Boundaries of Violence in Early Modern England
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This book explores the possibilities and limitations of violence on the Early Modern stage and in the Early Modern world.This collection is divided into three sections: History-cal Violence, (Un)Comic Violence, and Revenge Violence. This division allows scholars to easily find intertextual materials; comic violence may function similarly across multiple comedies but is vastly different from most tragic violence. While the source texts move beyond Shakespeare, this book follows the classic division of Shakespeare's plays into history, comedy, and tragedy. Each section of the book contains one c...
This book explores the possibilities and limitations of violence on the Early Modern stage and in the Early Modern world.
This collection is divided into three sections: History-cal Violence, (Un)Comic Violence, and Revenge Violence. This division allows scholars to easily find intertextual materials; comic violence may function similarly across multiple comedies but is vastly different from most tragic violence. While the source texts move beyond Shakespeare, this book follows the classic division of Shakespeare's plays into history, comedy, and tragedy. Each section of the book contains one chapter engaging with modern dramatic practice along with several that take textual or historical approaches.
This wide-ranging approach means that the book will be appropriate both for specialists in Early Modern violence who are looking across multiple perspectives, and for students or scholars researching texts or approaches.
This collection is divided into three sections: History-cal Violence, (Un)Comic Violence, and Revenge Violence. This division allows scholars to easily find intertextual materials; comic violence may function similarly across multiple comedies but is vastly different from most tragic violence. While the source texts move beyond Shakespeare, this book follows the classic division of Shakespeare's plays into history, comedy, and tragedy. Each section of the book contains one chapter engaging with modern dramatic practice along with several that take textual or historical approaches.
This wide-ranging approach means that the book will be appropriate both for specialists in Early Modern violence who are looking across multiple perspectives, and for students or scholars researching texts or approaches.
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