IX. A New Date for Antonio's Revenge

PMLA ◽  
1938 ◽  
Vol 53 (1) ◽  
pp. 129-137
Author(s):  
Donald J. McGinn
Keyword(s):  
The Other ◽  
Dramatic Literature ◽  
Revenge Plays ◽  
English Stage

About a decade after Kyd's Spanish Tragedy had introduced the revenge-play to the English stage, there appeared almost simultaneously two tragedies which presented a somewhat different treatment of revenge—Shakespeare's Hamlet and Marston's Antonio's Revenge. Although neither play departed entirely from the traditions established by Kyd, both contained a profounder philosophy than the earlier plays of their type. Immediately thereafter followed a succession of tragedies of revenge obviously influenced by the new philosophical treatment. A. H. Thorndike in his “Relations of Hamlet to Contemporary Revenge Plays” attributes the revival of interest wholly to Marston; indeed, he maintains that Shakespeare did not “set the fashion from 1599 on, for Marston almost certainly preceded him.” The other scholars who more recently have interested themselves in this problem, Dr. Friedrich Radebrecht and Sir. E. K. Chambers, share Thorndike's opinion. Yet, as a result of evidence discovered in connection with a study of the influence of Hamlet on the dramatic literature of the period, I question giving Marston credit for the renewed interest in the revenge-play.

Ibsen and the Irish Theatre

1990 ◽  
Vol 15 (1) ◽  
pp. 18-28
Author(s):  
Katharine Worth
Keyword(s):  
The Other ◽  
Psychological Process ◽  
Dramatic Literature ◽  
Social Activities ◽  
Irish Theatre ◽  
Lady Gregory ◽  
Other Hand ◽  
George Moore ◽  
Irish School ◽  
The Way

The Irish Literary Theatre, from which a new Irish theatre was to develop, came to birth at the very point when Ibsen was about to depart from the European theatrical scene. His last play, When We Dead Awaken, appeared in 1899, the year in which Yeats's The Countess Cathleen and Edward Martyn's The Heather Field were produced in Dublin. They were the first fruits of the resolve taken by the two playwrights, with Lady Gregory and George Moore, to ‘build up a Celtic and Irish school of dramatic literature’ and they offered decidedly different foretastes of what that ‘school’ might bring forth. Yeats declared himself an adherent of a poetic theatre that would use fantasy, vision and dream without regard for the limits set by the realistic convention. Martyn, on the other hand, was clearly following Ibsen in his careful observance of day-to-day probability. The central symbol of his play, the heather field, represents an obscure psychological process which might have received more ‘inward’ treatment. But instead it is fitted into a pattern of social activities in something like the way of the prosaically functional but symbolic orphanage in Ghosts.

scholarly journals Every Text is a Performance: A Pre-History of Performance Philosophy

2015 ◽  
Vol 1 (1) ◽  
pp. 24 ◽  
Author(s):  
David Kornhaber
Keyword(s):  
Twentieth Century ◽  
The Other ◽  
Dramatic Literature ◽  
Partial Model ◽  
Boundary Points ◽  
Other Hand ◽  
Theatrical Performance ◽  
Textual Authority ◽  
History Of ◽  
The One

This article traces a genealogy of performance philosophy along two separate lines within the history of the twentieth-century academy.  On the one hand, it locates within the long history of philosophically-informed studies of dramatic literature a partial model for the work of performance philosophy, one that applied philosophical scrutiny to dramatic texts without ever extending the same consideration to theatrical performance—in spite of the practical theatrical work of many of this movement’s leading academic proponents.  On the other hand, it identifies in the poststructualist rethinking of textual authority an opening for the reconsideration of philosophical communication that returns performance to a place of philosophical potential that it has not securely held since before Plato’s dialogues.  It is argued that the intersection of these two trend lines in academic thought should be regarded as constituting an important intellectual genesis point for the emergence of performance philosophy and a useful means of approaching the purposes and boundary points of the field.

Hospitality

2017 ◽  
Author(s):  
Julia Reinhard Lupton
Keyword(s):  
Political Ecology ◽  
Political Theology ◽  
The Other ◽  
Dramatic Literature ◽  
Dramatic Character ◽  
Consumption Enjoyment

This chapter examines the longstanding interrelationships among theatre, households, and what it calls ‘acts of reception’: the performed rituals of welcoming, accommodating, sharing, and dwelling, as well as their more inhospitable alternatives. It considers what hospitality might have to do with theatricality, what they have in common, and what each renders visible in the other. It also explores hospitality’s connections with biopolitics, political theology, and political ecology, and more specifically the confluence of its biopolitical, political–theological, and political–ecological investments. It shows how life in hospitality events manifests itself as theatre and how scenes of accommodation and conviviality and their refusal or violation abound in the mythic situations of dramatic literature. Finally, it explains how the dramatic character of hospitality—its generation of occasions for consumption, enjoyment, and wonder as well as resistance, scepticism, and betrayal—intertwines it with theatricality as a simultaneously formal and material effect.

The Relations of Hamlet to Contemporary Revenge Plays

PMLA ◽  
1902 ◽  
Vol 17 (2) ◽  
pp. 125-220
Author(s):  
Ashley H. Thorndike
Keyword(s):  
Distinct Species ◽  
Thomas Kyd ◽  
Revenge Tragedy ◽  
Starting Point ◽  
Main Action ◽  
Revenge Plays ◽  
English Stage ◽  
The Many ◽  
Early English

The revenge tragedy, a distinct species of the tragedy of blood, may be defined as a tragedy whose leading motive is revenge and whose main action deals with the progress of this revenge, leading to the death of the murderers and often the death of the avenger himself.This type, as thus defined, probably first appeared on the Elizabethan stage in the Spanish Tragedy and the original Hamlet.2 Of these two plays the old Hamlet is not extant and can only be reconstructed conjecturally; the Spanish Tragedy represents, therefore, the origin of the type. Just what the ultimate sources of the type may have been, is not a question which enters our discussion. In the Spanish Tragedy the influence of Seneca is marked as in much early English tragedy,1 and there may be some indebtedness to contemporary French and Italian drama of the Senecan sort.2 We are not, however, to examine the Spanish Tragedy in connection with the influence of Seneca but in connection with a long succession of Elizabethan revenge plays; and for such an investigation it serves well enough as a starting point. Thomas Kyd was the author of this play and probably, as Dr. Sarrazin 3 has shown, of the old Hamlet. He may safely be taken as the introducer of the revenge tragedy upon the English stage, and his work may be considered one of the many dramatic innovations of the Elizabethan period.

Technology and Dramaturgical Development: Five Observations

1999 ◽  
Vol 24 (2) ◽  
pp. 188-197
Author(s):  
Arnold Aronson
Keyword(s):  
Causal Factor ◽  
The Other ◽  
Dramatic Literature ◽  
Contemporary World ◽  
History Of

In her landmark book, The History of the Greek and Roman Theater, the great historian Margarete Bieber stated simply and elegantly, ‘The development of the theater building always follows the development of dramatic literature.’ While historians, of course, have always attempted to explain the drama in terms of known architectural, scenographic, and technological practices, the effect of one upon the other has been less fully or successfully explored. Why, for instance, is the reverse of Bieber's statement not true? And in the rapidly changing technology of the contemporary world, is it possible that technology has become a causal factor in the development of drama?

Safe Distance, Dark Tourism, and Ambivalent Spatial Relation in Gillian Plowman’s Yours Abundantly, From Zimbabwe, and Christine Evans’s Trojan Barbie

2016 ◽  
Vol 4 (2) ◽  
Author(s):  
Eda Dedebas Dundar
Keyword(s):  
Spatial Relation ◽  
Spatial Relations ◽  
First Century ◽  
The Other ◽  
Dramatic Literature ◽  
Safe Distance ◽  
Dark Tourism ◽  
Twenty First Century

AbstractColonial adventures and imperialistic travels have taken a new pattern as in the cases of humanitarian travel and dark tourism in the twenty-first century. Dark tourism not only satisfies Western individual’s hunger for orientalism labeling the touristic site a marginal and exotic landscape, but also uncovers the touristic undercurrents involved in the voyage. In this article, by utilizing the immediacy of the theatre genre, I argue that dramatic literature shares similar ambivalent spatial relations with humanitarian travel in that they both locate themselves between proximity and remoteness in their relation to the other. Similarly, by staging metatheatrical aspects, Plowman’s

The Economic and Social Effect of the Usury Laws in the Eighteenth Century

1933 ◽  
Vol 16 ◽  
pp. 197-210 ◽  
Author(s):  
Sybil Campbell
Keyword(s):  
Eighteenth Century ◽  
The Other ◽  
Merchant Of Venice ◽  
Social Effect ◽  
The Merchant Of Venice ◽  
English Stage ◽  
The One

I have just been reading “Three lectures by the late Sir Israel Gollancz,” printed for private circulation and kindly lent to me by Dr. Hubert Hall, in which the following passage occurs: “Long before Shakespeare thought of dealing with the theme, when Shakespeare was still young—a school-boy—the story of the Jew with reference to the same story that we have in Shakespeare's Merchant of Venice had been enacted on the English stage. As early as 1579 we have a reference to it, but the play was lost; we know it only from Gosson's reference.” The author goes on to explain that” in 1579 we have already two elements that make up The Merchant of Venice; the Pound of Flesh motive on the one hand and, on the other, the Choice of the Caskets, combined into one play, The Jew, ‘representing the greedinesse of worldly chusers, and the bloody minds of usurers.’

No Cloistered Virtue: Or, Playwright versus Priest in 1698

PMLA ◽  
1975 ◽  
Vol 90 (2) ◽  
pp. 234-246 ◽  
Author(s):  
Aubrey Williams
Keyword(s):  
The Other ◽  
Other Hand ◽  
English Stage

AbstractCharges by Jeremy Collier and others in the controversy generated by A Short View of the Immorality, and Profaneness of the English Stage have been widely accepted while the replies by Congreve, Vanbrugh, and many other stage defenders have been generally neglected or depreciated. The critical tenets of Collier's opponents are examined in the framework of four postulates Congreve presents in his own defense. Along with others sharing his views, Congreve the “Aristotelian” argues that the drama must represent vice and folly in strongly mimetic terms in order to shame offenders and divert and warn others, and also that the virtue portrayed on stage must be uncloistered and subjected to trials and temptations of a most pressing and realistic nature. Collier the “Platonist,” on the other hand, is shown to believe that such realistic examples are corruptive rather than corrective, and that therefore vice and folly must be represented only “in Generals.”

Stromatoporoids from the Famennian (Devonian) Wabamun Formation, Normandville oilfield, north–central Alberta, Canada

1988 ◽  
Vol 62 (03) ◽  
pp. 411-419 ◽  
Author(s):  
Colin W. Stearn
Keyword(s):  
Patch Reef ◽  
Abundant Species ◽  
The Other ◽  
North Central ◽  
Biotic Crisis

Stromatoporoids are the principal framebuilding organisms in the patch reef that is part of the reservoir of the Normandville field. The reef is 10 m thick and 1.5 km2in area and demonstrates that stromatoporoids retained their ability to build reefal edifices into Famennian time despite the biotic crisis at the close of Frasnian time. The fauna is dominated by labechiids but includes three non-labechiid species. The most abundant species isStylostroma sinense(Dong) butLabechia palliseriStearn is also common. Both these species are highly variable and are described in terms of multiple phases that occur in a single skeleton. The other species described areClathrostromacf.C. jukkenseYavorsky,Gerronostromasp. (a columnar species), andStromatoporasp. The fauna belongs in Famennian/Strunian assemblage 2 as defined by Stearn et al. (1988).

D. The Line Spectrum of Pulsating Variable Stars

1967 ◽  
Vol 28 ◽  
pp. 207-244
Author(s):  
R. P. Kraft
Keyword(s):  
Variable Stars ◽  
The Other ◽  
Line Spectrum ◽  
Afternoon Session ◽  
Empirical Information ◽  
Pulsating Variable Stars ◽  
Almost Continuous ◽  
Informal Approach

(Ed. note:Encouraged by the success of the more informal approach in Christy's presentation, we tried an even more extreme experiment in this session, I-D. In essence, Kraft held the floor continuously all morning, and for the hour and a half afternoon session, serving as a combined Summary-Introductory speaker and a marathon-moderator of a running discussion on the line spectrum of cepheids. There was almost continuous interruption of his presentation; and most points raised from the floor were followed through in detail, no matter how digressive to the main presentation. This approach turned out to be much too extreme. It is wearing on the speaker, and the other members of the symposium feel more like an audience and less like participants in a dissective discussion. Because Kraft presented a compendious collection of empirical information, and, based on it, an exceedingly novel series of suggestions on the cepheid problem, these defects were probably aggravated by the first and alleviated by the second. I am much indebted to Kraft for working with me on a preliminary editing, to try to delete the side-excursions and to retain coherence about the main points. As usual, however, all responsibility for defects in final editing is wholly my own.)

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