Relevant bibliographies by topics / Renaissance drama

Academic literature on the topic 'Renaissance drama'

Author: Grafiati
Published: 4 June 2021
Last updated: 20 February 2023

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Journal articles on the topic "Renaissance drama"

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Hirsch, Brett D. "Renaissance Drama (review)." Parergon 22, no. 2 (2005): 237–39. http://dx.doi.org/10.1353/pgn.2006.0020.

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Shephard, Robert. "Renaissance Drama As Cultural History: Essays from "Renaissance Drama" 1977-87." Sixteenth Century Journal 22, no. 4 (1991): 802. http://dx.doi.org/10.2307/2542407.

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YEATS, E. D. "Renaissance Drama: Excluding Shakespeare." Year's Work in English Studies 63, no. 1 (January 1, 1985): 183–99. http://dx.doi.org/10.1093/ywes/63.1.183.

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WEIS, R. J. A. "Renaissance Drama: Excluding Shakespeare." Year's Work in English Studies 64, no. 1 (January 1, 1986): 228–35. http://dx.doi.org/10.1093/ywes/64.1.228.

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SMITH, M. "Renaissance Drama: Excluding Shakespeare." Year's Work in English Studies 66, no. 1 (January 1, 1988): 241–68. http://dx.doi.org/10.1093/ywes/66.1.241.

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Smith, M. "Renaissance Drama: Excluding Shakespeare." Year's Work in English Studies 67, no. 1 (January 1, 1989): 253–73. http://dx.doi.org/10.1093/ywes/67.1.253.

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JARDINE, M., C. RUTTER, S. CLARK, and M. SMITH. "Renaissance Drama: Excluding Shakespeare." Year's Work in English Studies 68, no. 1 (January 1, 1990): 256–82. http://dx.doi.org/10.1093/ywes/68.1.256.

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JARDINE, M., C. RUTTER, S. CLARK, and D. LINDLEY. "Renaissance Drama: Excluding Shakespeare." Year's Work in English Studies 69, no. 1 (January 1, 1991): 250–73. http://dx.doi.org/10.1093/ywes/69.1.250.

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JARDINE, M., C. RUTTER, S. CLARK, and D. LINDLEY. "Renaissance Drama: Excluding Shakespeare." Year's Work in English Studies 70, no. 1 (January 1, 1992): 287–313. http://dx.doi.org/10.1093/ywes/70.1.287.

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JARDINE, M., C. RUTTER, S. CLARK, and D. LINDLEY. "Renaissance Drama: Excluding Shakespeare." Year's Work in English Studies 71, no. 1 (January 1, 1993): 297–320. http://dx.doi.org/10.1093/ywes/71.1.297.

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Dissertations / Theses on the topic "Renaissance drama"

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Toda, K. "T.S. Eliot and Renaissance drama." Thesis, University College London (University of London), 2015. http://discovery.ucl.ac.uk/1463322/.

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The crucial importance of non-Shakespearian Renaissance dramatists to T.S. Eliot is evident in both his poetry and his prose. Eliot himself drew attention to this: he credited his own ‘poetic formation’ to the ‘minor Elizabethan dramatists’, and when reviewing his ‘critical output for the last thirty-odd years’ in 1951, he confessed himself ‘surprised to find how constantly I have returned to the drama, whether by examining the work of the contemporaries of Shakespeare, or by reflecting on the possibilities of the future.’ As C.S. Lewis disapprovingly wrote, Eliot’s ‘sympathy with depraved poets (Marlowe, Jonson, Webster) is apparent’. This thesis will trace Eliot’s engagement with these dramatists; it is a topic that has been comparatively neglected despite the central role it played in the evolution of his poetic and critical sensibility. The first section, which is largely biographical, explores Eliot’s background and education for clues to the development of his great interest in Renaissance drama, as well as detailing the ways in which he pursued this interest when he moved to England. The second comprises a detailed study of Eliot’s many essays on Renaissance dramatists. The last section examines his poetry, from the juvenilia to The Waste Land of 1922, when the outward signs of his ‘saturation’ were particularly prominent. In my conclusion I discuss how his engagement with Renaissance drama evolved in his post-1922 poetry and culminated in the composition of his own verse plays. The aim of this thesis is to explore the nature of the ‘profound kinship’ Eliot shared with Renaissance dramatists; their work appealed to him because it combines erudition with emotion, refinement with savagery, levity with the macabre and squalid. This appeal was so strong that it powerfully shaped both his poetic ideals and his vision of modernity.
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Salkeld, Duncan. "Madness in Shakespearean and Renaissance drama." Thesis, Cardiff University, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.293065.

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Piatt, Wendy Louisa. "Politics and religion in Renaissance closet drama." Thesis, University of Oxford, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.287042.

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Minnis-Lemley, Ashley M. "The Scholar Magician in English Renaissance Drama." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/838.

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In this paper, I will explore the rise and fall of the scholar magician or sorcerer, both as a popular dramatic subject and as an arc for individual characters, and the ways in which these figures tied into contemporary fears about the intersection of religion and developing scientific knowledge.
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Chakravarti, Paromita. "Renaissance discourses of folly illustrated with examples from English Renaissance drama, especially Shakespeare." Thesis, University of Oxford, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.421739.

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Warnock, Jeanie E. "Kind tyranny: Brother-sister relationships in Renaissance drama." Thesis, University of Ottawa (Canada), 2000. http://hdl.handle.net/10393/9116.

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The study focuses on the social, literary, and psychological significance of the brother-sister relationship to a broad range of Renaissance tragedy and tragicomedy. After a brief historical analysis of siblings, the thesis considers the brother-sister relationship as an important means for dramatists to explore questions of identity, of gender conflict, and of differing understandings of family. It also examines the relationship as a developing literary tradition in the drama of the Stuart period, a tradition which culminates in the works of John Ford. The first half of the study surveys a large range of non-Shakespearean revenge tragedy and tragicomedy. In revenge tragedy, violent brother-sister strife serves as a symbol of the self in turmoil, as an image of a disordered family and society, and as a focal point for tension over the nature of women. Brothers also subvert traditional family roles in their relationships with their sisters. The avenging brother and sister, joined in shared loyalty to their house, mount a legitimate challenge to the authority of husband and king; pandar brothers become diabolical inversions of father and husband. Proceeding to tragicomedy, the thesis analyzes the brother as a figure of illegitimate authority and considers the privileged position gained by royal sisters, whose noble blood renders them the equal of their brothers. The latter half of the dissertation reinterprets the plays of John Webster and John Ford. In The Duchess of Malfi, the royal siblings' similarity, close blood tie, and high rank overturn gender difference and affirm the intimate connection between the sexes. The study considers the importance of blood family to the Duchess' self-conception and examines Ferdinand's attempts to create identity by usurping the place of his sister's husband. Ford's two plays 'Tis Pity She's A Whore and The Fancies Chaste and Noble stand as the culmination of dramatic treatments of idealized and antagonistic brother-sister relationships alike. Both works contrast the opposing nature of physical and familial love and elevate asexual love above sexual passion, presenting a sibling tie which undermines the bond between husband and wife.
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Warnock, Jeanie. "Kind tyranny, brother-sister relationships in Renaissance drama." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ57078.pdf.

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Wiggins, Martin. "The assassin in English Renaissance drama, 1558-1642." Thesis, University of Oxford, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.315828.

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Demiralp, Ayse Nur. "'Unnatural Englishmen': social protest in English Renaissance drama." Thesis, University of Birmingham, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.569576.

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Cadman, Daniel John. "Republicanism and stoicism in Renaissance neo-Senecan drama." Thesis, Sheffield Hallam University, 2011. http://shura.shu.ac.uk/19417/.

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This study will focus upon the dramas of Mary Sidney, Samuel Daniel, Samuel Brandon, William Alexander, and Elizabeth Cary, as well as the Roman tragedies of Thomas Kyd and Ben Jonson, which are characterised, to varying degrees, by their appropriation of continental models of neo-classical tragedy practised by the French tragedian Robert Gamier. The idea, promulgated by several early twentieth century critics, that many of these plays are linked by a common anti-theatrical agenda has been roundly rejected by more recent critics. This thesis will offer a new perspective on these plays by arguing that the recent criticism which distances them from the anti-theatrical agenda has served to repress the intertextual affinities that exist between them. These are characterised by their common interests in such humanist outlooks as republicanism and stoicism. Classical authorities, including Seneca and Tacitus, as well as contemporary theorists, such as Niccolo Machiavelli and Justus Lipsius inform these discourses. This form of drama also offered the authors a space to interrogate the practical utility of a number of theories from a variety of perspectives, indicating that the plays are in dialogue with one another rather than offering a single uniform outlook. As a related issue, the study will consider the various ways that the engagement with these theories affects the representation of a number of features in these plays, such as the dramatisation of key historical events, the representation of exemplary figures like Alexander the Great and Julius Caesar, and the plight of the individual in a tyrannical society, as well as their response to topical events such as the accession of James I. Such features, this study will argue, provide evidence of how this form of drama was appropriated to address the concerns of a politically disenfranchised group of writers during the late Elizabethan and early Jacobean eras, as well as revealing the commitment of the writers to a form of humanist dramatic authorship.
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Books on the topic "Renaissance drama"

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Renaissance drama. Malden, MA: Blackwell, 2006.

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McRae, Andrew. Renaissance drama. London: Arnold, 2003.

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1961-, Wall Wendy, and Masten Jeffrey, eds. Renaissance drama. Evanston, Ill: North Western University Press, 2005.

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Womack, Peter, ed. English Renaissance Drama. Oxford, UK: Blackwell Publishing Ltd, 2006. http://dx.doi.org/10.1002/9780470690093.

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Loomba, Ania. Gender, race, Renaissance drama. Manchester: Manchester University Press, 1989.

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Mackay, Hugh. Shakespeare and Renaissance drama. New York: Pearson Longman, 2010.

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Mackay, Hugh. Shakespeare and Renaissance drama. New York: Pearson Longman, 2010.

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Gender, race, Renaissance drama. Delhi: Oxford University Press, 1992.

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What is Renaissance drama? Evanston: Northwestern University Press, 2012.

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Iwasaki, Sōji. Icons in English Renaissance drama. Tokyo: The Renaissance Institute, Sophia University, 1992.

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Book chapters on the topic "Renaissance drama"

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Hunter, George K. "Rhetoric and Renaissance Drama." In Renaissance Rhetoric, 103–18. London: Palgrave Macmillan UK, 1994. http://dx.doi.org/10.1007/978-1-349-23144-7_6.

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Peck, John, and Martin Coyle. "Renaissance and Restoration Drama." In A Brief History of English Literature, 73–90. London: Macmillan Education UK, 2013. http://dx.doi.org/10.1007/978-1-137-35267-5_5.

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Peck, John, and Martin Coyle. "Renaissance and Restoration Drama." In A Brief History of English Literature, 73–90. London: Macmillan Education UK, 2002. http://dx.doi.org/10.1007/978-1-137-10794-7_5.

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Manley, Lawrence. "Civic Drama." In A New Companion to Renaissance Drama, 337–53. Chichester, UK: John Wiley & Sons, Ltd, 2017. http://dx.doi.org/10.1002/9781118824016.ch25.

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Wood, David Houston. "Staging Disability in Renaissance Drama." In A New Companion to Renaissance Drama, 487–500. Chichester, UK: John Wiley & Sons, Ltd, 2017. http://dx.doi.org/10.1002/9781118824016.ch34.

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Lyons, Tara L. "Publishers of Drama." In A New Companion to Renaissance Drama, 560–75. Chichester, UK: John Wiley & Sons, Ltd, 2017. http://dx.doi.org/10.1002/9781118824016.ch39.

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Bruster, Douglas. "4. Theatre and Drama." In Handbook of English Renaissance Literature, edited by Ingo Berensmeyer, 89–107. Berlin, Boston: De Gruyter, 2019. http://dx.doi.org/10.1515/9783110444889-005.

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Findlay, Alison. "Women and Drama." In A Companion to English Renaissance Literature and Culture, 499–512. Malden, MA, USA: Blackwell Publishers Ltd, 2007. http://dx.doi.org/10.1002/9780470998731.ch42.

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Findlay, Alison. "Women and Drama." In A New Companion to English Renaissance Literature and Culture, 123–40. Oxford, UK: Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444319019.ch48.

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Matei-Chesnoiu, Monica. "Reclaimed Ancient and Renaissance Geographic Commentaries." In Geoparsing Early Modern English Drama, 25–57. New York: Palgrave Macmillan US, 2015. http://dx.doi.org/10.1057/9781137469410_2.

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Conference papers on the topic "Renaissance drama"

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Vakalou, M. "The Cretan Theatre at the Renaissance era. Approach of the women figures at the dramaturgy of Chortatsis: tragedy, comedy, pastoral drama." In VI Международная научная конференция по эллинистике памяти И.И. Ковалевой. Москва: Московский государственный университет им. М.В. Ломоносова, 2021. http://dx.doi.org/10.52607/9785190116113_117.

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