ENG 101 - Castle High School

This is a 3 volume reference work (i.e. 3 separate eBooks). Select a volume from the "Choose a volume" drop down menu in the white portion of the page below the image of the book, then browse the table of contents to see what each volume contains. Or, type a search term (e.g. "hamlet") into the search box in the gray area at the top of the page, select "within publication" from the search bar drop down, then click the looking glass icon to find your search terms in this reference work.

Chapter List:
1. Author and Collaborator
2. Theatre
3. The Material Book
4. The First Folio
5. Mapping the Text
6. Emendation and Modernization
7. Versification and Stage Directions
8. Texts for Readers

This is a 3 volume reference work (i.e. 3 separate eBooks). Select a volume from the "Choose a volume" drop down menu in the white portion of the page below the image of the book, then browse the table of contents to see what each volume contains. Or, type a search term (e.g. "hamlet") into the search box in the gray area at the top of the page, select "within publication" from the search bar drop down, then click the looking glass icon to find your search terms in this reference work.

The article explores the acting career of playwright William Shakespeare and the artistic legacy of his dramatic works. Emphasis is given to topics such as Shakespeare's lack of an elite education, critical bias against actors, and scholarship on Shakespeare's characters by authors such as William Hazlitt, John Keats, and Voltaire.

This essay examines Catholic vestments on the English stage from the early Reformation through Shakespeare. The changing meaning, status, and usage of Catholic vestments, which crossed the boundary from sacred religious property to secular theatrical costume, enabled the diverse theatrical manipulation of the garments to build on and relieve contemporary social anxiety about Catholicism. This, in turn, demonstrates the self-contradictory attitudes of many early modern English subjects toward Catholicism, theatricality, and sexuality. The discussion begins with the vestiarian controversies caused by the radical Protestants' stubborn resistance to state control over what to wear in Reformed churches. This controversy can be elucidated by a look at vestment rentals and sales before and after the Reformation. The economic value and cultural history of vestments as well as the related religious polemic played a crucial role in determining where vestments belonged physically and metaphorically. The discussion then focuses on several plays that stage vestments during and after the Reformation and explores what they reflected and represented. From the effort to keep Catholic vestments as the symbol of sacred authority to the strategic movement to reverse their meaning to secularized Catholic hypocrisy, struggles to control the meaning invested in the liturgical Catholic vestments were represented, embodied, and enacted in early modern theater history as well as in the plays staged in the period.

The article offers criticism on plays by William Shakespeare, including "A Midsummer Night's Dream," "Othello," and "The Winter's Tale." The author focuses on the phenomenality of images in the plays, drawing on the work of phenomenologists including Maurice Merleau-Ponty, Jean-Luc Marion, and Emmanuel Levinas. The author describes Shakespeare as a literary artist writing for the visual form of dramatic theater.

Analyzes William Shakespeare's tragedy `Antony and Cleopatra' that dramatizes a dangerous `relationship' between two dangerous international celebrities at a crucial period in history. Ambivalent personalities of Antony and Cleopatra; Cleopatra's association with the pagan goddess Fortuna; Antony's addiction to games of chance.

The writer challenges the conventional view that the Reformation prevented the development of English visual culture. In doing so, she provides fresh perspectives on visual experience that have significant implications for our understanding of audience experience in early modern drama. She reevaluates iconoclastic acts as instances in which elements of visual culture were reconstructed rather than destroyed in order to provide an important context for the relationship between the viewer and the viewed, which was encouraged in the early modern playhouse. Focusing on William Shakespeare's The Winter's Tale and John Lyly's Campaspe (first produced1583–84), she demonstrates that the discourses of construction that dominate Lyly's and Shakespeare's portrayals of an interactive relationship between audience and performance arise out of a context in which the influence of pre-Reformation approaches to images coexisted with a notion of visual representations as items of ambiguous status subject to direct, physical interrogation by the viewer.

Interrogates the implications of the dual image of King James I of England to determine the structure and purpose of high cultural practices at court during the first decade of the Stuart reign. Situation of James I in terms of the kinds of regnal problems to which he addressed himself at his accession; Assessment of James's relationship to the development of the arts in England in terms of his parallel assumption of monarchal responsibilities.

Discusses allusions to James I and his court in English dramatist William Shakespeare's historical play 'Henry VIII.' Reflection of James' situation and attitudes in those of Henry; Relevance of the cautionary tale of Henry's misgovernment and the ideal order envisioned by the character Cranmer for the Jacobean audience; Significance of the play's elaborations and fictitious additions.