David Hawkes, Professor Lisa Hopkins, Professor Douglas Bruster
Money, magic and the theatre were powerful forces in early modern England. Money was acquiring an independent, efficacious agency, as the growth of usury allowed financial signs to reproduce without human intervention. Magic was coming to seem Satanic, as the manipulation of magical signs to performative purposes was criminalized in the great ‘witch craze.’ And the commercial, public theatre was emerging – to great controversy – as the perfect medium to display, analyse and evaluate the newly autonomous power of representation in its financial, magical and aesthetic forms. Money...
Money, magic and the theatre were powerful forces in early modern England. Money was acquiring an independent, efficacious agency, as the growth of u...
Michael M. Wagoner, Professor Lisa Hopkins, Professor Douglas Bruster
To interrupt, both on stage and off, is to wrest power. From the Ghost’s appearance in Hamlet to Celia’s frightful speech in Volpone, interruptions are an overlooked linguistic and dramatic form that delineates the balance of power within a scene. This book analyses interruptions as a specific form in dramatic literature, arguing that these everyday occurrences, when transformed into aesthetic phenomena, reveal illuminating connections: between characters, between actor and audience, and between text and reader. Focusing on the works of William Shakespeare, Ben Jonson and John...
To interrupt, both on stage and off, is to wrest power. From the Ghost’s appearance in Hamlet to Celia’s frightful speech in Volpone, interruption...
