greene's interpretation of his conflict in the domestic scenes is a significant acknowledgement of the settled nature of Turkish sovereignty, and indeed of its complexity, at his own days.

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40

Al-Olaqi, Fahd Mohammed Taleb. "Image of the Noble Abdelmelec in Peele’s The Battle of Alcazar." English Language and Literature Studies 6, no. 2 (April 28, 2016): 79. http://dx.doi.org/10.5539/ells.v6n2p79.

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<p>There is no ambiguity about the attractiveness of the Moors and Barbary in Elizabethan Drama. Peele’s <em>The Battle of Alcazar</em> is a historical show in Barbary. Hence, the study traces several chronological texts under which depictions of Moors of Barbary were produced about the early modern stage in England. The entire image of Muslim Moors is being transmitted in the Early Modern media as sexually immodest, tyrannical towards womanhood and brutal that is as generated from the initial encounters between Europeans and Arabs from North Africa in the sixteenth century and turn out to be progressively associated in both fictitious and realistic literatures during the Renaissance period. Some Moors are depicted in such a noble manner especially through this drama that has made them as if it was being lately introduced to the English public like Muly (Note 1) Abdelmelec. Thus, the image of Abdelmelec is a striking reversal of the traditional portrayal of the Moors. This protagonist character is depicted as noble, likeable and confident. He is considerately a product of the Elizabethan playwrights’ cross-cultural understanding of the climatic differences between races of Moorish men.</p>

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41

McLuskie, Kathleen. "The Act, the Role, and the Actor: Boy Actresses On the Elizabethan Stage." New Theatre Quarterly 3, no. 10 (May 1987): 120–30. http://dx.doi.org/10.1017/s0266464x00008617.

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Recent feminist criticism has led to a reassessment of women's roles in the Elizabethan drama, especially in such ‘difficult’ plays asThe Taming of the Shrewor Shakespeare's problem comedies. Yet this has often been with an implicit belief in the appropriateness of ‘psychological’ or ‘interpretive’ approaches to character and gender quite alien to the period in which the plays were first performed. In the following article. Kathleen McLuskie. who teaches in the Department of Theatre at the University of Kent, looks at the different, often conflicting approaches to the sexuality of performance in the Elizabethan and Jacobean periods, at how these were reflected both in theatrical conventions and in contemporary attitudes to the plays and the ‘boy actresses’ – and at some possible implications for modern productions.

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42

Kadhim, Thamer Mohammad, and Safaa Kareem Ali. "Themes of Chronicle Drama." International Journal of Early Childhood Special Education 13, no. 2 (December 2, 2021): 53–57. http://dx.doi.org/10.9756/int-jecse/v13i2.211039.

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Chronicle drama occupies a central position in modern literature which represents a field for interaction of ideas and actions, as it works as storage for historical and human experience. It records a sequence for the history. This study aims to examine the main themes of chronicle drama. Thus, it tracks the history of modern literature as a wide source for this literary genre. The study adopts a historical and analytical methodology in order to clarify the broader dimensions related to chronicle drama and its sources. Historically, chronicle drama was used to dramatize the facts and work as an expression of factory life of kings. That’s why King John of Shakespeare in 1553 was the first one of this genre. The study concludes that chronicle drama mirrored surrounding circumstances of the facts since its early times. So, it was effected by the historical conditions. This is clearly appeared in the early works like Henry the Fifths, Tragedy of Richard III The life and Death of Jaike Strew and so, the previously mentioned "The King John". So it was affected politically and socially by the European historical context. The research also indicates that the Elizabethan Dramatists put the basics of the later stage of literature development especially on the level of techniques. This appears in Shakespeare’s works who used to end the drama with restoration and disordering which still exists in postmodern literature.

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43

Rochelle Smith. "King-Commoner Encounters in the Popular Ballad, Elizabethan Drama, and Shakespeare." SEL Studies in English Literature 1500-1900 50, no. 2 (2010): 301–36. http://dx.doi.org/10.1353/sel.0.0097.

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44

Askarzadeh Torghabeh, Rajabali. "The Study of Revenge Tragedies and Their Roots." International Journal of Applied Linguistics and English Literature 7, no. 4 (July 1, 2018): 234. http://dx.doi.org/10.7575/aiac.ijalel.v.7n.4p.234.

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Tragedy has its roots in man’s life. Tragedies appeared all around the world in the stories of all nations. In western drama, it is written that tragedy first appeared in the literature of ancient Greek drama and later in Roman drama. This literary genre later moved into the sixteenth century and Elizabethan period that was called the golden age of drama. In this period, we can clearly see that this literary genre is divided into different kinds. This genre is later moved into seventeenth century. The writer of the article has benefited from a historical approach to study tragedy, tragedy writers and its different kinds in the Sixteenth and Seventeenth centuries. The author has also presented the chief features and characteristics of tragedies. The novelty of the article is the study of Spanish tragedy and its influences on revenge tragedies written by Shakespeare and other tragedy writers. Throughout the article, the author has also included some of the most important dramatists and tragedy writers of these periods including Thomas Kyd, William Shakespeare, John Marston, George Chapman, Tourneur and John Webster.

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45

McMillin, Scott. "Sussex's Men in 1594: The Evidence of Titus Andronicus and The Jew of Malta." Theatre Survey 32, no. 2 (November 1991): 214–23. http://dx.doi.org/10.1017/s0040557400001071.

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In 1594, as stability was about to return to the London stage after several years of disruption, a company under the patronage of the fifth Earl of Sussex played two brief engagements at Philip Henslowe's theatre, the Rose. Historians of the Elizabethan stage have had little to say about Sussex's men, for although the company appears fairly regularly in performance records of the 1590s, and although Henslowe's Diary lists their day-by-day repertory for a few weeks in 1594, their plays do not seem to have formed an important part of the Elizabethan drama (only George a Greene survives as a piece attributable solely to Sussex's men), and their personnel do not seem to have aroused sufficient interest to leave any record of an actor's name after 1576. Yet there may be a story to tell about Sussex's men after all. If we look closely at their repertory of 1594, keeping in mind the affairs of other companies at this time, we can see that the Sussex company may have briefly included some of the most important figures of the Elizabethan theatre.

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46

Brown, John Russell. "Representing Sexuality in Shakespeare's Plays." New Theatre Quarterly 13, no. 51 (August 1997): 205–13. http://dx.doi.org/10.1017/s0266464x00011210.

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Sexuality resides in much more than what is spoken or even enacted, and its stage representation will often work best when the minds of the spectators are collaboratively engaged in completing the desired response. John Russell Brown, founding Head of Drama at the University of Birmingham and a former Associate Director of the National Theatre, here explores Shakespeare's arts of sexual obliquity, whether in silence, prevarication, or kindled imagination, and their relationship both with more direct forms of allusion and with an audience's response. John Russell Brown, currently Professor of Theatre at the University of Michigan, is author of numerous books on Shakespeare and modern drama, and editor of many Elizabethan and Jacobean texts – most recently a new edition of Shakespeare for Applause Books, New York.

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Shevtsova, Maria. "An Editor's Wish List." New Theatre Quarterly 25, no. 4 (November 2009): 303–5. http://dx.doi.org/10.1017/s0266464x0900058x.

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The co-editors of New Theatre Quarterly take time out here to reflect on the milestone of the journal reaching its hundredth consecutive issue, in succession to the forty of the original Theatre Quarterly. Simon Trussler was one of the founding editors of the ‘old’ Theatre Quarterly in 1971. He is the author of numerous books on drama and theatre, including New Theatre Voices of the Seventies (1981), Shakespearean Concepts (1989), the award-winning Cambridge Illustrated History of British Theatre (1993), The Faber Guide to Elizabethan and Jacobean Drama (2006), and Will's Will (2007). Formerly Reader in Drama in the University of London, he is now Professor and Senior Research Fellow at Rose Bruford College. Maria Shevtsova, who has been co-editor of New Theatre Quarterly since 2003, is Professor of Drama and Theatre Arts and Director of Graduate Studies at Goldsmiths, University of London. The author of more than one hundred articles and chapters in collected volumes, her books include Dodin and the Maly Drama Theatre: Process to Performance (2004), Fifty Key Theatre Directors (co-edited with Shomit Mitter, 2005), Robert Wilson (2007), Directors/Directing: Conversations on Theatre (with Christopher Innes, 2009), and Sociology of Theatre and Performance (2009).

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YOUNGER, NEIL. "DRAMA, POLITICS, AND NEWS IN THE EARL OF SUSSEX'S ENTERTAINMENT OF ELIZABETH I AT NEW HALL, 1579." Historical Journal 58, no. 2 (May 11, 2015): 343–66. http://dx.doi.org/10.1017/s0018246x14000715.

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AbstractIn September 1579, at the height of an intense political debate over her prospective marriage to the duke of Anjou, Elizabeth I visited New Hall, the country seat of the match's greatest supporter within England, Thomas Radcliffe, third earl of Sussex. Her entertainment on that occasion, hitherto completely unknown, was described in a letter, printed here, from one Norfolk gentleman, Sir Edward Clere, to another, Bassingbourne Gawdy. The letter describes the dramatic performances and other entertainments provided for the queen, which included coded but unmistakeable encouragements for her to proceed with the marriage. This article discusses the ways in which this was done and their consequences for our knowledge of the Anjou marriage debate as a political episode, suggesting that Sussex sought to use the entertainment to boost the participation of more conservative members of the nobility in government. It also explores how this evidence affects our picture of Elizabethan courtly entertainments, and particularly their non-dramatic elements. Finally, it discusses Clere's letter itself as an insight into the nature of gentry news culture, particularly with regard to matters of high politics.

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MacFaul, Tom. "The Changing Meaning of Love-Triangle Plots in Elizabethan and Jacobean Drama." Literature & History 20, no. 1 (May 2011): 22–37. http://dx.doi.org/10.7227/lh.20.1.3.

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Farajallah, Hana Fathi, and Amal Riyadh Kitishat. "The Self and the Other in Philip Massinger’s “The Renegado, the Gentleman of Venice”: A Structural View." Theory and Practice in Language Studies 9, no. 1 (January 1, 2019): 118. http://dx.doi.org/10.17507/tpls.0901.17.

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Renaissance England (1500-1660) is the most flourishing era of English history which testified the emergence of classical humanistic arts. Of course, drama is a literary genre that prospered, then, to entertain the interests of the Royal ruling families, especially Queen Elizabeth 1 (1558-1603) and her successor King James 1 (1603-25), as theatres were built in London along with dramatic performances held in the courts like masquerades. This study aims at showing the distortion of Islam in Philip Massinger’s “The Renegado or The Gentleman of Venice”, via tackling the theme of “the self and the other” and analyzing the structure of the play. Why not, and English Renaissance citizens love to watch the non-Christians, the misbelievers, humiliated and undermined. Massinger, among other Elizabethan dramatists like William Shakespeare, uses the art of tragicomedy to show the Western hatred, which is “the self”, of the Oriental Islam that is in turn “the other”.

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