The Play of Paradox: Stage and Sermon in Renaissance EnglandUniversity of Pennsylvania Press, 1995 - 213 Seiten The Play of Paradox: Stage and Sermon in Renaissance England is a wide-ranging investigation of Tudor/Stuart drama, Reformation preaching, and the relations between the two. The cross-fertilization between the two kinds of performance engendered among audiences a ready receptivity to the rhetorical use of paradox. The two modes similarly capitalized on characteristic Renaissance syntheses of magic, drama, and religion to develop strategies for negotiating state control. In chapters that set comedies and tragedies by Shakespeare, Jonson, Webster, and others side by side with sermons by Hooker, Andrewes, Donne, and popular preachers whose works have not been reprinted since the early seventeenth century, Bryan Crockett argues that stage and pulpit performances elicited similar responses to the political and theological divisions marked by the incessant polemics of the age. |
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Seite 116
... action . The device has been seen as an awkward violation of theatrical unity , but Time's speech actually reinforces the rhetorical paradox of simultaneous mercy and judg- ment . The chorus begins , I , that please some , try all ...
... action . The device has been seen as an awkward violation of theatrical unity , but Time's speech actually reinforces the rhetorical paradox of simultaneous mercy and judg- ment . The chorus begins , I , that please some , try all ...
Seite 117
... action of turning the hourglass , and even the action within it : surely the sand in the top half is about to run out - the pressure of the first half of the play almost de- mands it - when Time turns the glass . The pressure is ...
... action of turning the hourglass , and even the action within it : surely the sand in the top half is about to run out - the pressure of the first half of the play almost de- mands it - when Time turns the glass . The pressure is ...
Seite 136
... action ; she vic- toriously and humbly accepts herself as simultaneously saint and sinner . In this interpretation the Duchess's faith , despite the utter lack of anything in her external circumstances that could justify faith , is a ...
... action ; she vic- toriously and humbly accepts herself as simultaneously saint and sinner . In this interpretation the Duchess's faith , despite the utter lack of anything in her external circumstances that could justify faith , is a ...
Inhalt
The Pulpit Performance and the TwoEdged Sword | 31 |
Holy Cozenage and the Renaissance Cult of the Ear | 50 |
Satire and Social Structure | 73 |
Urheberrecht | |
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The Play of Paradox: Stage and Sermon in Renaissance England Bryan Crockett Eingeschränkte Leseprobe - 2016 |
Häufige Begriffe und Wortgruppen
accept According action argued Atheos audience believers body calls Calvin Cambridge central century chapter character Christ Christian church claim comedy course cultural death discourse divine doctrine Donne Donne's doubt drama Duchess of Malfi early effect elect Elizabethan England English example experience fact faith Field force God's godly hand hath hear holy human idea ideological insistence interpretive John Jonson judge judgment late live London matter means Measure mercy metaphysical moral Oxford paradigm paradox Paul Paul's Cross performance play playwrights polemic preacher preaching present Protestant pulpit Puritan question Reformation religious Renaissance response rhetoric Richard Robert salvation satire says seems sense sermon Shakespeare similar simultaneously sixteenth social sort soul speak spirit stage Studies Tale theater theological things Thomas thou thought tion Tragedy University Press voice vols Webster's whole Winter's York Zelotes