November
Shakespeare Electronic Conference, Vol. 3, No. 314. Wednesday, 11 November 1992. (1) From: John D. Cox <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Wednesday, 11 Nov 1992 11:25 EST Subj: Re: SHK 3.0312 Medieval Heritage of Elizabethan Drama (2) From: Kay Stockholder <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Wednesday, 11 Nov 92 10:55:48 PST Subj: SHK 3.0313 Rs: Medieval Heritage of Elizabethan Drama (3) From: Kay Stockholder <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Wednesday, 11 Nov 92 10:52:50 PST Subj: SHK 3.0311 Volumnia's "Manliness" (Was Doubling) (4) From: Gary Davis <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Wednesday, 11 Nov 1992 11:55:30 -0400 (AST) Subj: Re: Everyman (1)---------------------------------------------------------------------------- From: John D. Cox <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Wednesday, 11 Nov 1992 11:25 EST Subject: 3.0312 Medieval Heritage of Elizabethan Drama Comment: Re: SHK 3.0312 Medieval Heritage of Elizabethan Drama Kung-yu Chin asks about the medieval heritage of Elizabethan drama. I shamelessly recommend *Shakespeare and the Dramaturgy of Power* (Princeton, 1989). Also useful and important: Robert Weimann, *Shakespeare and the Popular Tradition in the Theater* (Johns Hopkins, 1978) and Walter Cohen, *Drama of a Nation* (Cornell, 1985). John D. Cox (2)---------------------------------------------------------------------------- From: Kay Stockholder <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Wednesday, 11 Nov 92 10:55:48 PST Subject: Rs: Medieval Heritage of Elizabethan Drama Comment: SHK 3.0313 Rs: Medieval Heritage of Elizabethan Drama Another older work that is very rich on the medieval tradition is A.P.Rossiter's. I forget the exact title, but something like Medieval backgrounds to Jacobean drama. (3)---------------------------------------------------------------------------- From: Kay Stockholder <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Wednesday, 11 Nov 92 10:52:50 PST Subject: Volumnia's "Manliness" (Was Doubling) Comment: SHK 3.0311 Volumnia's "Manliness" (Was Doubling) I agree with you. The apprehension of her character would be independent of whether a man or woman played her, so that modern productions in which a woman portrays her would lose nothing by the change. (4)---------------------------------------------------------------------------- From: Gary Davis <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Wednesday, 11 Nov 1992 11:55:30 -0400 (AST) Subject: Re: Everyman Can anyone on this list suggest a list which might include discussion of Everyman? -- Gary Davis
Shakespeare Electronic Conference, Vol. 3, No. 313. Tuesday, 10 November 1992. (1) From: Edward Pechter <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Tuesday, Nov. 10, 1992, 12:50 EDT Subj: Re: SHK 3.0312 Medieval Heritage of Elizabethan Drama (2) From: John Drakakis <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Tuesday, Nov. 10, 1992, 16:00:00 Subj: Re: SHK 3.0312 Medieval Heritage of Elizabethan Drama (1)--------------------------------------------------------------------------- From: Edward Pechter <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Tuesday, Nov. 10, 1992, 12:50 EDT Subject: 3.0312 Medieval Heritage of Elizabethan Drama Comment: Re: SHK 3.0312 Medieval Heritage of Elizabethan Drama One answer to Kung-yu Chin's question about recent work in the medieval heritage of Elizabethan drama: try John Cox's book, *Shakespeare & the Dramaturgy of Power* [sic?], published by Princeton a couple of years ago. (Cox is on our network and, though no doubt too modest to refer to his own work, might have other suggestions.) While I'm here, just a quick thanks to everybody who contributed to the Hero's mother exchange of a week or so ago. It was informative, interesting and (in the case of one notable conversion) highly dramatic. (2)--------------------------------------------------------------------------- From: John Drakakis <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Tuesday, Nov. 10, 1992, 16:00:00 Subject: 3.0312 Medieval Heritage of Elizabethan Drama Comment: Re: SHK 3.0312 Medieval Heritage of Elizabethan Drama You might like to try Robert Weimann's Shakespeare and The Popular Tradition in the Theater, ed. Robert Schwartz (Baltimore and London, 1978). John Drakakis Department of English Studies University of Stirling
Shakespeare Electronic Conference, Vol. 3, No. 312. Tuesday, 10 November 1992. From: Kung-yu Chin <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Tuesday, Nov. 10, 1992, 02:11 -0600 (CST) Subject: Medieval Heritage of Elizabethan drama Hi, I just had this question.. What is the latest publication on the topic of medieval heritage of the Elizabethan drama(tragedy/comedy)? Sure, this term comes from W. Farnham's famous book. But how does the recent Renaissance scholarship adapt his thesis? Thanks, CHIN
Shakespeare Electronic Conference, Vol. 3, No. 311. Sunday, 8 November 1992. From: Doug Rutledge <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Sunday, Nov. 8, 1992, 22:33:24 EST Subject: Stockholder's Response to Engler on Doubling Comment: SHK 3.0309 Stockholder's Response to Engler on Doubling It seems to me that Volumnia's 'manliness' is very much a part of Coriolanus. Indeed, Volumnia played both father and mother to her warrior son is very proud of that idea. To argue that her double gender role would be accentuated by the fact that a man plays the woman's part seems to me a bit extreme.
Shakespeare Electronic Conference, Vol. 3, No. 310. Sunday, 8 November 1992. (1) From: Kay Stockholder <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Sunday, Nov. 8, 1992, 09:25:38 PST Subj: SHK 3.0306 Research Proposal for Comments (2) From: Lars Engle <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Sunday, Nov. 8, 1992, 14:33:51 CST Subj: RE:SHK 3.0306 Research Proposal for Comments (1)--------------------------------------------------------------------------- From: Kay Stockholder <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Sunday, Nov. 8, 1992, 09:25:38 PST Subject: Research Proposal for Comments Comment: SHK 3.0306 Research Proposal for Comments An interesting idea. One can take kings in Shakespeare's plays as representative of coming to manhood, whether or not the plays function ritualistically. I mean, to be a king is to be autonomous, as only a king can be in that society. Therefore it can easily represent adult autonomy in our society, where one can become adult before one's father is dead. (2)--------------------------------------------------------------------------- From: Lars Engle <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Sunday, Nov. 8, 1992, 14:33:51 CST Subject: Research Proposal for Comments Comment: RE:SHK 3.0306 Research Proposal for Comments In response to Sean Lawrence: The "breeching" ceremony, which in aristocratic and gentle households seemed to involve giving a male child a sword as well as shifting his attire from something resembling a modern skirt to something resembling modern trousers, may count as a masculine coming-of-age ritual. See Lawrence Stone, _The Family, Sex and Marriage_, abridged edition, p. 258, where this practice is described in C17 and C18 households and called "a critically important _rite de passage_." Shakespeare seems to allude to it when Leontes says, "Looking on the lines / Of my boy's face, methoughts I did recoil / Twenty-three years, and saw myself unbreech'd, / In my green velvet coat . . ."(1.2.153). Daggers unmannerly breech'd in gore seem also to allude to this kind of coming-of-age process. ------------------------------------------------------------ | Lars Engle | | | Department of English, ZH-319 | 1112 E. 17th St. | | University of Tulsa | Tulsa, OK 74120-6881 | | Tulsa, OK 74104-3189 | | |This email address is being protected from spambots. You need JavaScript enabled to view it. | | | (918) 631-2853 | (918) 585-8089 | ------------------------------------------------------------