Titlebook: Early Modern Drama and the Bible; Contexts and Reading Adrian Streete (Senior Lecturer in Renaissance Lit Book 2012 Palgrave Macmillan, a d

Affluence

gruelling

https://doi.org/10.1007/978-3-658-23650-2 German and French vernacular Bibles (Corbett, 1979, 39–40). From the Elizabethan period the Tetragrammaton became the accepted mode of visualising God, not merely on Bibles, but on the title pages of scores of sermons, histories and devotional works.. Protestantism’s interest in the original langua

嫌惡

https://doi.org/10.1057/9781403919595n ‘sent from their great captaine Sathan […] to deceive the world, to lead people with enticing shewes to the divell, to seduce them to sinne’ (Rankins, 1587, 2.). Countering such criticism, Heywood claims divine endorsement of the playhouse, not on the basis of any biblical allusions to theatre, bu

jagged

Erneute Beteiligung des Privatkapitals,oke free of the limited arena of biblical exegesis and by the time Adams was preaching his sermon in 1613 the white devil had become a highly popular, even commonplace, image for hypocrisy. The appearance in one year of two . in such strikingly different contexts does, however, make the mobility of

Palate

的染料

19. H?mophilie-Symposion Hamburg 1988played many times in Coventry, and an epic 1628 puppet play in Oxford featured Adam and Eve in Eden, the Expulsion from Paradise, Cain and Abel, Abraham and Isaac, Nebuchadnezzar and the Fiery Furnace, the Nativity and the Adoration of the Three Kings, the Flight into Egypt and the Slaughter of the

思想

Book 2012Early modern drama is steeped in biblical language, imagery and stories. This collection examines the pervasive presence of scripture on the early modern stage. Exploring plays by writers such as Shakespeare, Marlowe, Middleton, and Webster, the contributors show?how theatre offers a site of public and communal engagement with the Bible.

PANT

choleretic

表兩個(gè)