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Giordano Bruno’s visit to Elizabethan England in the 1580s left its imprint on many fields of contemporary culture, ranging from the newly-developing science, the philosophy of knowledge and language, to the extraordinary flowering of Elizabethan poetry and drama. This book explores Bruno's influence on English figures as different as the ninth Earl of Northumberland, Thomas Harriot, Christopher Marlowe and William Shakespeare. Originally published in 1989, it is of interest to students and teachers of history of ideas, cultural history, European drama and renaissance England. Bruno's work had particular power and emphasis in the modern world due to his response to the cultural crisis which had developed - his impulse towards a new ‘faculty of knowing’ had a disruptive effect on existing orthodoxies – religious, scientific, philosophical, and political.
Giordano Bruno’s visit to Elizabethan England in the 1580s left its imprint on many fields of contemporary culture, ranging from the newly-developing science, the philosophy of knowledge and language, to the extraordinary flowering of Elizabethan poetry and drama. This book explores Bruno's influence on English figures as different as the ninth Earl of Northumberland, Thomas Harriot, Christopher Marlowe and William Shakespeare. Originally published in 1989, it is of interest to students and teachers of history of ideas, cultural history, European drama and renaissance England. Bruno's work had particular power and emphasis in the modern world due to his response to the cultural crisis which had developed - his impulse towards a new ‘faculty of knowing’ had a disruptive effect on existing orthodoxies – religious, scientific, philosophical, and political.
A study of the practices and politics of early modern publishers of plays.
Unlike other introductions to literary theory, this distinctive book offers a sustained discussion of a specific period of English literature. Avoiding the danger of employing theories as templates, the author uses Renaissance drama and contemporary theory to question and illuminate each other. It provides a comprehensive account of key modern literary theories and presents detailed applications of them to a wide range of Renaissance plays. It also offers a new way of thinking about the relationship of modern literary theory to its main predecessor, humanism. Finally, it writes a history, which Renaissance drama and modern theory are seen as sharing, of the antagonisms and attempted reconciliations between signs and psyche, objects and subjects, history and self, and language and the human.
This book began with a simple question: when readers such as us encounter the term magic or figures of magicians in early modern texts, dramatic or otherwise, how do we read them? In the twenty-first century we have recourse to an array of genres and vocabulary from magical realism to fantasy fiction that does not, however, work to read a historical figure like John Dee or a fictional one he inspired in Shakespeare's Prospero. Between longings to transcend human limitation and the actual work of producing, translating, and organizing knowledge, figures such as Dee invite us to re-examine our ways of reading magic only as metaphor. If not metaphor then what else? As we parse the term magic, it reveals a rich context of use that connects various aspects of social, cultural, religious, economic, legal and medical lives of the early moderns. Magic makes its presence felt not only as a forms of knowledge but in methods of knowing in the Renaissance. The arc of dramatists and texts that this book draws between Doctor Faustus, The Tempest, The Alchemist and Comus: A Masque at Ludlow Castle offers a sustained examination of the epistemologies of magic in the context of early modern knowledge formation. Please note: Taylor & Francis does not sell or distribute the Hardback in India, Pakistan, Nepal, Bhutan, Bangladesh and Sri Lanka.
Science, Reading, and Renaissance Literature brings together key works in early modern science and imaginative literature (from the anatomy of William Harvey and the experimentalism of William Gilbert to the fictions of Philip Sidney, Edmund Spenser and Margaret Cavendish). The book documents how what have become our two cultures of belief define themselves through a shared aesthetics that understands knowledge as an act of making. Within this framework, literary texts gain substance and intelligibility by being considered as instances of early modern knowledge production. At the same time, early modern science maintains strong affiliations with poetry because it understands art as a basis for producing knowledge. In identifying these interconnections between literature and science, this book contributes to scholarship in literary history, history of reading and the book, science studies and the history of academic disciplines.
«Discrepant awareness» describes the unequal distribution of knowledge and information among various characters in a drama as well as in the relationship between dramatic characters and audience. Only a few studies of this important dramatic element have been written so far. This book attempts to define discrepant awareness and to explore its various possibilities of usage in a coherent body of dramatic literature.
Impossible Desire and the Limits of Knowledge in Renaissance Poetry examines the limits of embodiment, knowledge, and representation at a disregarded nexus: the erotic carpe diem poem in early modern England. These macabre seductions offer no compliments or promises, but instead focus on the lovers' anticipated decline, and—quite stunningly given the Reformation context—humanity's relegation not to a Christian afterlife but to a Marvellian 'desert of vast Eternity.' In this way, a poetic trope whose classical form was an expression of pragmatic Epicureanism became, during the religious upheaval of the Reformation, an unlikely but effective vehicle for articulating religious doubt. Its ambitions were thus largely philosophical, and came to incorporate investigations into the nature of matter, time, and poetic representation. Renaissance seduction poets invited their auditors to participate in a dangerous intellectual game, one whose primary interest was expanding the limits of knowledge. The book theorizes how Renaissance lyric's own fragile relationship to materiality and time, and its self-conscious relationship to making, positioned it to grapple with these 'impossible' metaphysical and representational problems. Although attentive to poetics, the book also challenges the commonplace view that the erotic invitation is exclusively a lyrical mode. Carpe diem's revival in post-Reformation Europe portends its radicalization, as debates between man and maid are dramatized in disputes between abstractions like chastity and material facts like death. Offered here is thus a theoretical reconsideration of the generic parameters and aspirations of the carpe diem trope, wherein questions about embodiment and knowledge are also investigations into the potentialities of literary form.
Medieval and Renaissance Drama in England is an international volume published every year in hardcover, containing essays and studies as well as book reviews of the many significant books and essays dealing with the cultural history of medieval and early modern England as expressed by and realized in its drama exclusive of Shakespeare.
It is often assumed that we can never know how the earliest audiences responded to the plays and playbooks of Shakespeare, Marlowe, and other Renaissance dramatists. In this study, old compilations of early modern dramatic allusions provide the surprising key to understanding pre-1660 reception. Whether or not it begins with powerful emotion, that reception creatively applies and appropriates the copious resources of drama for diverse purposes, lessons, and interests. Informed also by critical theory and historical research, this understanding reveals the significance of response to Tamburlaine and Falstaff as well as the importance of drama to Edmund Spenser, John Donne, John Milton, and many others. It makes possible the study of particular responses of women and of workers and contributes to the history of subjectivity, reading, civil society, and aesthetics, and demands a fresh view of dramatic production.