Titlebook: Reformations of the Body; Idolatry, Sacrifice, Jennifer Waldron Book 2013 Jennifer Waldron 2013 John Milton.reformation.theatre.tragedy.Wil

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Introduction,devil.” By the end of the movie, he is a Shakespeare convert: we see him standing in the audience, raptly attentive as Romeo and Juliet meet their tragic end. This amusing turnabout is a standard dig at religious hypocrisy—one that could have been written by Shakespeare himself. Yet the film’s minor

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,Sacrament and Theater: Shakespeare’s Lawful Magic,ally as it marks an intersection of theatrical phenomenology with post-Reformation religious culture. Yet what is the nature of the “magic” that characters such as Leontes and Paulina describe as “l(fā)awful” here? Why would Leontes compare it to “eating”? Shakespeare draws freely on Catholic traditions

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Theatrical Authorship and Providential Bodies: The Case of ,,nitive break with the sacral theater of medieval drama.”. One set of evidence in this case for Marlowe’s transitional status has been his participation in a general shift away from allegorical dramatic modes over the course of the sixteenth century.. As Katharine Eisaman Maus notes, “Marlowe makes t

STEER

Revenge, Sacrifice, and Post-Reformation Theater: ,,Is it a Christian morality tale about the perils of private revenge? The least Christian play ever staged? A piece of Protestant propaganda against Catholic Spain? A pagan mystery?. The play’s religious allusions crystallize, however, when we consider more closely its institution of the revenge conv

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Shakespeare and Revenge: Anthropologies of Sacrifice in , and ,,hich I thought a sacrifice!” (5.2.63–65). Othello’s reference to his heart of stone, his legalistic language of retributive justice against a “perjured woman,” and his reference to sacrifice all come into sharp focus in light of Protestant views of propitiatory sacrifice as a species of “dead works”

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自作多情

Epilogue,er’s 1620 play, ., which features the death of a fourth-century martyr also described in Foxe. In both stories, the martyr’s body plays an explicitly iconoclastic role that can serve as a signpost for a variety of subtler literary experiments during this long period of reformation. Oldcastle and Dor

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ses on how technology has been developed in the past, and how constructive futures may be envisaged. More and more, academics are inviting multidisciplinarity and embracing ethnographic methods as part of the design of networks and technical artifacts, realizing that innovation cannot be user-center