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Journal articles on the topic 'Renaissance drama'

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Published: 4 June 2021
Last updated: 20 February 2023

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

JARDINE, M., C. RUTTER, and S. CLARK. "Renaissance Drama: Excluding Shakespeare." Year's Work in English Studies 72, no. 1 (January 1, 1993): 182–208. http://dx.doi.org/10.1093/ywes/72.1.182.

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12

JARDINE, M., C. RUTTER, and S. CLARK. "Renaissance Drama: Excluding Shakespeare." Year's Work in English Studies 73, no. 1 (January 1, 1995): 207–33. http://dx.doi.org/10.1093/ywes/73.1.207.

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13

JARDINE, M., S. POYNTING, P. J. SMITH, E. SMITH, S. HAMPTON-REEVES, and J. SANDERS. "Renaissance Drama: Excluding Shakespeare." Year's Work in English Studies 75, no. 1 (January 1, 1997): 262–88. http://dx.doi.org/10.1093/ywes/75.1.262.

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14

POYNTING, S., P. J. SMITH, E. SMITH, D. GRANTLEY, and J. SANDERS. "Renaissance Drama: Excluding Shakespeare." Year's Work in English Studies 76, no. 1 (January 1, 1998): 266–84. http://dx.doi.org/10.1093/ywes/76.1.266.

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15

POYNTING, S., P. J. SMITH, E. SMITH, D. GRANTLEY, and J. SANDERS. "Renaissance Drama: Excluding Shakespeare." Year's Work in English Studies 77, no. 1 (January 1, 1999): 317–37. http://dx.doi.org/10.1093/ywes/77.1.317.

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16

STERN, TIFFANY. "Renaissance Drama: Future Directions." Renaissance Drama 40 (January 2012): 151–60. http://dx.doi.org/10.1086/rd.40.41917506.

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17

HUTSON, LORNA. "Forensic Aspects of Renaissance Mimesis." Representations 94, no. 1 (2006): 80–109. http://dx.doi.org/10.1525/rep.2006.94.1.80.

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ABSTRACT Current approaches to Renaissance drama, rejecting the older idea of mimesis as likeness to an essential ““nature,”” have also rejected the assumption that Shakespeare's drama is especially mimetic. This article argues that these approaches neglect the contribution of narrative coherence or plot tomimesis and shows that a judicial conception of narrative underlies the mimesis of neoclassical Renaissance drama, including Shakespeare. Mimetic readings of Shakespeare may thus be appropriately legalistic responses to an evidentially based conception of plot.
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18

Al-Joulan, Nayef Ali. "Political Christianity in Renaissance Drama." Advances in Language and Literary Studies 8, no. 4 (August 31, 2017): 65. http://dx.doi.org/10.7575/aiac.alls.v.8n.4p.65.

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Examining the following selected Renaissance dramas: Marlowe’s The Jew of Malta (1585), Shakespeare’s The Merchant of Venice (1596), Massinger’s The Renegado (1624), Daborne’s A Christian Turn'd Turk (1612), and Goffe’s The Raging Turk (1656), this research investigates Renaissance dramatists' portrayal of biased Christian standpoints that govern the relation with the non-Christian to uncover whether that dramatization represents the playwrights' participation in validating those attitudes or their critique of politicizing the Christian faith, in both ways underscoring the existence of an ideological 'political faith' issue. It turns out that the period's plays may reveal that such stereotypes are only recruited to further and validate financial gain, political dominance and racial discrimination; that is, political Christianity. However, the playwrights' attitudes remain subject to their unrevealed intentions, and it is, therefore, left to the reader/audience to take sides. Tactically, the dramatists emerge ahead of the Christian and secular politicians of their time as they assume the safe side of impartiality.
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19

Slights, William. "Secret Places in Renaissance Drama." University of Toronto Quarterly 59, no. 3 (March 1990): 363–82. http://dx.doi.org/10.3138/utq.59.3.363.

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20

WIGGINS, MARTIN. "MORINDOS AND ENGLISH RENAISSANCE DRAMA." Notes and Queries 41, no. 4 (December 1, 1994): 505–7. http://dx.doi.org/10.1093/nq/41-4-505.

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21

SMITH, M. "VIII Renaissance Drama: Excluding Shakespeare." Year's Work in English Studies 65, no. 1 (January 1, 1987): 237–73. http://dx.doi.org/10.1093/ywes/65.1.237.

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22

POYNTING, S., P. J. SMITH, E. SMITH, D. GRANTLEY, and J. SANDERS. "VII Renaissance Drama: Excluding Shakespeare." Year's Work in English Studies 78, no. 1 (January 1, 2000): 344–67. http://dx.doi.org/10.1093/ywes/78.1.344.

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23

POYNTING, S., P. J. SMITH, E. SMITH, D. GRANTLEY, and J. SANDERS. "VII Renaissance Drama: Excluding Shakespeare." Year's Work in English Studies 79, no. 1 (January 1, 2001): 294–320. http://dx.doi.org/10.1093/ywes/79.1.294.

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24

POYNTING, S., P. J. SMITH, M. STEGGLE, D. GRANTLEY, and J. SANDERS. "VII Renaissance Drama: Excluding Shakespeare." Year's Work in English Studies 80, no. 1 (January 1, 2001): 302–24. http://dx.doi.org/10.1093/ywes/mae007.

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25

POYNTING, S., P. J. SMITH, M. STEGGLE, and D. GRANTLEY. "VII Renaissance Drama: Excluding Shakespeare." Year's Work in English Studies 81, no. 1 (January 1, 2002): 443–67. http://dx.doi.org/10.1093/ywes/maf007.

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26

POYNTING, S., P. J. SMITH, M. STEGGLE, and D. GRANTLEY. "VII Renaissance Drama: Excluding Shakespeare." Year's Work in English Studies 82, no. 1 (January 1, 2003): 385–408. http://dx.doi.org/10.1093/ywes/mag007.

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27

POYNTING, S., P. J. SMITH, M. STEGGLE, and D. GRANTLEY. "VII Renaissance Drama: Excluding Shakespeare." Year's Work in English Studies 83, no. 1 (January 1, 2004): 375–400. http://dx.doi.org/10.1093/ywes/mah007.

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28

Poynting, S. "VII Renaissance Drama: Excluding Shakespeare." Year's Work in English Studies 84, no. 1 (August 5, 2005): 441–70. http://dx.doi.org/10.1093/ywes/mai007.

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29

Poynting, S., P. Sillitoe, P. J. Smith, M. Steggle, and D. Grantley. "VII * Renaissance Drama: Excluding Shakespeare." Year's Work in English Studies 85, no. 1 (January 1, 2006): 423–48. http://dx.doi.org/10.1093/ywes/mal007.

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30

Poynting, S., P. Sillitoe, P. J. Smith, A. Duxfield, and M. Steggle. "VII * Renaissance Drama: Excluding Shakespeare." Year's Work in English Studies 86, no. 1 (July 23, 2007): 450–74. http://dx.doi.org/10.1093/ywes/mam007.

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31

Poynting, S., P. J. Smith, P. Sillitoe, A. Duxfield, and R. Yearling. "VII * Renaissance Drama: Excluding Shakespeare." Year's Work in English Studies 87, no. 1 (January 1, 2008): 507–35. http://dx.doi.org/10.1093/ywes/man012.

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32

Poynting, S., P. Sillitoe, P. J. Smith, A. Duxfield, and M. Steggle. "VII * Renaissance Drama: Excluding Shakespeare." Year's Work in English Studies 88, no. 1 (January 1, 2009): 487–529. http://dx.doi.org/10.1093/ywes/map013.

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33

Poynting, S., E. Collins, J. Dyson, A. Duxfield, and S. Thompson. "VII * Renaissance Drama: Excluding Shakespeare." Year's Work in English Studies 89, no. 1 (January 1, 2010): 451–87. http://dx.doi.org/10.1093/ywes/maq011.

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34

Poynting, S., E. Collins, J. Dyson, A. Duxfield, and S. Thompson. "VII * Renaissance Drama: Excluding Shakespeare." Year's Work in English Studies 90, no. 1 (January 1, 2011): 472–504. http://dx.doi.org/10.1093/ywes/mar011.

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35

Poynting, S., E. Collins, J. Dyson, A. Duxfield, and S. Thompson. "VII * Renaissance Drama: Excluding Shakespeare." Year's Work in English Studies 91, no. 1 (January 1, 2012): 508–46. http://dx.doi.org/10.1093/ywes/mas017.

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36

Collins, E., C. Preedy, and J. Bloomfield. "VII * Renaissance Drama: Excluding Shakespeare." Year's Work in English Studies 92, no. 1 (January 1, 2013): 420–44. http://dx.doi.org/10.1093/ywes/mat014.

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37

Collins, E., C. Preedy, and J. Bloomfield. "VII * Renaissance Drama: Excluding Shakespeare." Year's Work in English Studies 93, no. 1 (January 1, 2014): 457–77. http://dx.doi.org/10.1093/ywes/mau014.

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38

McEvilla, Joshua, Elizabeth Sharrett, Jennifer Cryar, Cristiano Ragni, and Alice Equestri. "VIII Renaissance Drama: Excluding Shakespeare." Year's Work in English Studies 98, no. 1 (2019): 445–94. http://dx.doi.org/10.1093/ywes/maz003.

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Abstract This chapter has three sections: 1. Editions and Textual Matters; 2. Theatre History; 3. Criticism. Section 1 is by Joshua McEvilla; section 2 is by Elizabeth Sharrett; section 3(a) is by Jennifer Cryar; section 3(b) is by Cristiano Ragni; section 3(c) is by Alice Equestri.
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39

Dean, Paul. "Renaissance drama and literary history." English Studies 79, no. 5 (September 1998): 441–46. http://dx.doi.org/10.1080/00138389808599147.

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40

BEVINGTON, DAVID. "Editing Renaissance Drama in Paperback." Renaissance Drama 19 (January 1988): 127–47. http://dx.doi.org/10.1086/rd.19.41917432.

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41

Barroll (book editor), Leeds, James Shapiro (book editor), and Judith M. Kennedy (review author). "Medieval and Renaissance Drama, V." Renaissance and Reformation 29, no. 2 (January 20, 2009): 84–86. http://dx.doi.org/10.33137/rr.v29i2.11419.

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42

Babelyuk, Oksana, and Aleksandra Więcek. "LANGUAGE MEANS IN POSTMODERN DRAMA AND SHAKESPEAREAN DRAMA: COMPARATIVE ASPECT." Scientific Journal of Polonia University 35, no. 4 (June 28, 2019): 79–85. http://dx.doi.org/10.23856/3509.

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The article is focused on the similarities and differences in language means in postmodern drama and Shakespearean drama. It deals with the development of drama in the sixteenth century till the twentieth century. The aim of this article is to investigate characters and language means in the drama world and to compare them to those of the contemporary drama and the drama of the Renaissance.
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43

Hutson, Lorna. "Imagining Justice: Kantorowicz and Shakespeare." Representations 106, no. 1 (2009): 118–42. http://dx.doi.org/10.1525/rep.2009.106.1.118.

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Ernst Kantorowicz's The King's Two Bodies is concerned with tracing the development, through the Middle Ages, of abstract concepts of the public good as separable from the monarch. Renaissance scholars, however, tend to read Kantorowicz as if English Renaissance drama collapses representations of the polity and public good into the monarch's sacred person. Renaissance equity, in particular, has recently been defined as the sacred monarch's prerogative, and has been confused with Carl Schmitt's sovereign decision on the exception. This essay argues by contrast that Renaissance thinkers saw equity as an enlargement of the law by fictions of intention for the public good, and that, accordingly, Renaissance drama invites audiences and citizens alike to engage in compassionate and equitable fiction-making by critiquing monarchical claims to sacred status.
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44

Eaton, Sara, Carole Levin, and Karen Robertson. "Sexuality and Politics in Renaissance Drama." Sixteenth Century Journal 24, no. 1 (1993): 117. http://dx.doi.org/10.2307/2541802.

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45

Eaton, Sara, Carole Levin, and Karen Robertson. "Sexuality and Politics in Renaissance Drama." Sixteenth Century Journal 24, no. 1 (1993): 183. http://dx.doi.org/10.2307/2541855.

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46

Ardolino, Frank, and Jack D'Amico. "The Moor in English Renaissance Drama." Sixteenth Century Journal 24, no. 3 (1993): 775. http://dx.doi.org/10.2307/2542179.

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47

磯部祐子 and Kim soo kyung. "The Renaissance of "Shaoxing Tanhuang" Drama." JOURNAL OF CHINESE STUDIES ll, no. 23 (March 2008): 79–100. http://dx.doi.org/10.26585/chlab.2008..23.005.

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48

Scott, Freda L. "Black Drama and the Harlem Renaissance." Theatre Journal 37, no. 4 (December 1985): 426. http://dx.doi.org/10.2307/3207518.

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49

Dillon, Janette, Alison Findlay, Viviana Comensoli, and Anne Russell. "A Feminist Perspective on Renaissance Drama." Yearbook of English Studies 32 (2002): 293. http://dx.doi.org/10.2307/3509087.

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50

Bevington, David, and Alison Findlay. "Illegitimate Power: Bastards in Renaissance Drama." Shakespeare Quarterly 47, no. 2 (1996): 214. http://dx.doi.org/10.2307/2871109.

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