...David Aers; Sarah Beckwith “Go, litel bok, go, litel myn tragedye.” So wrote Chaucer at the end of Troilus and Criseyde . But how compatible are the forms and ideas of tragedy with Christian tradition, its theology and liturgy? What are the relations between medieval and early modern discourses...

...Patrick Gray Efforts to describe Shakespeare’s tragedies and place them within the history of the genre have been long misled by dubious assumptions about Shakespeare’s secularism dating back to the influence of German Romanticism. The use of concepts drawn from Aristotle’s Poetics has been...

... and The Tempest . Copyright © 2019 by Duke University Press 2019 William Shakespeare genre of tragedy The Winter’s Tale and The Tempest Hegel lectures on fine art ethics ...

...: Fortunes of a Genre, Medieval and Early Modern Edited by David Aers and Sarah Beckwith Volume 49 / Number 1 / January 2019 “Go, litel bok, go, litel myn tragedye.” So wrote Chaucer at the end of Troilus and Criseyde. But how compatible are the forms and ideas of tragedy with Christian tradition...

... disappointment with a lack of faithfulness, fluency, and sensitivity in early modern translations. 40 At least in Heywood's case, this assessment does not quite fit. Heywood is not an author “who happens to be translating,” he becomes an author because he is translating. The genre he writes is not tragedy...

... Tragedy: Fortunes of a Genre, Medieval and Early Modern Edited by David Aers and Sarah Beckwith Volume 49 / Number 1 / January 2019 “Go, litel bok, go, litel myn tragedye.” So wrote Chaucer at the end of Troilus and Criseyde. But how compatible are the forms and ideas of tragedy with Christian...

...-down gulfs of liquid fire!” (5.2.286–87). 58 The resonance between these stories suggests that Shakespeare in this play doesn't turn from one dramatic genre to another—from comedy to tragedy—so much as he discovers that comedy, in the world of Francesco Spiera, can end only in one way. If we...

... of literature has a clearer rationale than many fields for treating population dynamics as a major element of historical explanation. After all, the life cycle is perhaps the fundamental literary subject. By the end of the early modern period, the two principal dramatic genres, tragedy and comedy, were defined...

... Ann Arbor, Michigan Perhaps because of its native subject matter, scholars have long turned to “native” dramatic genres to explain the history play, in contrast to the acknowledged classical roots of tragedy and comedy.1 Each of the three main medieval dramatic traditions — mystery...

...Timothy Hampton Duke University Press 2008 a The Tragedy of Delegation: Diplomatic Action and Tragic Form in Racine’s Andromaque Timothy Hampton...

... of plays from different parts of the canon (early, middle, and late), and different genres (history play, problem comedy, tragedy, and romance). They also address a set of changing practices: historiography (Parker); sanc- tity and satisfaction (Sanok, Appleford, Hirschfeld); chivalry and neoclassi...

... Two Books of Homilies Appointed to be Read in Churches, 107. 47 D. H. Lambert, Shakespeare Documents (London: George Bell, 1904), 47. Thomas Heywood, also influenced by medieval dramatic history and a probable collaborator in Sir Thomas More, lists “Morrall” as a genre with “Tragedy...

... it announces represent the formal peroratio of the play’s action, shifting its genre from tragedy to romance.2 Indeed, while act 5 is as preoccupied as the rest of the play with the intrigue of Henry’s court, the prophecy, with its mysterious promise of political redemption by a baby girl, is redolent...

..., and agency.” But she also imputes this to the wide range of genres “in which reflection on virtue is at home.” Such a wide range confounds the disciplinary and departmental divisions of the modern university. Herdt meets this challenge by gathering “philosophical, theological, historical, and literary...

... to be a man of Stow's generation, sharing his catholic taste for a plethora of performative genres. Having “played at the university” himself, he appreciates the versatility of players released from the confines of one such theater, on a tour of places where they can observe “the law of writ” but also have...

... social contexts, practices, genres, and values. Taken together, the essays in this issue show how forms not only represent but also embody catastrophe's continuities and discontinuities, its rhythms and ruptures, its order and disorder, and its anxieties, uncertainties, and possibilities. 13...

... today call a serial killer. The article thus examines the way parish registers might usefully be supplemented by legal and literary texts to get at not only the births, marriages, and deaths of parishioners in the aggregate but also their lived experience, how they responded to tragedy not on the nearby...

... York Throughout the several centuries comprising the “late medieval” and “early modern” periods, and across various genres of writing and areas of social performance, the commouns is invoked as the starting-point, or rationale, of proposed social actions. Never quite the entirety...

... and a lasting embarrassment for the papacy but also one of the period’s greatest diplomatic failures. In Timothy Hampton’s reading of Racine’s Andromaque, the pathos that Biow locates in the ambassador’s role as a representative of his prince develops into full-blown tragedy. Situating the play...

... would certainly ask what it was about the Book of Hours as a genre that made it so popular as a place to record family history. Reception or cultural theorists would downplay intrinsic qualities, prefer- ring instead to emphasize the new historical work such textual sites were performing. The debate...