Illegitimate Power: Bastards in Renaissance DramaManchester University Press, 1994 - 282 páginas In Renaissance drama, the bastard is an extraordinarily powerful and disruptive figure. We have only to think of Caliban or of Edmund to realise the challenge presented by the illegitimate child. Drawing on a wide range of play texts, Alison Findlay shows how illegitimacy encoded and threatened to deconstruct some of the basic tenets of patriarchal rule. She considers bastards as indicators and instigators of crisis in early modern England, reading them in relation to witchcraft, spiritual insecurities and social unrest in family and State. The characters discussed range from demi-devils, unnatural villains and clowns to outstandingly heroic or virtuous types who challenge officially sanctioned ideas of illegitimacy. The final chapter of the book considers bastards in performance; their relationship with theatre spaces and audiences. Illegitimate voices, Findlay argues, can bring about the death of the author/father and open the text as a piece of theatre, challenging accepted notions of authority. |
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Página 103
... tells him ' thou art / ( If any good be on the earth ) an honest / Plain - dealing man ' ( I4v ) and his other ... tell Gaspar ' hide not thy poison with such sugar'd words ' ( L4 ) he reveals a charactersitic of Seville's dominant ...
... tells him ' thou art / ( If any good be on the earth ) an honest / Plain - dealing man ' ( I4v ) and his other ... tell Gaspar ' hide not thy poison with such sugar'd words ' ( L4 ) he reveals a charactersitic of Seville's dominant ...
Página 192
... tells him that his deeds ' will engrave thy name in Annales pende / untill aeternity shall have an ende ' ( 1,064 ) . Caelia's words turn these patriarchal histories into fictions designed to boost the male ego . Behind the play's ...
... tells him that his deeds ' will engrave thy name in Annales pende / untill aeternity shall have an ende ' ( 1,064 ) . Caelia's words turn these patriarchal histories into fictions designed to boost the male ego . Behind the play's ...
Página 232
... tells them that the giant's ' Pottage - pot will hold more water than the Thames ' ( 13 ) and tries to explain the ... telling Tarpax ' Ile set all the prentices in the house about your eares if you strike me ' ( C3 ) . He also shares ...
... tells them that the giant's ' Pottage - pot will hold more water than the Thames ' ( 13 ) and tries to explain the ... telling Tarpax ' Ile set all the prentices in the house about your eares if you strike me ' ( C3 ) . He also shares ...
Contenido
Bastardy and evil45 | 45 |
Unnatural children85 | 85 |
Natural children129 | 129 |
Derechos de autor | |
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Términos y frases comunes
accursed share actor alien Antipater Antipater's argues Arthur audience authority Bakhtin Barnabe Barnes base bastard characters bastard villain beggar behaviour birth body Brome brother Caliban chastity Church Corydon culture dangerous demonised devil discourse dramatic Dramatists Edgar Edmund Edmund Ironside Edricus English evil father female feminine forces Gaspar grotesque Hercules hero Herod Heywood hierarchy honour ideas identity illegitimacy illegitimate inheritance King John King Lear Late Lancashire Witches legitimate world London lust male marriage masque Misfortunes of Arthur moral Mordred mother murder natural child noble Oldrents Oxford paternity patriarchal performance Philip play play's plots position Prince Prospero psychomachia rebellion rebels Renaissance Drama Renaissance England Revenger's Tragedy Richard Brome role scene sexual Shakespeare shows Sir Richard social society soliloquy sonne speech Springlove stage subversive Suckabus theatre theatrical Thersites Thomas Thomas Heywood thou Tiberius Nero Tragedy University Press unnatural vice virgin virtuous voice witch woman women