Titlebook: Shakespeare, Dissent and the Cold War; Alfred Thomas Book 2014 Palgrave Macmillan, a division of Macmillan Publishers Limited 2014 England

不可知論

,“Faith, Here’s an Equivocator”: Language, Resistance, and the Limits of Authority in Shakespeare’s he Porter’s speech provides brief comic relief from the unbearable tension of the preceding scene. But there is also a dark side to this speech: the Porter imagines himself as “the porter of hell gate” from the medieval mystery play .:

使隔離

Introduction,st named Ambrose Barlow, the youngest son of a local knight, had been denounced by the Protestant vicar of the nearby town of Leigh. A few days earlier, on March 7, 1641, King Charles I had signed a proclamation requiring all Catholic priests to leave the realm within one calendar month or face arre

Initial

,Culture and Dissent in Shakespeare’s England and Cold War Europe,s and Hollywood movies that have drawn a sharp contrast between Elizabeth’s restraint and the religious fanaticism of her half-sister Mary. Only in the last few years has this Protestant master narrative begun to be questioned and revised in the light of historical and literary studies by Eamon Duff

劇本

火花

,“A Dog’s Obeyed in Office”: Subverting Authority in Shakespeare’s , and Grigori Kozintsev’s ,,derdale. The players, a group of brothers named the Simpsons, were apparently recusants. So boisterous was this “seditious interlude,” involving an uproarious scene in which a devil carries off a Church of England minister on his shoulders, that it caused something of a riot and even attracted the a

最高峰

,“Faith, Here’s an Equivocator”: Language, Resistance, and the Limits of Authority in Shakespeare’s ve just arrived to awaken King Duncan, who—they will soon discover—has been treacherously murdered in his bed. Coming before this gruesome discovery the Porter’s speech provides brief comic relief from the unbearable tension of the preceding scene. But there is also a dark side to this speech: the P

有特色

,“In Fair Bohemia”: The Politics of Utopia in Shakespeare’s , and Ingeborg Bachmann’s “Bohemia Lies magined. In most critical estimations, ., and . are all characterized by the closed circular structure of alienation, separation, return, and reconciliation. Far from being plays about dissent, the romances would appear to be works of a conservative older playwright anxious to find a harmonious rapp

邪惡的你

Epilogue, to divide the Western hemisphere between winners and losers, the good and the evil. The same is true of the Whiggish-Protestant version of British history after the failure of the Gunpowder Plot and the subsequent consolidation of a Protestant monarchy and a Protestant nation in the seventeenth cen

jaunty

refraction

,‘The Heart of My Mystery”: The Hidden Language of Dissent in Shakespeare’s , and Grigori Kozintsev’plex protagonist into an idealized military hero fit for a wartime audience. A more infamous example of this kind of editing is Nahum Tate’s drastic rewriting of . (1681) to create a happy ending more palatable to the tastes of a post-Restoration audience.