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The play of paradox : stage and sermon in Renaissance England

Author: Bryan Crockett
Publisher: Philadelphia : University of Pennsylvania Press, ©1995.
Edition/Format:   Print book : EnglishView all editions and formats
Summary:
The Play of Paradox: Stage and Sermon in Renaissance England is a wide-ranging investigation of Tudor/Stuart drama, Reformation preaching, and the relations between the two. The cross-fertilization between the two kinds of performance engendered among audiences a ready receptivity to the rhetorical use of paradox. The two modes similarly capitalized on characteristic Renaissance syntheses of magic, drama, and  Read more...
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Genre/Form: Criticism, interpretation, etc
History
Additional Physical Format: Online version:
Crockett, Bryan.
Play of paradox.
Philadelphia : University of Pennsylvania Press, ©1995
(OCoLC)604882313
Online version:
Crockett, Bryan.
Play of paradox.
Philadelphia : University of Pennsylvania Press, ©1995
(OCoLC)607204975
Material Type: Internet resource
Document Type: Book, Internet Resource
All Authors / Contributors: Bryan Crockett
ISBN: 0812233166 9780812233162
OCLC Number: 32924167
Description: x, 213 pages : illustrations ; 24 cm
Contents: Introduction: Bucer's Round Church and Shakespeare's "Wooden O": The Circulation of the Reformation Sermon and the Renaissance Play --
2. The Pulpit Performance and the Two-Edged Sword --
3. "Holy Cozenage" and the Renaissance Cult of the Ear --
4. Satire and Social Structure --
5. "Strange Tempests": The Rhetoric of Judgment in Field and Shakespeare --
6. The Mist and the Wilderness: Protestant Paradox in Gifford and Webster --
7. Donne in on Shakespeare's Stage: The Theology and Theatrics of Renaissance Dying.
Responsibility: Bryan Crockett.

Abstract:

The Play of Paradox: Stage and Sermon in Renaissance England is a wide-ranging investigation of Tudor/Stuart drama, Reformation preaching, and the relations between the two. The cross-fertilization between the two kinds of performance engendered among audiences a ready receptivity to the rhetorical use of paradox. The two modes similarly capitalized on characteristic Renaissance syntheses of magic, drama, and religion to develop strategies for negotiating state control. In chapters that set comedies and tragedies by Shakespeare, Jonson, Webster, and others side by side with sermons by Hooker, Andrewes, Donne, and popular preachers whose works have not been reprinted since the early seventeenth century, Bryan Crockett argues that stage and pulpit performances elicited similar responses to the political and theological divisions marked by the incessant polemics of the age.

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