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Dissertations / Theses on the topic 'Jacobean Drama'

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Published: 4 June 2021

Last updated: 20 February 2023

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1

Oram, Yvonne. "Older women in Elizabethan and Jacobean drama." Thesis, University of Birmingham, 2002. http://etheses.bham.ac.uk//id/eprint/1778/.

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This thesis explores the presentation of older women on stage from 1558-1625, establishing that the character is predominantly pictured within the domestic sphere, as wife, mother, stepmother or widow. Specific dramatic stereotypes for these roles are identified, and compared and contrasted with historical material relating to older women. The few plays in which these stereotypes are subverted are fully examined. Stage nurse and bawd characters are also older women and this study reveals them to be imaged exclusively as matching stereotypes. Only four plays, Peele’s The Old Wives Tale, Fletcher’s Bonduca, and Antony and Cleopatra and The Winter’s Tale, by Shakespeare, reject stereotyping of the central older women. The Introduction sets out the methodology of this research, and Chapter 1 compares stage stereotyping of the older woman with evidence from contemporary sources. This research pattern is repeated in Chapters 2-4 on the older wife, mother and stepmother, and widow, and subversion of these stereotypes on stage is also considered. Chapter 5 reveals stereotypical stage presentation as our principal source of knowledge about the older nurse and bawd. Chapter 6 examines the subtle, yet comprehensive, rejection of the stereotypes. The Conclusion summarises the academic and ongoing cultural relevance of this thesis.

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2

Frost, C. M. "The problem of evil in Jacobean drama : Studies in the theological assumptions of select Jacobean dramatists." Thesis, University of Cambridge, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.372651.

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3

Oh, Seiwoong. "The Scholarly Trickster in Jacobean Drama: Characterology and Culture." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc278216/.

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Whereas scholarly malcontents and naifs in late Renaissance drama represent the actual notion of university graduates during the time period, scholarly tricksters have an obscure social origin. Moreover, their lack of motive in participating in the plays' events, their ambivalent value structures, and their conflicting dramatic roles as tricksters, reformers, justices, and heroes pose a serious diffculty to literary critics who attempt to define them. By examining the Western dramatic tradition, this study first proposes that the scholarly tricksters have their origins in both the Vice in early Tudor plays and the witty slave in classical comedy. By incorporating historical, cultural, anthropological, and psychological studies, this essay also demonstrates that the scholarly tricksters are each a Jacobean version of the archetypal trickster, who is usually associated with solitary habits, motiveless intrusion, and a double function as selfish buffoon and cultural hero. Finally, this study shows that their ambivalent value structures reflect the nature of rhetorical training in Renaissance schools.

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4

Ward, T. "Compound magic : Virtuosity, theatricality and the experience of theatre in the Jacobean Period." Thesis, University of East Anglia, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.235190.

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5

Grimmett, Roxanne. "Staging silence : the adulteress in Jacobean drama and morality literature." Thesis, University of Exeter, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.445445.

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6

McCarthy, Jeanne Helen. "The children's companies Elizabethan aesthetics and Jacobean reactions /." Digital version accessible at:, 2000. http://wwwlib.umi.com/cr/utexas/fullcit?p9983291.

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7

González-Medina, José Luis. "The London setting of Jacobean city comedy : a chorographical study." Thesis, University of Oxford, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670278.

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8

Rigali, Amanda. "The plays of Fulke Greville in context." Thesis, King's College London (University of London), 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.325814.

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9

Hiscock, Andrew William. "Problems of authority and the state in seventeenth century drama : Shakespeare and Racine considered." Thesis, University of Bristol, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.285898.

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10

Marshall, Tristan Scott. "The idea of the British Empire in the Jacobean public theatre, 1603-c1614." Thesis, University of Cambridge, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.307910.

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11

Fung, Kai Chun. "The reception of Elizabethan and Jacobean drama in the Romantic period: the case of John Ford." Thesis, The University of Sydney, 2007. http://hdl.handle.net/2123/1866.

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12

Fung, Kai Chun. "The reception of Elizabethan and Jacobean drama in the Romantic period the case of John Ford /." University of Sydney, 2007. http://hdl.handle.net/2123/1866.

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13

Shmygol, Maria. "'A sea-change' : representations of the marine in Jacobean drama and visual culture." Thesis, University of Liverpool, 2014. http://livrepository.liverpool.ac.uk/2014959/.

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This thesis is concerned with exploring different forms of Jacobean drama and performances that span across different sites, from the commercial stages of London, to the civic pageants that took place on the Thames and in the City, and the court entertainments held at Whitehall Palace. My research necessarily casts a wide net over its subject matter in order to illustrate how these different modes of performance engage with representations of the marine through the technologies available to them, whether poetic, material, or both. While the sea had long been a receptacle for literary and poetic attention and can repeatedly be found as the stronghold of adventure, wonder, danger, and exile in the English narrative tradition, it is specifically at the beginning of the seventeenth century that the sea takes a hold of the literary imagination with particular force. The cultural, political, and economic predominance of the marine in early modern England found numerous means of expression in drama, where the different facets of marine identity and occupation create on-stage marine spaces. The thesis elucidates how these modes of performance often invoke and exploit the dramatic potential of the marine and its commercial, political, and iconographical meanings. Commercial drama, written for a pre-proscenial stage, realises the marine through language and metaphor, appealing to a collective imaginary in bodying forth the limitless watery expanses on which the action takes place. This imaginative embodiment finds a very different—and indeed a more material—means of expression in civic drama and the court masque, where the extensive and elaborate pageant devices and stage machinery were largely indebted to and shaped by continental theatrical design. The material means of expressing the marine that are found in the civic performances and the court masques discussed in this study necessitates a consideration of European trends in theatre design and the decorative arts. In looking to visual and material culture this thesis explicates the interdependence between different modes of creating on-stage marine spaces and the ways in which the material presence inflects both language and action in Jacobean drama.

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14

Binongo, Jose Nilo G. "Stylometry and its implementation by principal component analysis." Thesis, University of Ulster, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.311585.

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15

Dunworth, Felicity Elizabeth. "Motherhood and meaning : the transformation of tradition and convention in Elizabethan and Jacobean drama." Thesis, University of Kent, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.408426.

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16

Benitez, Michael Anthony. "The discursive limits of "carnal knowledge"| Re-reading rape in Elizabethan, Jacobean, and Restoration drama." Thesis, California State University, Long Beach, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1598621.

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This thesis, by analyzing how rape is treated in William Shakespeare’s Titus Andronicus (1592-3), Thomas Middleton and William Rowley’s The Changeling (1622), and Aphra Behn’s The Rover (1677), details how the early modern English theater frequently dramatizes the period’s problematic understanding of rape. These texts reveal the social and legal illegibility of rape, illuminating just how deeply ambivalent and inconsistent patriarchy is toward female sexuality. Both using and departing from a feminist critical tradition that emphasized rape as patriarchy’s sexual entrapment of women, my readings of the period’s legal treatises and other documents call attention to the ambiguity of how rape is defined in early modern England. As represented in these three plays, male rapists exploit the period’s paradoxical views of female sexual consent, thus complicating how raped women negotiate their social and legal status. The process of disclosing her violation ultimately places a raped woman in an untenable position.

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17

Di, Miceli Caroline. "Paragon of animals, quintessence of dust : images of the body in Elizabethan and Jacobean drama." Montpellier 3, 1993. http://www.theses.fr/1993MON30037.

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Suivre le corps de l'apogee de sa force a la decheance finale : tel est le but de cette etude, qui s'inspire d'une des images cles de l'epoque, celle de la roue de la fortune. Les hommes avaient a l'egard du corps une attitude extremement complexe, nee du conflit entre idees nouvelles et doctrines anciennes. L'image d'un corps beau, jeune, vigoureux, bati a l'echelle de l'univers - le corps 'cosmique' - s'oppose a celle du corps malade, corrompu, voire monstrueux, voue au tombeau. Leur juxtaposition ou leur antagonisme cree la tension dramatique qui est caracteristique des pieces, et surtout des tragedies. L'esprit de l'homme estcontraint de passer sa vie dans un corps qui traversera ineluctablement les quatre "ages" qui le meneront au tombeau. L'ame est retenue prisonniere dans l'enveloppe charnelle, mais elle donne au corps et a l'esprit ce mouvement incessant, cette ambition demesuree qui font de l'homme le rival de dieu. Chaque dramaturge etudie utilise les theories philosophiques, religieuses, medicales du corps a sa maniere pour creer un univers dramatique qui lui est propre. Finalement, corps et ame seront reconcilies. Les forces conjuguees du temps et de l'imagination arriveront a harmoniser les contraires, et, transcendant les elements ephemeres et corruptibles, a construire un corps eternel, refuge de l'esprit immortel
THE WHEEL OF FORTUNE BRINGS MAN'S BODY FROM THE HEIGHT OF ITS strength AND INTELLECTUAL POWER TO ITS FINAL DECAY. THIS STUDY, WHOSE STRUCTURE WAS INSPIRED BY THIS IMAGE AND THAT OF THE SEVEN AGES OF MAN, WILL ATTEMPT TO FOLLOW THE BODY ON ITS DWNWARD PATH TO THE TOMB. THE ELIZABETHANS AND JACOBEANS HAD AN EXTREMELY COMPLEX ATTITUDE TOWARDS THE BODY THAT AROSE PARTLY FROM THE CONFLICT BETWEEN THE PHILOSOPHIES AND IDEAS OF THE MIDDLE AGES AND THE NEW DOCTRINES OF THE RENAISSANCE AND PARTLY FROM THE JUXTAPOSITION OF TWO CONTRADICTORY IMAGES AND THEIR ANTAGONISM : THE HEROIC BODY, BUILT IN THEIMAGE OF THE UNIVERSE, AND THE CORRUPTED, EVEN MONSTROUS BODY OF WHOSE WEIGHT THE SOUL DESIRED TO BE FREE. THIS ANTAGONISM CREATES THE DRAMATIC TENSION THAT IS CHARACTERISTIC OF THE PLAYS OF THE PERIOD AND PARTICULARLY THE TRAGEDIES. EACH PLAYWRIGHT USES THE PHILOSOPHICAL, RELIGIOUS AND MEDICAL THEORIES OF THE TIME TO CONSTRUCT HIS OWN IMAGE PF THE BODY. THE SOUL IS IMPRISONED IN ITS ENVELOPE OF FLESH, BUT THE ECHO OF THE MUSIC OF THE SPHERES GIVES THE BODY AND SPIRIT THEIR HEROIC strength AND LIMITLESS AMBITION. FINALLY, BODY AND SOUL WILL BE RECONCILED AS THE ALLIED FORCES OF TIME AND IMAGINATION, FROM THE EPHEMERAL, CORRUPTIBLE ELEMENTS. CREATE THE BODY ETERNAL THAT HOUSES THE IMMORTAL SPIRIT

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18

Hill, Alexandra. "BLOUDY TYGRISSES": MURDEROUS WOMEN IN EARLY MODERN ENGLISH DRAMA AND POPULAR LITERATURE." Master's thesis, University of Central Florida, 2009. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2281.

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This thesis examines artistic and literary images of murderous women in popular print published in sixteenth and seventeenth-century England. The construction of murderous women in criminal narratives, published between 1558 and 1625 in pamphlet, ballad, and play form, is examined in the context of contemporary historical records and cultural discourse. Chapter One features a literature review of the topic in recent scholarship. Chapter Two, comprised of two subsections, discusses representations of early modern women in contemporary literature and criminal archives. The subsections in Chapter Two examine early modern treatises, sermons, and essays concerning the nature of women, the roles and responsibilities of wives and mothers, and debates about marriage, as well as a review of women tried for murder in the Middlesex assize courts between 1558 and 1625. Chapter Three, comprised of four subsections, engages in critical readings of approximately 52 pamphlets, ballads, and plays published in the same period. Individual subsections discuss how traitorous wives, murderous mothers, women who murder in their communities, and punishment and redemption are represented in the narratives. Woodcut illustrations printed in these texts are also examined, and their iconographic contributions to the construction of bad women is discussed. Women who murder in these texts are represented as consummately evil creatures capable of inflicting terrible harm to their families and communities, and are consistently discovered, captured, and executed by their communities for their heinous crimes. Murderous women in early modern popular literature also provided a means for contemporary men and women to explore, confront, and share in the depths of sin, while anticipating their own spiritual salvation. Pamphlets, plays, and broadsides related bawdy, graphic, and violent stories that allow modern readers a glimpse of the popular culture and mental world of Renaissance England.
M.A.
Department of Liberal and Interdisciplinary Studies
Graduate Studies;
Interdisciplinary Studies MA

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19

Kusunoki, Akiko. "Jacobean ideas of the nature of woman : a study in early seventeenth century English drama with special reference to John Webster." Thesis, King's College London (University of London), 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.285604.

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20

Weber, Minon. "Rediscovering Beatrice and Bianca: A Study of Oscar Wilde’s Tragedies The Duchess of Padua (1883) and A Florentine Tragedy (1894)." Thesis, Stockholms universitet, Engelska institutionen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-184574.

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Towards the end of the 19th century Oscar Wilde wrote the four society plays that would become his most famous dramatical works: Lady Windermere’s Fan (1892), A Woman of No Importance (1893), An Ideal Husband (1895) and The Importance of Being Earnest (1895). The plays combined characteristic Wildean witticisms with cunning social criticism of Victorian society, using stereotypical characters such as the dandy, the fallen woman and the “ideal” woman to mock the double moral and strict social expectations of Victorian society. These plays, and to an extent also Wilde’s symbolist drama Salomé (1891), have been the object of a great deal of scholarly interest, with countless studies conducted on them from various angles and theoretical perspectives. Widely under-discussed, however, are Wilde’s two Elizabethan-Jacobean tragedies, The Duchess of Padua (1883) and A Florentine Tragedy (1894). This thesis therefore sets out to explore The Duchess of Padua and A Florentine Tragedy in order to gain a broader understanding of Wilde’s forgotten dramatical works, while also rediscovering two of Wilde’s most transgressive female characters—Beatrice and Bianca. Challenging traditional ideas of gender and female sexuality, Beatrice and Bianca can be read as proto-feminist figures who continually act transgressively, using their voice and agency to stand up against patriarchy and asserting their rights to experience their lives on their own terms. Through an in-depth study of these plays, this thesis will demonstrate that Wilde’s Elizabethan-Jacobean tragedies, with their strong, modern female characters Beatrice and Bianca deserve greater critical attention on a par with the extensive scholarship on Wilde’s well-known dramatical works.

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21

DeVoe, Lauren E. "Erichtho’s Mouth: Persuasive Speaking, Sexuality and Magic." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/td/2020.

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Since classical times, the witch has remained an eerie, powerful and foreboding figure in literature and drama. Often beautiful and alluring, like Circe, and just as often terrifying and aged, like Shakespeare’s Wyrd Sisters, the witch lives ever just outside the margins of polite society. In John Marston’s Sophonisba, or The Wonder of Women the witch’s ability to persuade through the use of language is Marston’s commentary on the power of poetry, theater and women’s speech in early modern Britain. Erichtho is the ultimate example of a terrifying woman who uses linguistic persuasion to change the course of nations. Throughout the play, the use of speech draws reader’s attention to the role of the mouth as an orifice of persuasion and to the power of speech. It is through Erichtho’s mouth that Marston truly highlights the power of subversive speech and the effects it has on its intended audience.

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22

Marriott, John Eric. "Challenging cultural stereotypes: women tragic protagonists in Jacobean drama." Thesis, 1994. http://hdl.handle.net/2429/7043.

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Written against a background of intellectual and social ferment over woman’s nature and role, the eight plays discussed implicitly criticize Renaissance society’s refusal to recognize woman’s full humanity by presenting strong, intelligent heroines seeking personal fulfilment in a hostile culture. For Shakespeare’s Desdemona and Cleopatra, sexuality is an integral part of the love they offer Othello and Antony who, however, stereotypically see women’s sexuality as wantonness and temptation. Iago easily persuades Othello that Desdemona’s independent spirit is a sign of lust. For Antony, Cleopatra’s love is a temptation to political and military indolence. Because her brothers see her remarriage as a taint on family honour, Webster’s Duchess of Malfi must act clandestinely to obtain a sexually and personally fulfilling marriage for which, on its discovery, the brothers take a horrible revenge. Socially ambitious, Vittoria Corombona too seeks sexual fulfilment and resorts to murder to escape an unfulfilling marriage and gain status. For both women, the resort to deception or to evil seems necessary in an evil, corrupt and hostile world which takes its revenge on both. Beaumont’s Evadne uses her sexual power to become the King’s mistress, hoping thereby to escape the social forces that victimize women. She finds herself, however, caught between conflicting codes of honour whose adherents all reject her as a kind of social pariah. Middleton’s Bianca Capello, Isabella and Beatrice-Joanna attempt to escape the tyranny of enforced marriage by elopement, adultery, or murder in a corrupt society, which paying lip service to, but not itself observing conventional morality, passes harsh judgement on them for their breaches of convention. Acceptance of, rather than rebellion against, enforced marriage leads Ford’s Penthea to a pathological brooding which results in her own death and the deaths of the chief characters. Though the five playwrights offer no solutions to their society’s tyranny over women, they strongly imply the need to adopt a more natural and comprehensive paradigm of woman.

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23

Альохіна, Олександра Антонівна. "Твори Н.Філда у контексті англійської драматургії початку XVII ст." Магістерська робота, 2021. https://dspace.znu.edu.ua/jspui/handle/12345/5450.

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Альохіна О. А. Твори Н. Філда у контексті англійської драматургії початку XVII ст. : кваліфікаційна робота магістра спеціальності 035 "Філологія" / наук. керівник К. М. Василина. Запоріжжя : ЗНУ , 2021. 59 с.
UA : Робота викладена на 59 сторінках друкованого тексту. Перелік посилань включає 80 джерел. Об’єкт дослідження: художні пошуки Натана Філда у сфері драматургії. Мета роботи: розкриття особливостей поетики комедій “A Woman is a Weathercock”, “Amends for Ladies” та трагедії “The Fatal Dowry”, написаної у співавторстві з Філіпом Мессінджером, на тлі розвитку якобінської драми. Теоретико-методологічні засади: дослідження літературознавців щодо якобінської драми (Е. А. Верхоселт (1946), Д. Фарлей-Хілз (1988), Ф. Кермод (2005), Е. Расмуссен (2014), Дж. П. Мюррей (2014)) та інші, і з теорії драми (І. Дж. Сміт (2010), Б. Вулленд (2017)) та інші. Отримані результати: якобінська драма, яка органічно вбирає в себе усі елементи англійської драми попередніх епох, у XVII столітті виходить на новий виток свого розвитку. На сцені з’являються комедії звичаїв та комедії масок і дуже популярними стають криваві трагедії помсти які, підпадаючи під вплив барокової естетики, змальовували світ як хаос. До числа авторів якобінської епохи належить і Натан Філд, який чутно реагував на запити тогочасної аудиторії і у своїх творах звертався до актуальних тем. Його комедії “A Woman is a Weathercock”, “Amends for Ladies” та трагедія “The Fatal Dowry”, написана у співавторстві з Філіпом Мессінджером, торкаються різних аспектів життя його сучасників, пропонують цікаві відповіді на одвічні проблеми тогочасся. Звертаючись до прийомів якобінської комедії звичаїв, комедії масок, трагедії помсти та «макарб», автор створює оригінальні зразки драматичного мистецтва, які є цікавим матеріалом для подальшого дослідження.
EN : The work is presented on 59 pages of printed text. The list of references includes 80 sources. The presented thesis is dedicated to the analysis of such a topical problem as the place of N. Field’s Works in the Context of English Drama of the Early XVII C. The object of the work can be defined as the artistic pursuits of Nathan Field in the dramatic sphere. The main aim of the paper is to reveal aesthetic peculiarities of N. Field’s comedies "A Woman is a Weathercock", "Amends for Ladies" and the tragedy "The Fatal Dowry" co-authored with Philip Massinger against the background of the Jacobean theatre. It determined the accomplishment of such objectives as: 1) to clarify the evolution of English theater from the Middle Ages to the Renaissance; 2) to analyze the influence of William Shakespeare's works on the development of English drama; 3) to consider the specifics of the Jacobean literature; 4) to study genre peculiarities of Nathan Field on the material of comedy “A Woman is a Weathercock; 5) to establish poetics of the comedy “Amends for Ladies”; 6) to reveal artistic originality in the tragedy written by Nathan Field and co-authored with Philip Messinger “The Fatal Dowry”. Jacobean drama starts a new round of development in the XVII century. At this time the worldview changes that leads to the evolution of the comedy of manners and “masque” on stage. Popular revenge tragedies fall under the influence of Baroque aesthetics. Among the authors of the Jacobean era Nathan Field occupies a prominent place. His comedies "A Woman is a Weathercock", "Amends for Ladies" and the tragedy "The Fatal Dowry", co-authored with Philip Messinger, touch various aspects of his contemporaries’ lives. By using the techniques of Jacobean comedy of customs and “masque” and revenge tragedy, the author creates examples of dramatic art.

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