Titlebook: Refashioning Ben Jonson; Gender, Politics, an Julie Sanders (Lecturer in English),Kate Chedgzoy Book 1998 Palgrave Macmillan, a division o

FLIRT

: Ethics and Politics in the Early Reign of James,Queen, Elizabeth, had just died, and her Scottish cousin had now succeeded her as James I. People in England were understandably curious about their new ruler’s political, social, and religious ideas, and . more than satisfied such curiosity. At one point, for instance, James instructed Henry about

obligation

弄污

,The Lone Wolf: Jonson’s Epistle to ,ments in earlier works by Jonson, such as Lorenzo Jr’s encomium on poetry in . (printed in 1601), the various Grexes in . (1600), and incidental commentary on those parts of . (1604) for which Jonson had been responsible. There are also relatively brief prefaces to the printed texts of . (1605) and

PIZZA

Hell for Lovers: Shades of Adultery in ,. Frances Fitzdottrel, an abused wife in that hell, must choose between her tyrannical fool of a husband and her sensitive admirer — essentially a choice between being perceived as honest (by sticking to her marriage vows), or dishonest (by reaching out for love and rational companionship). In this

Obliterate

Print, Popular Culture, Consumption and Commodification in ,roline court.. This underestimates the richness and topicality of playtexts such as . (1629), . (1632), and . (1633), as well as the continuing exercises in dramatic experimentation which these plays represent in the Jonsonian canon.. My focus in this essay will be on just one of those late plays: .

記憶法

符合國(guó)情

火車(chē)車(chē)輪

mploys materialist, feminist and queer theory in the production of its readings of Jonsonian playtexts and masques, familiar and otherwise. It is intended to encourage new approaches by students to this central figure from the Renaissance.978-1-349-26716-3978-1-349-26714-9

熱情贊揚(yáng)

,Jonson’s ‘Comical Satires’ and the Art of Courtly Compliment, was later to preface the . of 1616, proclaims Jonson as the first to study Greek antiquities and the monuments of the Roman theatre. Donne praises Jonson as a singular follower of the ancients who is yet an innovator, while Beaumont credits him with introducing a classic comic style hitherto unknown to the English stage.

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