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. |
Im Buch
Ergebnisse 1-3 von 12
Seite 54
... hear , and to hear him . God would have us beholden to grace , and not to nature , and to come for our salvation to his ordinances , to the preaching of his word , and not to any other means.22 This displacement of the visual signs of ...
... hear , and to hear him . God would have us beholden to grace , and not to nature , and to come for our salvation to his ordinances , to the preaching of his word , and not to any other means.22 This displacement of the visual signs of ...
Seite 73
... hear Moll Cutpurse than him.3 According to Chamberlain , Frith " wept bitterly and seemed very penitent , but it is since doubted she was maudlin drunk , being discovered to have tippled three quarts of sack before she came to her ...
... hear Moll Cutpurse than him.3 According to Chamberlain , Frith " wept bitterly and seemed very penitent , but it is since doubted she was maudlin drunk , being discovered to have tippled three quarts of sack before she came to her ...
Seite 179
... hear his voice . And they shall come forth , that have done good unto the resurrection of life : but they that have done evil , unto the resurrection of condemnation . " 14. For treatments of Prospero's acceptance of his limitations see ...
... hear his voice . And they shall come forth , that have done good unto the resurrection of life : but they that have done evil , unto the resurrection of condemnation . " 14. For treatments of Prospero's acceptance of his limitations see ...
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 | |
6 weitere Abschnitte werden nicht angezeigt.
Andere Ausgaben - Alle anzeigen
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