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 45
... example , lists among the inward signs of election the Holy Ghost's testimony in one's heart , a feeling of justification , and peace of conscience.47 But what of the one who at one time or another perceives nothing of the Holy Ghost's ...
... example , lists among the inward signs of election the Holy Ghost's testimony in one's heart , a feeling of justification , and peace of conscience.47 But what of the one who at one time or another perceives nothing of the Holy Ghost's ...
Seite 66
... example of " holy cozenage to catch the souls of men , " John Donne goes even farther , devel- oping a conceit that both explicitly develops the fishing motif and evokes the paradox of judgment and mercy : The Gospel of Christ Jesus is ...
... example of " holy cozenage to catch the souls of men , " John Donne goes even farther , devel- oping a conceit that both explicitly develops the fishing motif and evokes the paradox of judgment and mercy : The Gospel of Christ Jesus is ...
Seite 170
... example , Nicholas Harpsfield used the " rod of cor- rection " to beat five penitents . See Rozett , p . 41 ; MacLure , Pauls , and Boswell , Register , p . 37. Ordinarily it was the penitent who held the rod of correction . See MacLure ...
... example , Nicholas Harpsfield used the " rod of cor- rection " to beat five penitents . See Rozett , p . 41 ; MacLure , Pauls , and Boswell , Register , p . 37. Ordinarily it was the penitent who held the rod of correction . See MacLure ...
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