This dissertation examines the representation of adoption in early modern English drama in order to analyze the language of social and familial relations in early modern culture. I propose that although these plays often ultimately support the traditional idea of a birth family, adoption challenges conventional notions of the family by making artificial, non-consanguine relations appear natural, thereby exposing the family unit as a social construction. I suggest further that adopted characters complicate notions of biological inheritance through their negotiations of language, place, and power. My dissertation thus explores the connections between historical language use and social status in early modern England; it couples early modern rhetorical theories and treatises with modern linguistic theory, drawing upon recent sociolinguistic scholarship. The result is to show that understanding how language demarcates social position is essential to illuminating the cultural intricacies of the plays of the period. In Chapters 1 and 2, I investigate the social and economic repercussions of adoption. Chapter 1 discusses the previously overlooked cultural importance of horticultural metaphors of adoption in Shakespeare’s The Winter’s Tale, Cymbeline, and All’s Well That Ends Well. In this chapter, I explore the ways in which early modern culture explained adoption by depicting it in a particular kind of figurative language. Chapter 2 focuses on the economic consequences of, and motivations for, adoption in Middleton’s A Chaste Maid in Cheapside. In my final two chapters, I scrutinize the relations between the early modern family and linguistic practice. Chapter 3 explores the connections between genetics, physical likeness, and language in Lyly’s Mother Bombie and Shakespeare’s The Comedy of Errors. Finally, in Chapter 4 I investigate familial relation as a source of linguistic and social power. Middleton’s Women Beware Women, I argue, suggests that kinship exists within language and grants particular speakers linguistic and social authority.

This dissertation examines the representation of adoption in early modern English drama in order to analyze the language of social and familial relations in early modern culture. I propose that although these plays often ultimately support the traditional idea of a birth family, adoption challenges conventional notions of the family by making artificial, non-consanguine relations appear natural, thereby exposing the family unit as a social construction. I suggest further that adopted characters complicate notions of biological inheritance through their negotiations of language, place, and power. My dissertation thus explores the connections between historical language use and social status in early modern England; it couples early modern rhetorical theories and treatises with modern linguistic theory, drawing upon recent sociolinguistic scholarship. The result is to show that understanding how language demarcates social position is essential to illuminating the cultural intricacies of the plays of the period. In Chapters 1 and 2, I investigate the social and economic repercussions of adoption. Chapter 1 discusses the previously overlooked cultural importance of horticultural metaphors of adoption in Shakespeare’s The Winter’s Tale, Cymbeline, and All’s Well That Ends Well. In this chapter, I explore the ways in which early modern culture explained adoption by depicting it in a particular kind of figurative language. Chapter 2 focuses on the economic consequences of, and motivations for, adoption in Middleton’s A Chaste Maid in Cheapside. In my final two chapters, I scrutinize the relations between the early modern family and linguistic practice. Chapter 3 explores the connections between genetics, physical likeness, and language in Lyly’s Mother Bombie and Shakespeare’s The Comedy of Errors. Finally, in Chapter 4 I investigate familial relation as a source of linguistic and social power. Middleton’s Women Beware Women, I argue, suggests that kinship exists within language and grants particular speakers linguistic and social authority.

Le présent travail s’intéresse à dix pièces écrites et jouées entre 1580 et 1625. Le corpus retenu inclut des pièces rédigées par Robert Daborne, Thomas Dekker, Thomas Heywood, Christopher Marlowe, Philip Massinger, Thomas Middleton, Samuel Rowley et William Shakespeare et Nathaniel Woodes. Cette étude tâche principalement de révéler en quoi les dramaturges de la Renaissance se sont appropriés et ont transformé des codes appartenant à la tradition de la disputatio médiévale afin de mettre en scène les dissensions religieuses de leur époque. Nous avons pris en compte deux acceptions du terme « dispute ». Il peut en effet être défini comme un débat formel et dialectique et comme la manifestation d’un désaccord violent entre deux personnes ou plus.La première partie étudie les éléments conflictuels que l’on trouve dans les scènes de dispute, observant comment les dramaturges mettent en scène les différents aspects du conflit théologique et se sont emparés de l’idée d’hybridité religieuse qui caractérise la période. Cette partie s’interroge sur la mesure dans laquelle la scène de dispute reflète mais aussi nourrit le conflit religieux. Toutefois, une seconde partie analyse ces dialogues et rencontres conflictuelles, souvent violents, comme une manière paradoxale de négocier une certaine forme de coexistence et de décréter une trêve. Une troisième partie se concentre enfin sur les procédés dramatiques mis en œuvre par les auteurs pour proposer une résolution du conflit et atteindre un compromis littéraire entre une forme artistique élitiste et populaire. Ce travail souligne également le lien entre une célébration de l’art du théâtre comme un art fondamentalement hybride et la représentation du conflit religieux à travers les scènes de dispute. / This study focuses on ten plays written and performed between 1580 and 1625. The corpus includes plays by Robert Daborne, Thomas Dekker, Thomas Heywood, Christopher Marlowe, Philip Massinger, Thomas Middleton, Samuel Rowley, William Shakespeare and Nathaniel Woodes. The primary aim of this work is to determine the extent to which Renaissance dramatists appropriated and transformed the old tradition of the medieval disputatio in order to stage the religious dissensions of their time. Two definitions of the word ‘dispute’ were considered. Indeed, it can be defined both as a formal dialectical debate and as a violent disagreement between two or more people.The first part explores the conflictual elements to be found in a scene of dispute, looking at how the playwrights staged the different aspects of the conflict and dealt with the idea of religious hybridity which characterises the period. This part questions the extent to which the scene of dispute reflects but also fuels the religious feuds. Nevertheless, the second part analyses these conflictual, and sometimes violent, encounters and dialogues as a paradoxical way to negotiate a certain form of coexistence and to call a truce. Finally, a third part focuses on the way the playwrights used drama to suggest a solution to the conflict and to reach a compromise between an elitist and a popular form of art. This study also explores the link between the vindication of the art of theatre as something fundamentally hybrid and the representation of the religious conflict through scenes of dispute.

This thesis is an examination of the theoretical concepts of Antonin Artaud (1896-1948) and their relation to the Elizabethan theatre. I propose that the dramas of the age of Shakespeare and the environment in which they were produced should be seen as an integral part of the Theatre of Cruelty and essential to its very understanding. The development of the English Renaissance public theatre was at the mercy of periods of outbreaks and abatements of plague, a powerful force that Artaud considers to be the double of the theatre. The claim for regeneration as an outcome of the plague, a phenomenon causing intense destruction, is very specific to Artaud. The cruel and violent images associated with the plague also feature in the theatre, as do its destructive and regenerative powers. The plague and its surrounding atmosphere contain both the grotesque and sublime elements of life Artaud wished to capture in his theatre. His theory of cruelty is part of a larger investigation into the connection between spectacle, violence, and sacrifice explored by Mikhail Bakhtin, René Girard, and Georges Bataille.

<div>This dissertation brings together studies of early modern subjectivity, material culture, and dramatic performance in ways that address the myriad ways in which material objects—in this case, clothing and costumes—can act as catalysts for change in a work of the dramatic literature of the period. Literary studies of the twenty-first century has done little to examine the ways in which costumes on the early modern English stage functioned to convey relationships between outward expression and inner self. Despite critical agreement that staged objects in early modern England were significant for creating meaning in theatrical performances, the presentation of material objects in early modern English drama with respect to a performed selfhood continues to be underappreciated or misunderstood, if not entirely neglected.</div><div> </div><div>In response to this problem, I argue that an examination of the history of costumes on the early modern English stage is necessary to discover how costumes functioned over time to indicate both complete and incomplete transformations in performance. On-stage clothing, particularly when it is removed from or placed upon an actor’s body, effectively added to the performed narrative. Within any given work of drama, of course, the act of changing costumes often coincides with the potential for a change of one’s character. Examining elements of identity including political alignment, social status, religion, gender, and sexuality as features that can be defined and redefined through costuming, it is possible to trace the ways in which costumes have the power to transform. </div><div><br></div>