Mendes – the Duke of Metilli referred to by Shapiro – whose role in Elizabethan England helps to illustrate the precarious presence of Jews in Shakespeare`s London, as well as his influence on English politics vis-à-vis the Ottoman Empire and Spain. Dom
‘Jews’in Late Tudor England and the Ottoman Jews
Josè Alberto Rodrigues da Silva Tavim
The Example of Richard Johnson
Naomi C. Liebler
Richard Johnson, sometime apprentice and later producer of a baker’s dozen of very popular works of prose and verse, would today be dismissed as a hack. That he was noticed at all in his day and since then, however, suggests that his work has an important place in the record of how, and why, reading became not only a leisure-time activity of a late Elizabethan and Jacobean citizenry, but also both a marker and maker of an emerging English bourgeois self-consciousness. His Most Famous History of the Seven Champions of Christendom (Part 1: STC 14677; Part 2: STC 14678), a prose romance of epic proportions regarding the exploits of St George, with token attention to the other six, was one of the more popular works of the late Elizabethan and Jacobean periods.
This Orient Isle: Elizabethan England and the Islamic World , by Jerry Brotton ( London : Allen Lane , 2016 ), 384 pages. In September 1600, the Moroccan ambassador Abd al-Wahid bin Masoud bin Muhammad al-Annuri proposed ‘a formal military
Happiness is not a term, ideal or goal in life that many will immediately associate with Sir Philip Sidney. His established image is not that of a pursuer of happiness; he is rather known as the ambitious male heir of a powerful Elizabethan family
analysing plays as if they were sociological documents. However, one should also take into consideration how imbricated and complex the relationships between theatre and social life were in Elizabethan and Jacobean times. Dramatic mimesis is, with all due
Negotiating the Gaze in the Travel Writings of Anthony Munday and Thomas Dallam
In “eyewitness” accounts of the Mediterranean by Anthony Munday and Thomas Dallam, assertions of allegiance to Elizabethan England are destabilized by the physicality of “looking.” Early modern theories of vision and post-Reformation constructions of the viewed contributed to conceptualizations of objectified spectacle as a source of physical threat to the viewer. This article explores Munday's and Dallam's negotiations of the physicality of visual experiences as the authors participate in interactive modes of viewing demanded by the rituals and ceremonies of strangers. Witnessing a Jesuit whipping himself before devotional objects at the English college in Rome in 1578, Munday's emphasis on his physical difference to the Jesuit reproduces the idolatrous interaction with the viewed that this author critiques. Describing his presentation of a mechanical organ to the Sultan Mehmed III in Constantinople in 1599, Dallam's spectatorship is distorted as he becomes a functional part of the ceremonial display of this instrument.
John Dover Wilson and Hamlet Criticism Between the Wars
After the First World War, critical interest in Hamlet was particularly intense. The War had precipitated a crisis of rationality, and now, along with a wide range of conventional positions and assumptions, the rationality of Shakespeare’s play came into question. On one side of a protracted debate, John Dover Wilson marched at the head of those critics who argued and defended the rationality of Hamlet. For Wilson, approaches which threatened the traditional understanding of the play also threatened good sense. In particular, he set himself against those views which, by undermining the coherence and authority of Shakespeare and his play, served to undermine their rationality. Yet it was W.W. Greg – the most ‘rational’ of critics, and in other respects Wilson’s powerful ally – who supplied the most pressing challenge to articulate the full defence not only of the rational Hamlet, but also of the rational Elizabethan stage.
This article examines the quotations of Elizabeth I’s iconic portraiture as Virgin Queen in Shekhar Kapur’s Elizabeth (1998) and Elizabeth: The Golden Age (2007), and their effect on our a posteriori conceptualization of the depicted body of the female sovereign. Using Mieke Bal’s concept of preposterous history, I argue that Kapur’s transposition of Virgin Queen iconography onto celluloid results in a “(complex) text” that “is both a material object and an effect” (1999: 14). Bal acknowledges that the complexity that lies in the material results of the artistic quotation is not necessarily subversive, as it is dependent on the quoting artist’s ideological premise. Indeed, Kapur’s intermedial quotation of Elizabethan portraiture imbues the highly complex body of the female ruler with contemporary heteronormative notions of female sexuality, thereby reducing it to an object for the male gaze.
Jews in Shakespeare’s England
–1603). 5 Evidence suggests that as long as they maintained at least the outward appearance of being Christians, the Jews of Elizabethan England were largely left undisturbed. 6 When Elizabeth ascended to the throne in 1558, there were fewer than 3
from earlier understandings in Merchant . Given due recognition of the Venetian and Elizabethan contexts in which the play was set and written, different re-conceptions of this play can still take place with a different set of conventions, religious