Morality Play, Part Three: Acts 1–3

1992 ◽  
Vol 37 (11) ◽  
pp. 1159-1161
Author(s):  
Hugh Lytton ◽  
William Hunter
Keyword(s):  
Morality Play

The Sad Final Act of a 50-Year Morality Play

PsycCRITIQUES ◽  
2006 ◽  
Vol 51 (12) ◽  
Author(s):  
Craig L. Frisby
Keyword(s):  
Morality Play

The English Morality Play: Origins, History and Influence of a Dramatic Tradition

1977 ◽  
Vol 7 ◽  
pp. 201
Author(s):  
Catherine Belsey ◽  
Robert Potter
Keyword(s):  
Morality Play

The Distrest Mother, Ambrose Philips' Morality Play

1959 ◽  
Vol 11 (2) ◽  
pp. 111 ◽  
Author(s):  
Paul E. Parnell
Keyword(s):  
Morality Play

Coming to Everyman

2019 ◽  
pp. 119-142
Author(s):  
Steven J. Osterlind
Keyword(s):  
Probability Theory ◽  
Everyday Life ◽  
Fifteenth Century ◽  
Calculus Of Variations ◽  
Celestial Mechanics ◽  
Great Influence ◽  
Ordinary People ◽  
The Everyday ◽  
Morality Play

This chapter focuses on how quantification began to increase in the everyday life of ordinary people, who are represented in this chapter by the allegorical figure “Everyman” (from the fifteenth-century anonymous morality play Everyman). It discusses the invention of the chronometer and explores the effect that the increasing availability of luxury items such as sugar, as well as the quantifying ideas that were coming into use at that time, had on the general populace. The chapter then introduces Pierre-Simon Laplace, who assiduously worked to bring the newly formed probability theory to Everyman, especially through his efforts on the orthodrome problem in Traité de mécanique céleste (Celestial Mechanics), his ideas on scientific determinism (symbolized by “Laplace’s demon”), and his General Principles for the Calculus of Probabilities. The chapter also introduces Joseph-Louis Lagrange, whose work on the calculus of variations had a great influence on Laplace.

Who's Afraid of Virginia Woolf? Edward Albee's Morality Play

1967 ◽  
Vol 1 (2) ◽  
pp. 257-268 ◽  
Author(s):  
C. W. E. Bigsby
Keyword(s):  
Virginia Woolf ◽  
Advisory Board ◽  
Pulitzer Prize ◽  
Morality Play

Richard Schechner, the editor of the Tulane Drama Review, greeted Albee's Who's Afraid of Virginia Woolf? as a ‘persistent escape into morbid fantasy’. Like W. D. Maxwell, a member of the Pulitzer Prize advisory board, he found it a filthy play and indicted it for its ‘morbidity and sexual perversity which are there only to titillate an impotent and homosexual theatre and audience’. More perversely he saw in the play ‘an ineluctable urge to escape reality and its concomitant responsibilities by crawling back into the womb, or bathroom, or both’. His revulsion was shared by other critics who similarly misapprehended Albee's intention in a play which, far from endorsing illusion, remorselessly peels off protective fantasies in order to reach ‘the bone…the marrow’. Indeed, as Alan Schneider, the play's Broadway director, has asked, ‘is Albee not rather dedicated to smashing that rosy view, shocking us with the truth of our present-day behaviour and thought, striving to purge us into an actual confrontation with reality?’ (my italics).

Morality Play

Science ◽  
1996 ◽  
Vol 273 (5283) ◽  
pp. 1782b-1782b
Author(s):  
L. Z. Benet
Keyword(s):  
Morality Play
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