Reassessing the relationship between religion and drama in early modern England, this collection explores the commercial theater's reframing of religious culture. Essays foreground the material conditions of performance, the resonances between theatrical and religious rituals, and the multiple valences of religious allusions on the stage. Discussions of both Shakespearean and non-Shakespearean drama reveal the theater's broad interpretation of Christian practice, as well as its engagement with Islam, Judaism and paganism.
Reassessing the relationship between religion and drama in early modern England, this collection explores the commercial theater's reframing of religious culture. Essays foreground the material conditions of performance, the resonances between theatrical and religious rituals, and the multiple valences of religious allusions on the stage. Discussions of both Shakespearean and non-Shakespearean drama reveal the theater's broad interpretation of Christian practice, as well as its engagement with Islam, Judaism and paganism.
Jane Hwang Degenhardt is Assistant Professor of English at the University of Massachusetts, Amherst, and the author of Islamic Conversion and Christian Resistance on the Early Modern Stage (2010). Elizabeth Williamson is Associate Professor of English at the Evergreen State College and the author of The Materiality of Religion in Early Modern English Drama (2009).
Inhaltsangabe
Introduction Part I: Theatrical Materiality and Religious Effects Chapter 1: The Idolatrous Nose: Incense on the Early Modern Stage Chapter 2: Singing a New Song in The Shoemaker's Holiday Chapter 3: "Looking Jewish" on the Early Modern Stage Chapter 4: Muslim Conversion and Circumcision as Theater Part II: Intersections of Popular Theater and Religious Culture Chapter 5: Popular Worship and Visual Paradigms in Love's Labor's Lost Chapter 6: "It is requir'd you do awake your faith": Belief in Shakespeare's Theater Chapter 7: Archbishop Whitgift and the Plague in Thomas Nashe's Summer's Last Will and Testament Chapter 8: "Handling Religion in the Style of the Stage": Performing the Marprelate Controversy Part III: Beyond Allusion and Ideology Chapter 9: Martyr Acts: Playing with Foxe's Martyrs on the Public Stage Chapter 10: "The Juice of Egypt's Grape": Plutarch, Syncretism, and Antony and Cleopatra Chapter 11: Paul Shakespeare: Exegetical Exercises Part IV: Coda Chapter 12: Claudius at Prayer
Introduction Part I: Theatrical Materiality and Religious Effects Chapter 1: The Idolatrous Nose: Incense on the Early Modern Stage Chapter 2: Singing a New Song in The Shoemaker's Holiday Chapter 3: "Looking Jewish" on the Early Modern Stage Chapter 4: Muslim Conversion and Circumcision as Theater Part II: Intersections of Popular Theater and Religious Culture Chapter 5: Popular Worship and Visual Paradigms in Love's Labor's Lost Chapter 6: "It is requir'd you do awake your faith": Belief in Shakespeare's Theater Chapter 7: Archbishop Whitgift and the Plague in Thomas Nashe's Summer's Last Will and Testament Chapter 8: "Handling Religion in the Style of the Stage": Performing the Marprelate Controversy Part III: Beyond Allusion and Ideology Chapter 9: Martyr Acts: Playing with Foxe's Martyrs on the Public Stage Chapter 10: "The Juice of Egypt's Grape": Plutarch, Syncretism, and Antony and Cleopatra Chapter 11: Paul Shakespeare: Exegetical Exercises Part IV: Coda Chapter 12: Claudius at Prayer
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