In 1998, the Manhattan Theatre Club’s staging of Terrence McNally’s play Corpus Christi ignited protest and virulent condemnation from various religious and politically conservative groups which eventually led to the cancellation of the play’s production. This led to a barrage of criticism from the national theatre, gay, and civil rights communities and free speech advocates, including the ACLU and PEN, which issued a press releases about the cancellation that decried censorship and acquiescence by the theatre to neo-conservative religiously political groups. As swiftly as the cancellation, the Manhattan Theatre Club reversed its decision and the show resumed its rehearsal schedule. Although the critical reception of the play was mostly negative, the political controversy surrounding its production testifies to the fact that a contemporary play in America dealing with both religious and gay themes is still economically risky, radical politically, and worthy of critical rhetorical analysis. This work aims to fill that gap by providing an in-depth investigation of the tangled rhetorical history of Corpus Christi. First providing an account of the controversy surrounding the 1998 production of Corpus Christi, this work then gives a historical and cultural analysis of McNally’s career and corpus of work leading up to the play’s contentious staging. Second, a full account of the play’s critical reception is given through a close analysis of the rhetorical responses to the work from the Christian Right and the more secular community that supported the play’s production. Third, the American Christian Right’s vitriolic rhetorical response to the play is indicted as homophobic hate speech. Fourth, how McNally’s play repudiates the rhetorical violence perpetrated by the Right against gays is revealed. Finally, the last two chapters examine how the rhetoric of the play speaks directly to its queer audience. Chapter five reveals the rhetorical and meta-theatrical conversion strategies employed by McNally in Corpus Christi to proselytize his expansive message of Christ to his gay audience. Ending the work, chapter six examines McNally’s rhetorical reclamation of the Christ figure from the Right as a means of sacralizing homosexuality as a religious identity and homosexual love and sex as a spiritual act.

La Tesis Doctoral es un estudio de todos los aspectos relacionados con el teatro comercial en la ciudad de Murcia desde finales del siglo XVI hasta el siglo XVIII. En ella se aportan datos sobre los corrales de comedias, actores y compañías de teatro en época aurisecular, además de hacer un recorrido por la festividad del Corpus Christi en Murcia. El primer espacio escénico que existió en Murcia en los albores del barroco fue uno de los patios del Hospital de Nuestra Señora de Gracia y Buen Suceso. Se hicieron representaciones desde el año 1593 hasta 1609. En 1609 se construyó el teatro del Toro, una gran casa de comedias de propiedad municipal que pretendía dar abasto a la demanda de teatro de la ciudad. En 1633 el teatro se trasladó a un edificio en la Plaza de Santa Catalina de esta ciudad, hasta 1636 que la casa de comedias del Toro vuelve a funcionar hasta el siglo XIX. Murcia quedó inserta en itinerarios que utilizaban los comediantes cuando recorrían las parte sur-levante de la península. En Murcia representaron las compañías más prestigiosas de la época. / The doctoral thesis is a research on every aspect related to the commercial theatre in Murcia city from the end of 16th century to the 18th century. The research provides with information about corrales de comedias (former play houses, theatres), actors and theatre companies at the Golden Age as well as a look through Corpus Christi feast in Murcia.At the dawn of Baroque the first place for performing in Murcia was a courtyard in Nuestra Señora de Gracia y Buen Suceso Hospital where some performances took place from 1593 to 1609. In 1609 the Toro theatre was built; it was a big municipal play house which tried to meet the demand for theatre in the city. In 1633 performances were moved to a building in Santa Catalina square in Murcia, but in 1636 the Toro theatre reopened and worked until the 19th century.Murcia city was a permanent performing spot for actors and companies when touring the south and east of the country.

Si l'auto sacramental baroque du XVIIe siècle est aujourd'hui amplement étudié, moins fréquentes sont les études consacrées aux drames eucharistiques espagnols du XVIe siècle, et plus rares encore celles qui ont pris comme objet la théâtralité spécifique de ces modestes pièces de la Renaissance. Travailler sur les pièces eucharistiques du XVIe siècle demandait une réflexion préalable sur l'origine d'un genre dramatique qui s'est développé dans la péninsule ibérique tout au long de la Renaissance, époque à laquelle la question religieuse a fréquemment occupé le devant de la scène (crypto-judaïsme, Concile de Trente, Contreréforme, question des morisques). Toutefois, ce n'est pas seulement l'interrogation obsédante concernant l'origine des drames eucharistiques qui a guidé ces travaux, mais surtout le concept de théâtralité —on entend par là les signes inscrits dans le texte dramatique et possédant un potentiel de spectacularité—, afin de rechercher comment ce théâtre s'est progressivement doté des caractéristiques qui lui sont propres. C'est sur un corpus de trente-deux pièces d'origines et de style divers que nous avons construit une réflexion dont le premier point concerne l'espace dramatique et montre que les lieux infernaux et célestes acquièrent une importance croissante dans ce théâtre. L'analyse des dialogues et de leur enchaînement a permis ensuite de souligner la place prise par les figures d'"attaque" et de "mouvement-vers", suivant la terminologie vinaverienne. Par ailleurs, en nous inspirant de concepts sémiotiques relatifs aux structures "sémio-narratives de surface" comme le modèle actantiel de Greimas, nous avons montré les différentes stratégies discursives propres aux drames eucharistiques, afin de mieux pénétrer les mécanismes qui régissent les dialogues et caractérisent les liens entre les personnages de ce théâtre. L'évolution des éléments comiques a pu être mise en relief par une étude minutieuse des procédés langagiers, gestuels, ou encore des effets tirés de l'utilisation de personnages populaires. Enfin, une approche de l'allégorie (élément considéré comme fondamental dans l'auto sacramental), sous l'angle de la théâtralité, a souligné combien les développements successifs de cette figure dans le drame eucharistique du XVIe siècle l'ont doté d'une structure cohérente permettant des effets toujours plus spectaculaires. / Allthough17th century baroque Spanish sacramental plays have been thoroughly studied, the same cannot be said of 16th century Spanish Eucharistic dramas and even less so of the theme of specific theatricality in the modest Renaissance plays. The study of 16th century Eucharistic plays required prior thought on the origins of a dramatic genre which developed in the Iberian peninsula throughout the Renaissance years, a period when religion was frequently the main issue (The crypto-Judaism, Council of Trent, the Counter-Reformation and the Moriscos). However, it is not just the obsessive questioning concerning the origins of Eucharistic dramas which guided these studies but above all the theatricality concept, by that we mean the signs containing a spectacularity potential within the dramatic text. This is essential in order to understand how this kind of theatre gradually acquired its own specific characteristics. We have worked on thirty-two original plays written in different styles. Our first point of interest was the dramatic space which shows that hellish and heavenly places acquire an increasing importance in this kind of theatre. The analysis of dialogues and of how they are linked together then allowed us to emphasize the space taken up by the “attack” and “movement-towards” figures (Michel Vinaver’s terminology). Additionally, by taking inspiration from semiotic concepts relative to “surface semio-narrative” patterns like the Greimas’ actancial model, we have shown different discursive strategies specific to Eucharistic dramas. This allowed us to study more thoroughly the mechanisms determining the dialogues and which characterize the links between the characters of this theatre. The evolution of comical elements has been highlighted by a detailed study of language and gestural techniques as well as a study of the effects produced by using typical theatre characters. Finally, an approach of the allegory in theatricality (element considered as fundamental in Spanish sacramental plays), has emphasized to which extent successive developments of this structure in 16th century Eucharistic drama have given a coherent structure to theatricality making the effects even more spectacular.

Solicitud de envío manuscrito de artículo científico. / Esta investigación enfoca su análisis en la percepción de la publicidad BTL en festividades religiosas - tradicionales que se presenta en espacios de conglomeración de público para hacerse visible. El caso en estudio es la festividad del Corpus Christi de Cusco - 2019 y el público objetivo analizado son miembros del Consejo de Hermandades, representantes de las quince hermandades que participan en dicho evento de manera activa, llevando a las imágenes de santos y vírgenes desde cada parroquia ubicada en diferentes distritos y puntos de la ciudad y quienes toman decisiones sobre esta festividad de gran valor para la población local. El objetivo es analizar la percepción de los miembros del Consejo de Hermandades sobre la publicidad BTL en la festividad del Corpus Christi cusqueño – 2019. La metodología, se fundamenta en un enfoque cualitativo, utilizando como herramientas las entrevistas estructuradas. Dentro de los principales hallazgos en este estudio, en relación a la percepción, se evidencia que no existe un vínculo emocional del público hacía la publicidad BTL que interviene en este evento, pues se considera que es un factor externo al significado real y esencial de un acontecimiento religioso-tradicional de gran importancia. Asimismo, se considera que la publicidad tiene una naturaleza estrictamente comercial y se afirma no obtener ningún beneficio de ella. Finalmente, se concluye que la publicidad BTL en festividades tradicionales - religiosas puede ser más apropiada cuando respeta el significado real y la esencia de este tipo de manifestaciones, sin poner en riesgo la reputación del anunciante. / This study focuses its analysis on the perception on BTL advertising in religious traditional festivities which is carried out in crowded areas in order to become visible. The case study is the festivity of Corpus Christi in Cusco in 2019 and the target public involved in the study is the members of the Council of Brotherhoods, representatives of each of the fifteen brotherhoods that participate in that event actively. They carry images of the saints and virgins from each church located in different districts and city areas; they also participate taking decisions about the festivity which are of great importance for the local population. The objective of this study is to analyze the perception that the members of the Council of Brotherhoods have of BTL advertising in Cusco’s Corpus Christi festivity. The methodology is based on a qualitative approach, using the structured surveys as data collection tool. Among the main findings in this study, in relation to perception, it is evidenced that there is no emotional link between the festivity attendees and the BTL advertising since this last one is considered an external factor that distorts the real and essential meaning of a traditional religious manifestation of such magnitude. Furthermore, this advertising is considered to be strictly commercial and it is stated that the target public does not obtain any benefit from it. Finally, it is concluded that BTL advertising in traditional religious festivities can be more appropriate when the real meaning and essence of this type of manifestations are respected in order not to damage the announcers’ reputation. / Tesis

Zugl.: Bonn, Univ., Diss., 2005

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By the turn of the seventeenth century, the auto sacramental quickly became the most elaborate dramatic genre in Spain. Shortly after the Council of Trent, professional playwrights replaced clerics who had previously written autos for the Corpus Christi celebrations held each year, but none were more influential than Lope de Vega in refining thematic, literary, and staging elements and techniques. At the middle of the nineteenth century, critics began to study the genre that a royal decree had banned almost a century earlier; however, few have dedicated much time to Lope's autos. As a result, most critics have misunderstood Lope's contributions to the genre. This study addresses some of the issues that scholars have particularly misunderstood or ignored, namely, Lope's treatment of the Eucharistic theme in his autos, the level of dramatic unity displayed in his Corpus Christi plays, and the contribution of spectacle to the overall performance. Using a textual analysis of three of Lope's autos, I conclude that Lope could and did write profound, unified liturgical plays designed to disseminate Catholic dogma in an effective and entertaining manner. Each of the three autos used in this study, Las aventuras del Hombre, El viaje del Alma, and Los dos ingenios y esclavos, presents a protagonist representing mankind, who must learn to disregard evil influences faced in mortality and turn to Christ and the Eucharist for salvation. These elaborate liturgical performances, whose budgets exceeded those of the popular comedias of the day, all took place in city plazas around the country. In order to understand the deserved popularity that Lope's autos clearly enjoyed in their original setting, scholars need to return to the texts themselves and not merely rely on criticism.

This thesis takes as its starting point the use of extracts from the works of historical authors who wrote in England in the early to mid twelfth-century. It focuses upon the ways in which their works began to be incorporated into three particular texts in the later twelfth and early thirteenth centuries. Through the medium of individual case studies – De Abbatibus (Abingdon), CCCC 139 (Durham) and The London Collection three elements are explored (i) how mediaeval writers used extracts from the works of others in ways which differed from modern practices with their concerns over charges of plagiarism and unoriginality (ii) how the structural and narrative roles which the use of extracts played within the presentation of these texts (iii) how the application of approaches developed in the twentieth century, which transformed how texts are now analysed, enabled a re-evaluation and re-interpretation of their use of source material with greater sensitivity to their original purposes This analysis casts fresh light upon the how and why these texts were produced and the means by which they fulfilled their purposes and reveals that despite their disparate origins and individual perspectives these three texts share two common features: (i) they follow a common three stage pattern of development (ii) they deal with similar issues: factional insecurities and concerns about the quality of those in power over them – using an historical perspective The analysis also reveals the range of techniques which were at the disposal of the composers of these texts, dispelling any notion that they were either unsophisticated or naïve in their handling of their source materials. Together these texts demonstrate how mediaeval authors used combinations of extracts as a means of responding quickly and flexibly to address particular concerns. Such texts were not regarded as being set in stone but rather as fluid entities which could be recombined at will in order to produce new works as required.

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This thesis examines the life and works of the English Calvinist clergyman Daniel Featley (1582-1645) through the lens of various printed and manuscript sources, especially his manuscript notebooks in Oxford. It links his story and thought to the broader themes of early Stuart religious, political, and intellectual history. Chapter one analyses the first thirty- five years of Featley’s life, exploring how many of the features that underpin the major themes of Featley’s career—and which reemerged throughout his life—were formed and nurtured during Featley’s early years in Oxford, Paris, and Cornwall. There he emerges as an ambitious young divine in pursuit of preferment; a shrewd minister, who attempted to position himself within the ecclesiastical spectrum; and a budding polemicist, whose polemical exchanges were motivated by a pastoral desire to protect the English Church. Chapter two examines Featley’s role as an ecclesiastical licenser and chaplain to Archbishop George Abbot in the 1610s and 1620s. It offers a reinterpretation of the view that Featley was a benign censor, explores how pastoral sensitivities influenced his censorship, and analyses the parallels between Featley’s licensing and his broader ecclesiastical aims. Moreover, by exploring how our historiographical understandings of licensing and censorship have been clouded by Featley’s attempts to conceal that an increasingly influential anti- Calvinist movement was seizing control of the licensing system and marginalizing Calvinist licensers in the 1620s, this chapter (along with chapter 7) addresses the broader methodological issues of how to weigh and evaluate various vantage points. Chapters three and four analyse the publications resulting from Featley’s debates with prominent Catholic and anti-Calvinist leaders. These chapters examine Featley’s use of patristic tradition in these disputes, the pastoral motivations that underpinned his polemical exchanges, and how Featley strategically issued these polemical publications to counter Catholicism and anti-Calvinism and to promulgate his own alternative version of orthodoxy at several crucial political moments during the 1620s and 1630s. Chapter five focuses on how, in the 1620s and 1630s, the themes of prayer and preaching in his devotional work, Ancilla Pietatis, and collection of seventy sermons, Clavis Mystica, were complementary rather than contradictory. It also builds on several of the major themes of the thesis by examining how pastoral and polemical motivations were at the heart of these works, how Featley continued to be an active opponent—rather than a passive bystander and victim—of Laudianism, and how he positioned himself politically to avoid being reprimanded by an increasingly hostile Laudian regime. Chapter six explores the theme of ‘moderation’ in the events of the 1640s surrounding Featley’s participation at the Westminster Assembly and his debates with separatists. It focuses on how Featley’s pursuit of the middle way was both: a self-protective ‘chameleon- like’ survival instinct—a rudder he used to navigate his way through the shifting political and ecclesiastical terrain of this period—and the very means by which he moderated and manipulated two polarized groups (decidedly convictional Parliamentarians and royalists) in order to reoccupy the middle ground, even while it was eroding away. Finally, chapter seven examines Featley’s ‘afterlife’ by analysing the reception of Featley through the lens of his post-1660 biographers and how these authors, particularly Featley’s nephew, John Featley, depicted him retrospectively in their biographical accounts in the service of their own post-restoration agendas. By analysing how Featley’s own ‘chameleon-like’ tendencies contributed to his later biographers’ distorted perception of him, this final chapter returns to the major methodological issues this thesis seeks to address. In short, by exploring the various roles he played in the early Stuart English Church and seeking to build on and contribute to recent historiographical research, this study sheds light on the links between a minister’s pastoral sensitivities and polemical engagements, and how ministers pursued preferment and ecclesiastically positioned themselves, their opponents, and their biographical subjects through print.