Journal articles: 'Jacobean Drama'

1

Colley, Scott. "The Poetics of Jacobean Drama. Coburn Freer , Jacobean Drama." Modern Philology 82, no. 4 (May 1985): 422–24. http://dx.doi.org/10.1086/391412.

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2

OTA, Kazuaki. "Jacobean Drama and Censorship." Journal of UOEH 12, no. 2 (1990): 239–49. http://dx.doi.org/10.7888/juoeh.12.239.

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3

Culhane, Peter. "Livy in Early Jacobean Drama." Translation and Literature 14, no. 1 (March 2005): 21–44. http://dx.doi.org/10.3366/tal.2005.14.1.21.

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4

Davies, Callan. "Environmental Degradation in Jacobean Drama." European Legacy 21, no. 1 (October 26, 2015): 88–90. http://dx.doi.org/10.1080/10848770.2015.1097064.

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5

Stanivukovic, Goran. "Davies, Callan. Strangeness in Jacobean Drama." Renaissance and Reformation 44, no. 1 (July 22, 2021): 226–28. http://dx.doi.org/10.33137/rr.v44i1.37067.

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6

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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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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8

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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9

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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10

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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11

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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12

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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13

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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14

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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15

Sanderson, Richard K., and Rowland Wymer. "Suicide and Despair in the Jacobean Drama." Rocky Mountain Review of Language and Literature 42, no. 1/2 (1988): 103. http://dx.doi.org/10.2307/1347457.

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16

Stilling, Roger J., and Rowland Wymer. "Suicide and Despair in the Jacobean Drama." Shakespeare Quarterly 39, no. 1 (1988): 123. http://dx.doi.org/10.2307/2870599.

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17

Jones, G. "BRUCE BOEHRER. Environmental Degradation in Jacobean Drama." Review of English Studies 65, no. 268 (August 30, 2013): 169–71. http://dx.doi.org/10.1093/res/hgt076.

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18

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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19

Casson, John. "The Sun's Darling: A Sixth Jacobean Healing Drama." Dramatherapy 29, no. 2 (October 2007): 17. http://dx.doi.org/10.1080/02630672.2007.9689721.

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20

Mentz, Steve. "Environmental Degradation in Jacobean Drama by Bruce Boehrer." Shakespeare Quarterly 65, no. 3 (2014): 359–61. http://dx.doi.org/10.1353/shq.2014.0028.

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21

Mulryne, J. R., and Lee Bliss. "The World's Perspective: John Webster and the Jacobean Drama." Yearbook of English Studies 17 (1987): 275. http://dx.doi.org/10.2307/3507693.

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22

Kolb, L. "Playing with Demons: Interrogating the Supernatural in Jacobean Drama." Forum for Modern Language Studies 43, no. 4 (October 1, 2007): 337–50. http://dx.doi.org/10.1093/fmls/cqm059.

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23

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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24

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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25

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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26

Wales, Kathleen. "Generic ‘your’ and Jacobean drama: The rise and fall of a pronominal usage." English Studies 66, no. 1 (February 1985): 7–24. http://dx.doi.org/10.1080/00138388508598364.

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27

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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28

Hernández Santano, Sonia. "Witches and wives : female crusade for the acquisition of meaningful roles in Jacobean drama." Epos : Revista de filología, no. 17 (September 4, 2013): 279. http://dx.doi.org/10.5944/epos.17.2001.10190.

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29

Schotland, Sara Deutch. "Women on Trial: representation of women in the courtroom in Elizabethan and Jacobean drama." Women's History Review 21, no. 1 (February 2012): 37–60. http://dx.doi.org/10.1080/09612025.2012.645672.

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30

Holderness, Graham. "The Albatross and the Swan: Two Productions at Stratford." New Theatre Quarterly 4, no. 14 (May 1988): 152–58. http://dx.doi.org/10.1017/s0266464x00002682.

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Has the Royal Shakespeare Theatre in Stratford become an expensive irrelevance – actually hindering what should be the real work of the parent company, which has to expend so much of its cash and its energy in running it? Certainly, some were tempted to suggest so when the RSC's most exciting Shakespeare productions of the ‘seventies seemed to be emerging from the spartan environment of The Other Place. Now, Graham Holderness, through a detailed comparison of last season's main-house revival of The Taming of the Shrew and the Swan production of Titus Andronicus, argues that the creation of the Swan – a theatre space specifically but not ‘archeologically’ designed for Elizabethan and Jacobean plays – heightens the sense of a ‘contradictory relationship’ between the RSC's two ‘classical’ houses in Stratford. Graham Holderness, author of several studies in the fields of Renaissance drama and the modern novel, is presently Head of Drama at Roehampton Institute.

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31

Karim, Sajjadul. "Ben Jonsons Volpone : An Unconventional and Innovative Jacobean Comedy." IIUC Studies 8 (September 10, 2014): 27–38. http://dx.doi.org/10.3329/iiucs.v8i0.20400.

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Ben Jonsons Volpone (1605) is the best known, most performed and most studied of all of his Plays. Volpone, or The Fox, does not contain the traditional moral and broad themes of Shakespeare. Volpone, disguised as a didactic comedy, is actually an intelligent and cynical satire that compels the audience to rethink their moral expectations. In Volpone, Jonson was successful in combining three genres in order to create a new form of comedy. Volpone is a powerful moral study of human greed, foxy cunning, and goatish lust. It is not the traditional form of comedy. It is a play that takes on the form of a comical satire as well as a morality play. It also adapts the features of a fable, and in that it strives to teach a moral. This play puts a different twist on what people would expect from a comedy or morality play. But, more than a satire on the traditional morality, it is a satire on the type of drama that was prevalent. This article analyses how Jonson presents his audience with an unconventional way of approaching the subjects he is satirizing by creating a new form of comedy that embodies the aspects of all three genres. DOI: http://dx.doi.org/10.3329/iiucs.v8i0.20400 IIUC Studies Vol.8 December 2011: 27-38

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32

Trussler, Simon. "Peter Pan and Susan: Lost Children from Juliet to Michael Jackson." New Theatre Quarterly 23, no. 4 (November 2007): 380–86. http://dx.doi.org/10.1017/s0266464x07000292.

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As the two articles following this amplify, whatever one's views of its intrinsic merits, J. M. Barrie's Peter Pan is open to a multiplicity of readings, and (notably since the RSC broke the mould in 1982) of stage interpretations – not to mention its co-option into Walt Disney's cartoon canon. Simon Trussler takes the play for a spin in such unaccustomed company as Romeo and Juliet and the almost contemporaneous ‘tragedy of childhood’ by Frank Wedekind, Spring Awakening, exploring the theme it sustains of betrayed childhoods, surrogate parenting, and changing attitudes towards grown men sleeping with small boys – a magical experience for Barrie, but much less comfortable for the singer Michael Jackson in his ranch called…Neverland. Simon Trussler is Co-Editor of New Theatre Quarterly and presently Professor and Senior Research Fellow at Rose Bruford College. His numerous books on drama and theatre include Shakespearean Concepts (Methuen, 1989), the award-winning Cambridge Illustrated History of British Theatre (1993), The Faber Pocket Guide to Elizabethan and Jacobean Drama (2006), and Will's Will: the Lives and Last Wishes of William Shakespeare (National Archives, 2007).

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33

Darby, Trudi. "Cervantes in England: The Influence of Golden-Age Prose Fiction on Jacobean Drama, c.1615-1625." Bulletin of Hispanic Studies 74, no. 4 (October 1997): 425–42. http://dx.doi.org/10.3828/bhs.74.4.425.

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34

Wray, Ramona. "Revengers Tragedy: Jacobean Drama, Kenneth Branagh's Cinema and the Politics of the Not-Shakespearean." Shakespeare Bulletin 29, no. 4 (2011): 543–58. http://dx.doi.org/10.1353/shb.2011.0069.

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35

Nicol, David. ""Exit at one door and enter at the other": The Fatal Re-Entrance in Jacobean Drama." Shakespeare Bulletin 37, no. 2 (2019): 205–29. http://dx.doi.org/10.1353/shb.2019.0031.

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36

Astrauskienė, Jurgita, and Jadvyga Krūminienė. "John Webster’s Drama “The Duchess Of Malfi”: The Contexts and Contests of Wit." Respectus Philologicus 26, no. 31 (October 25, 2014): 44–56. http://dx.doi.org/10.15388/respectus.2014.26.31.3.

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The paper examines wit as a major, informing and thematically important literary element that enables the readers to penetrate into the deeper realms of imagination and interpretation. The meaning of the term ‘wit’ has changed a lot during the years both in critical and dictionary usage. Therefore, various conceptions of wit from the diachronic perspective are presented and its types in the theatrical discourse are examined. In the discourse of drama wit is generally divided into two main forms: ‘repartee’ and ‘quip’. As repartee it is used to display ones agility or mental superiority over another character in the dialogue taking a form of a verbal contest. As quip it can act as a sharp stroke of wit to announce the speaker’s original opinion or observation. However, both types of wit invoke cleverness as the most important component of a witty utterance. The interest of the authors is particularly directed towards the role of social wit in John Webster’s drama ‘The Duchess of Malfi‘ (1613). This Jacobean drama is often considered the dramatic masterpiece of the early seventeenth-century English stage. The paper aims to reveal the complexity of a witty dramatic discourse by analyzing its technique, contexts and contest characteristics through the examination of witty instances formed in the drama. It gives an exploration of the social context and mechanism of the formation of a witty utterance that has a high social value as it is in Webster’s play where wit serves to convey the language of contest, often resulting in aggression, open mockery, exposing moral corruption and social injustice.

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37

Rudin, Bärbel. "KLIENTELISMUS ALS THEATERGEWERBLICHE MIGRATIONSSTRATEGIE." Daphnis 42, no. 1 (May 1, 2013): 141–70. http://dx.doi.org/10.1163/18796583-90001129.

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The continental expansion of the Elizabethan-Jacobean Theatre and the transnational influence of its drama attracted historical interest in the long 19th century, but the topic was then largely neglected for several decades in German-speaking areas for some decades, as a consequence of the war. The standstill in research, visible in the mass of out-dated standard literature, established the creation of numerous legends. A prime example which is examined here in close detail is the persistence of fictional biographical narratives relating to the English theatre director John Spencer. The trigger was a false Brandenburgish prince. An extensive concealed and interlinked control mechanism steered the “choreography of traveling people”* in the opening up of the continental theatre business: clientelism.

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Carey, Katherine M. "The Aesthetics of Immediacy and Hypermediation: the Dumb Shows in Webster's The White Devil." New Theatre Quarterly 23, no. 1 (January 16, 2007): 73–80. http://dx.doi.org/10.1017/s0266464x06000650.

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Is the dumb show, that recurrent standby of Renaissance drama, an archaic convention made even less viable by the prevalence of naturalism – or a purposefully different stage ‘language’ with distinctive functions, which directors misinterpret at their peril? In this article, Katherine M. Carey explores the use of the two dumb shows in Webster's The White Devil (1612), relating this both to the new historicist understanding of the ‘salutary anxiety’ of Jacobean society and to the concept of ‘remediation’ explored in the work of Bolter and Grusin. She ends with a discussion of the dumb shows in three recent productions of the play. Katherine M. Carey has recently completed her doctoral dissertation in the Department of Theatre and Film Studies at the University of Georgia, USA.

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39

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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40

Jackson, MacDonald P. "Ants Oras and the Analysis of Early Modern English Dramatic Verse." Studia Metrica et Poetica 2, no. 2 (December 31, 2015): 48–57. http://dx.doi.org/10.12697/smp.2015.2.2.04.

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Ants Oras’s contribution to the study of early modern English dramatic verse is of enduring value. In 1956 his article on extra monosyllables in Henry VIII gave much needed support to the view that both this play of the Shakespeare First Folio (1623) and The Two Noble Kinsmen (first published in a quarto of 1634) were works in which Shakespeare had collaborated with John Fletcher. Oras’s Pause Patterns in Elizabethan and Jacobean Drama (1960), with its huge amount of quantitative data and readily intelligible graphs, greatly enhanced understanding of how blank verse developed from the 1580s to the closing of the London theatres in 1642. Moreover, use of Oras’s techniques of analysis has continued to throw light on questions of chronology and authorship surrounding Shakespeare and his fellow playwrights. Among plays illuminated in this way have been The Revenger’s Tragedy, Pericles, Thomas of Woodstock, Sir Thomas More, and Arden of Faversham.

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41

Griffin, Brent. "“Original Practices” and Jonson's First Folio." Ben Jonson Journal 25, no. 1 (May 2018): 19–31. http://dx.doi.org/10.3366/bjj.2018.0208.

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Over the past twenty years or so, performance-based efforts to recreate the staging conditions and production modes of Elizabethan/Jacobean playhouses through “original practices” (OP) have developed at a considerable rate. One has only to note the popular appeal of theatre companies working from Early Modern architectural replicas (like London's Bankside Globe or Virginia's Blackfriars) to recognize the pervasive influence of the “reconstructive Shakespeare” movement on our understanding and interpretation of Renaissance drama. Yet, as the name would suggest, the movement is too often grounded in a performance aesthetic predicated solely on Shakespeare's playtexts (indeed, for many, the 1623 Folio is followed with a near religious fervor). But truth be told, other playwright/practitioners of the era have far more to say on the matter of staging verse drama than Shakespeare, and made a point of publishing their thoughts directly through prefatory material, commendatory verses, pamphlets, etc. Fletcher and Heywood immediately come to mind, but this paper will focus on the most prolific critic of the period, Ben Jonson. Not to be overshadowed by the numerous commemorations of Shakespeare's death, 2016 also marked the 400th anniversary of the publication of Jonson's landmark First Folio, and a brief review of his 1616 Workes should provide ample occasion to challenge several of the “original practices” championed by bardocentric theatre companies and their educational auxiliaries.

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42

NICHOLLS, MARK. "STRATEGY AND MOTIVATION IN THE GUNPOWDER PLOT." Historical Journal 50, no. 4 (November 8, 2007): 787–807. http://dx.doi.org/10.1017/s0018246x07006383.

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ABSTRACTThis article seeks to develop our understanding of the 1605 Gunpowder Plot by asking a number of elementary questions. Were the plotters terrorists in any meaningful sense? Were they religious fanatics, as the Jacobean state understandably chose to portray them after the event? Was their plan built on a misguided fantasy of widespread support for a Catholic insurrection, or does the Plot perhaps have a practical coherence that lies obscured by the drama of the projected strike against Westminster? How does evidence for coherent planning square with the strong desire for revenge, running through so much of the surviving testimony? Through answers to these questions, we begin to see the Gunpowder plotters as men engaged in a calculated and demonstrably pragmatic attempt to engineer a change in regime. Their planning was robust, and to the point, while the emotional power of revenge was channelled creatively by the ringleaders. The article concludes that the odds against success were long, but not impossible.

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43

Womack, Peter. "Nobody, Somebody, and King Lear." New Theatre Quarterly 23, no. 3 (August 2007): 195–207. http://dx.doi.org/10.1017/s0266464x07000103.

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The approximately contemporary Jacobean plays, King Lear and Nobody and Somebody, share an ancient British setting, a preoccupation with instability in the state, and an unsettling interest in negation. Peter Womack here suggests that by reading them together we can retrieve some of the theatrical strangeness which the more famous of the two has lost through familiarity and naturalization. The dramatic mode of existence of the character called ‘Nobody’ is paradoxical, denaturing – an early modern visual and verbal Verfremdungseffekt, at once philosophical and clownish. His negativity, which is articulated in dialogue with the companion figure of ‘Somebody’, is matched in King Lear, above all in the role of Edgar, but also by a more diffused state of being (withdrawal, effacement, folly) which the play generates in reaction to its positive events. Ultimately the negation in both plays is social in character: ‘Nobody’ is the dramatic face of the poor and oppressed. Peter Womack teaches literature at the University of East Anglia. His most recent book is English Renaissance Drama (2006), in the Blackwell Guides to Literature series.

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44

Shevtsova, Maria. "The Sociology of the Theatre, Part Two: Theoretical Achievements." New Theatre Quarterly 5, no. 18 (May 1989): 180–94. http://dx.doi.org/10.1017/s0266464x00003079.

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In the first part of this three-part series. Maria Shevtsova discussed the misconceptions and misplacement of emphases which have pervaded sociological approaches to theatre, and proposed her own methodology of study. Here, she examines in fuller detail two aspects of her taxonomy which have an existing sociological literature – looking first at dramatic theory, as perceived by its sociological interpreters from Duvignaud onwards and (perhaps more pertinently) backwards, to Gramsci and Brecht. She then considers approaches to dramatic texts and genres, especially as exemplified in the explication of Elizabethan and Jacobean tragedy. Finally, she explores the implications and assumptions of the relatively new discipline of ‘theatrical anthropology’, in which theatre is taken to be the prototype of society. Now teaching in the Department of French Studies at the University of Sydney, Maria Shevtsova trained in Paris before spending three years at the University of Connecticut. She has previously contributed to Modern Drama, Theatre International, and Theatre Papers, as well as to the original Theatre Quarterly and other journals.

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45

Bruster, Douglas. "Shakespeare’s Pauses, Authorship, and Early Chronology." Studia Metrica et Poetica 2, no. 2 (December 31, 2015): 25–47. http://dx.doi.org/10.12697/smp.2015.2.2.03.

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This paper explores the implications of Ants Oras’s Pause Patterns in Elizabethan and Jacobean Drama: An Experiment in Prosody (Oras 1960) for the chronology and authorship of plays in early modern England. Oras’s brief monograph has been noticed by a relatively few scholars, mainly those interested in changes to Shakespeare’s pentameter line. Recent developments in the field, however, have rendered his data newly attractive. Compiled by hand, Oras’s figures on the punctuated pauses in pentameter verse offer computational approaches a wealth of information by which writers’ stylistic profiles and changes can be measured. Oras’s data for a large number of playwrights and poets, as well as his methodology generally, may prove instrumental in constructing a portrait of the aesthetic environment for writers of pentameter verse during the sixteenth and seventeenth centuries in England. In particular, pause percentages may lend context to our attributions of texts of uncertain authorship. A hypothetical chronology is offered for Shakespeare’s earliest writing, including his contributions to Arden of Faversham, 1 Henry VI, and Edward III.

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46

Egan, Gabriel. "Bruce Boehrer. Environmental Degradation in Jacobean Drama. Cambridge: Cambridge University Press, 2013. vi + 216 pp. $90. ISBN: 978-1-107-02315-4." Renaissance Quarterly 67, no. 1 (2014): 363–64. http://dx.doi.org/10.1086/676270.

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47

Döring, Tobias. "Graham Saunders. Elizabethan and Jacobean Reappropriations in Contemporary British Drama: “Upstart Crows.” London: Palgrave, 2017, xii + 194 pp. €96.29 (hardback), €74.96 (PDF ebook)." Journal of Contemporary Drama in English 8, no. 2 (November 3, 2020): 323–26. http://dx.doi.org/10.1515/jcde-2020-0027.

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48

Swärdh, Anna. "Anna Swärdh, review of Bruce Boehrer:Environmental Degradation in Jacobean Drama. Cambridge: Cambridge University Press, 2013. ISBN 978–1-107–02315–4. 216 pp." Studia Neophilologica 86, no. 1 (January 2, 2014): 95–96. http://dx.doi.org/10.1080/00393274.2014.898991.

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49

Entezareghaem, Shahab. "Religious Reformation and the Crisis of Providentialism in Cyril Tourneur’s The Atheist’s Tragedy (1611): A Cultural Materialist Reading." Advances in Language and Literary Studies 11, no. 2 (April 30, 2020): 65. http://dx.doi.org/10.7575/aiac.alls.v.11n.2p.65.

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The early modern period in England is characterised by philosophical and moral debates over the meaning and pertinence of Christian beliefs and teachings. One of the most controversial topics in this epoch is God’s providence and its supposed impacts on man’s daily life. In the wake of the Reformation and emerging philosophical schools, particularly in the second half of the sixteenth century, Providentialism was seriously put into question and the meaning and influences of God’s providence were, therefore, investigated. Epicureans and Calvinists were two prominent groups of religious reformists who cast doubt upon the validity and pertinence of Christian Providentialism as it was taught during the medieval period. These intellectual and philosophical debates were reflected in the literary productions of the age in general, and in Elizabethan and Jacobean drama in particular. Cyril Tourneur is one of the early modern English playwrights who inquired into the meaning and relevance of Providentialism in his last play, The Atheist’s Tragedy (1611). Adhering to a cultural materialist mode of criticism, I will show in this paper that Tourneur is a dissident dramatist who separates the realm of God’s divinity from man’s rational capacity in his tragedy and anticipates, hence, the emergence and development of new religious and philosophical visions in the Renaissance.

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50

Borlik, Todd Andrew. "Magic as Technological Dominion: John Dee’s Hydragogy and the Draining of the Fens in Ben Jonson’s The Devil is an Ass." Neophilologus 105, no. 4 (November 3, 2021): 589–608. http://dx.doi.org/10.1007/s11061-021-09705-6.

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AbstractThis paper explores the ambiguous role of magic in the controversy over the draining of the fens, the last bastion of wilderness in seventeenth-century England. In what now looks like an early form of environmentalist resistance to the destruction of these wetlands, opponents of the drainage accused the undertakers of invoking diabolical aid in their audacious efforts to tamper with God’s creation. Evidence of this mentality can be found in both William Shakespeare’s The Tempest and Ben Jonson’s The Devil is an Ass. Via a close reading of Jonson’s comedy, this paper navigates the confluence of magic, technology, and “projection” in the ideological debate surrounding the fens. Just as the traditional Vice figures (Iniquity and Pug) find themselves out-devilled by Jacobean Londoners, the play dramatizes the appropriation and displacement of a residual poetics of enchantment by the emergent discourses of economics and applied engineering. A tendency to equate magic with hydro-engineering technology may have been encouraged by John Dee’s involvement in the project. Drawing on an unpublished manuscript in the Ashmole collection at the Bodleian Library, this paper seeks to uncover the extent and impact of Dee’s role in the drainage. Advocates of the drainage, however, not only denied any supernatural involvement but also counterattacked by accusing their opponents of credulity and magical thinking. They characterized the native fen-dwellers as superstitious heathens and cast a scathing eye on local folklore depicting the fens as a demon-haunted wasteland. In pro-drainage documents, the proposed draining of the fenlands becomes tantamount to an exorcism, purging the rural backwaters of paganism and witchcraft. Wetlands management will now be conducted through applied engineering rather than magical incantations. A little known Jacobean ballad, “The Powte’s Complaint” (c. 1619) revives these animistic tropes to protest the fen’s destruction. Jonson’s play may explain why this tactic was doomed to fail and why this poem has been forgotten. As the credibility of magic eroded in the mid-seventeenth century, opponents of the drainage instead sought to stir up public resentment against the foreignness of the Dutch under-takers rather than their supposed collusion with supernatural forces. Jonson’s own projection that the drainage was an impossible con (like alchemy) would prove inaccurate. Nevertheless, The Devil is an Ass stands as the one of the most ecologically-engaged texts in the canon of early modern English drama.

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Journal articles on the topic 'Jacobean Drama'

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