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 50
... death , which is the death of death . Not too much for my death , which is the death of the devil . Not too little for your own life , which is the life of the devil . Not too much for which is my life . Not too little for your own life ...
... death , which is the death of death . Not too much for my death , which is the death of the devil . Not too little for your own life , which is the life of the devil . Not too much for which is my life . Not too little for your own life ...
Seite 65
... death in the Crucifixion leads to another paradox in the Resurrection : the death of Death . Preacher and playwright Thomas Goffe plays on one formulation of the idea : “ Uteri nova forma , ” saith a Father , for the tomb to become a ...
... death in the Crucifixion leads to another paradox in the Resurrection : the death of Death . Preacher and playwright Thomas Goffe plays on one formulation of the idea : “ Uteri nova forma , ” saith a Father , for the tomb to become a ...
Seite 88
... death and rebirth implicit in Ven- turewell's conversion . Of course , comedy is generally conducive to conversions ... death , he turns his self - pity into spite , cursing everyone around him as he exits for the last time . Just as Sir ...
... death and rebirth implicit in Ven- turewell's conversion . Of course , comedy is generally conducive to conversions ... death , he turns his self - pity into spite , cursing everyone around him as he exits for the last time . Just as Sir ...
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