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1	An Analysis and Reconstruction of the Performance of Ben Jonson's The Masque of Queens on the Night of February 2, 1609 Valois, Ellin Elaine January 1954 (has links) No description available. Theater Ben Jonson Masque of queens Textual criticism Masques
2	An Analysis and Reconstruction of the Performance of Ben Jonson's The Masque of Queens on the Night of February 2, 1609 Valois, Ellin Elaine January 1954 (has links) No description available. Theater Ben Jonson Masque of queens Textual criticism Masques
3	Vanishing Acts: Absence, Gender, and Magic in Early Modern English Drama, 1558-1642 Dell, Jessica 19 November 2014 (has links) This dissertation examines how early modern English playwrights employ absence to enrich their representations of the unknown, including witchcraft and the supernatural. Throughout the sixteenth and seventeenth centuries magical themes were often dramatized through visual and linguistic excess. Whether this excess was manifested through the use of vibrant costumes, farcical caricatures, or exaggerated dialogue, magic was often synonymous with theatricality. Playwrights such as William Rowley, Ben Jonson, and William Shakespeare, however, challenge stereotypical depictions of magic by contrasting excessive magic with the subtler power of restrained or off-stage magic. Embedded in the fantastical events and elaborate plots of Shakespeare and his contemporaries, absence, whether as an unstaged thing or person or an absent ideology, becomes a crucial element in understanding how playwrights represented and understood occult issues during the early modern period. Further, when gendered feminine, magical absences serve to combat oppressive silences within scripts and provide female subjects with an unimpeded and inherently magical space from which to challenge pre-established patriarchal systems of control. Each chapter in this dissertation, therefore, appraises the magical possibilities that theatrical absences provide to women as a platform from which to develop their narrative voice. Partnered with a complementary discussion of Jonson’s The Masque of Queens and two thematically linked witchcraft cases, my first chapter argues that Mistress Ford uses the complete stage absence of both a witch and a queen in The Merry Wives of Windsor to reform her community and critique her society’s unjust categorization of women. In chapter two, I examine a series of “vanishing acts” in The Birth of Merlin and argue that Rowley’s female characters use their final moments on stage to contextualize their impending absences for audiences as moments of magical defiance rather than defeat in the face of male tyranny. In my final chapter, I look at how magical objects, such as the handkerchief in Shakespeare’s Othello or the belt in Jonson’s The Sad Shepherd resist the absence of their female creators and continue to provide physically absent or dead women with magical agency. By structuring my dissertation on these three specific gradations of absence, I provide a nuanced analysis of the purposes these dramatic omissions serve by focusing on how these shades of absence subtly alter the ways in which we interpret and define early modern magical belief. / Thesis / Doctor of Philosophy (PhD) early modern drama Shakespeare absence magic Jonson gender Elizabethan Jacobean Merry Wives of Windsor The Sad Shepherd Birth of Merlin image magic witch witchcraft Masque of Queens Rowley
4	The King, the Prince, and Shakespeare: Competing for Control of the Stuart Court Stage Gabriel R Lonsberry (9039344) 29 June 2020 (has links) <div>When, each holiday season, William Shakespeare’s newest plays were presented for King James I of England and his court, they shared the stage with propagandistic performances and ceremonies intended to glorify the monarch and legitimate his political ideals. Between 1608 and 1613, however, the King’s son, Prince Henry Frederick, sought to use the court stage to advance his own, oppositional ideology. By examining the entertainments through which James and Henry openly competed to control this crucial mythmaking mechanism, the present investigation recreates the increasingly unstable conditions surrounding and transforming each of Shakespeare’s last plays as they were first performed at court. I demonstrate that, once read in their original courtly contexts, these plays speak directly to each stage of that escalating rivalry and interrogate the power of ceremonial display, the relationship between fiction and statecraft, and the destabilization of monarchically imposed meaning, just as they would have then.<br></div> Literature History Drama British and Irish Literature Other European Literature British History shakespeare king james henry frederick coriolanus pericles cymbeline the tempest the winter's tale henry viii two noble kinsmen ben jonson masque inigo jones oberon masque of queens tethys' festival barriers king's men love restored beaumont john fletcher Chivalry Protestantism george chapman thomas campion memorable masque masque of truth the lord's masque

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