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 33
... theater ] appeared religiously atavistic , dangerously so , and able to appeal to sensibilities that should prop- erly have atrophied in the reform of religion . The popularity of the London theaters testifies to the survival of those ...
... theater ] appeared religiously atavistic , dangerously so , and able to appeal to sensibilities that should prop- erly have atrophied in the reform of religion . The popularity of the London theaters testifies to the survival of those ...
Seite 68
... theater holds the principle of cozenage at its very center . Through their suspension of disbelief , the members of the audience willingly engage in the trickery of drama - the actors ' im- personations of people they are not , the bare ...
... theater holds the principle of cozenage at its very center . Through their suspension of disbelief , the members of the audience willingly engage in the trickery of drama - the actors ' im- personations of people they are not , the bare ...
Seite 82
... theater in Bartholomew Fair . There is also the pompous justice Adam Overdo , who visits the fair in disguise in order to discover and denouce its " enormities . " Overdo says of the acting profession , " the favouring of this ...
... theater in Bartholomew Fair . There is also the pompous justice Adam Overdo , who visits the fair in disguise in order to discover and denouce its " enormities . " Overdo says of the acting profession , " the favouring of this ...
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