Neo-latin Drama Research Papers - Academia.edu (original) (raw)

Introduction to a Jesuit play about the martyrdom of St. John Fisher

Introduction to a tragicomedy produced at the Venerable English College, Rome.

Introduction to an academic version of an Elizabethan so-called "Turk play."

Beine, Julia Jennifer: Die Sklavenfiguren der „fabula palliata“ in ihren Rezeptionen und Funktionen auf den europäischen Bühnen der Frühen Neuzeit. Forschungskolloquium zur Klassischen Philologie, Ruhr-Universität Bochum, Bochum,... more

Beine, Julia Jennifer: Die Sklavenfiguren der „fabula palliata“ in ihren Rezeptionen und Funktionen auf den europäischen Bühnen der Frühen Neuzeit. Forschungskolloquium zur Klassischen Philologie, Ruhr-Universität Bochum, Bochum, 11.01.2022.

Chapter on the dramas written and represented in Latin in the Iberian Peninsula and in Latin America from the end of the 15th century until the middle of the 17th century. First of all I pay special attention to certain works of humanists... more

Chapter on the dramas written and represented in Latin in the Iberian Peninsula and in Latin America from the end of the 15th century until the middle of the 17th century. First of all I pay special attention to certain works of humanists of Catalonia (Satorres), Valencia (Anyès), Burgos (Maldonado), Alcalá de Henares (Petreius), Portugal (Tevius) and Mexico (Cervantes de Salazar). I explain how the dramatic activity of the Jesuits (Venegas, Crucius, Acevedus, Bonifacius) replaced the humanists In the second half of the sixteenth century. I analyze the influence of the poetics of Aristotle and Horace and of the ancient drama on certain characteristics of these works (structure, number of acts, characters, use of prose and verse, genres); as well as the influence of this theater in the Spanish and Portuguese theater of the time. I deal with aspects such as the use of theater for the active learning of Latin; its ideological, religious and political implications; the biblical and allegorical themes among others; the scenic art and the occasions of representation. I include bibliography (pp. 616-618), an appendix on the main studies and editions (pp. 619-620), and a catalog with the life, works and basic bibliography of the 16 main authors (pp. 621-631).

Introduction to an interesting experiment in which the playwright retells the story of Shakespeare's Othello as a comedy rather than a tragedy.

Introduction to a remarkably energetic and lurid Latin play about the life and death of the emperor Nero, an experiment in writing Euphuistic Latin

Analysis of a dialogue by Bartholomaeus Bravus. We offer the edition of several excerpts of the dialogue. It is particularly interesting in its school context, since it shows school exercises, giving a pattern for boys’ learning, for whom... more

Analysis of a dialogue by Bartholomaeus Bravus. We offer the edition of several excerpts of the dialogue. It is particularly interesting in its school context, since it shows school exercises, giving a pattern for boys’ learning, for whom they are written. It shows a real pattern of life to the boys, and its end meets reality, since it tells of the foundation of the congregation by the pupils which actually took place that same day in 1578. At the same time, while performed before the citizens of Monterrey, this play aims at showing the piety, erudition and talent of the boys who were educated in the Jesuit schools.

Introduction to an edition of five masques written for the court of Mary Queen of Scots.

Introduction to a history play about the Saxon invasion of England written for performance at the Anglo-Catholic university at Douai

Introduction to a Latin comedy by Abraham Cowley

This paper reexamines the theory that plays produced in the dining halls of Cambridge and Oxford colleges employed free-standing structures or "houses." The considerable difficulties in this idea are discussed and a different solution to... more

This paper reexamines the theory that plays produced in the dining halls of Cambridge and Oxford colleges employed free-standing structures or "houses." The considerable difficulties in this idea are discussed and a different solution to the problem of how buildings were represented in these plays is proposed

Introduction to an Elizabethan Latin comedy performed at Cambridge.

A historical introduction to Thomas Naogeorgus's play 'Iudas Iscariotes' (1552) explores the different historical and cultural contexts the play participates in. After the introduction, a short commentary to the end of the first act and... more

A historical introduction to Thomas Naogeorgus's play 'Iudas Iscariotes' (1552) explores the different historical and cultural contexts the play participates in. After the introduction, a short commentary to the end of the first act and the first choral ode is presented.

Introduction to the most popular work by the English Jesuit playwright Joseph Simons.

This article argues that dreams are an important and deliberate part of Shakespeare’s conception of tragedy in Richard III. Shakespeare, when composing this play, exploited the uncertainty in his time about whether dreams were natural or... more

This article argues that dreams are an important and deliberate part of Shakespeare’s conception of tragedy in Richard III. Shakespeare, when composing this play, exploited the uncertainty in his time about whether dreams were natural or supernatural phenomena in order to deploy dream devices as a form of commentary on the material as well as spiritual implications of his characters’ actions. As a result, dreams ultimately sharpen the play’s focus on human agency by amplifying the characters’ ambitions, crimes and guilty consciences.

Introduction to a Latin play performed at Oxford.

Introduction to a previously unidentified play by the Jesuit playwright Joseph Simons

Introduction to a critical edition of this well-known academic revenge play

The essay presents a comprehensive introduction to Mickl’s dramatic work, namely his German-speaking “Hauptaktion” (main action) Die lustige Comedie. Several of his Latin plays were supposed to be a part of unfinished poem Recentior artis... more

The essay presents a comprehensive introduction to Mickl’s dramatic work, namely his German-speaking “Hauptaktion” (main action) Die lustige Comedie. Several of his Latin plays were supposed to be a part of unfinished poem Recentior artis poeticae Helicon, in which Mickl intended to imitate all major ancient poetic and dramatic genres. The essay
situates Mickl’s Latin-speaking playwriting within a domestic and European context of Jesuit
playwriting of the 1st half of 18th century, and observes similar thematic as well as stylistic
aspects. German-speaking play, which employs the topic of the conquest of Troy and the
character of Hanswurst, belongs to the context of Mickl’s Latin-speaking humanistic-oriented
work. It is an intriguing attempt at the imitation of typical period production of professional
touring companies with their Hanswurst "Hauptaktions".

Introduction to another Jesuit play from the St. Omers collection,

Introduction of a Jesuit "martyr play" about the conflict between Thomas More and Henry VIII.

Introduction to a 17th c. Latin comedy produced at Cambridge

Introduction to one of the plays produced at St. John's College, Oxford, as part of the Christmas Prince cycle

Introduction to a Jesuit play from the St. Omers collection, probably the work of Joseph Simons.

Introduction to a Jesuit entr'acte performed between the Acts of a serious play

Introduction of another Jesuit play from the St. Omers School series

This is a play very much in the tradition of Cambridge comedies as they were written and produced before the Puritans ended the tradition of academic drama. And yet it was written and printed at the beginning of the eighteenth century.... more

This is a play very much in the tradition of Cambridge comedies as they were written and produced before the Puritans ended the tradition of academic drama. And yet it was written and printed at the beginning of the eighteenth century. We seem to have no way of knowing whether or not it was acted on the stage.

Introduction to one of those short Ovid-based plays produced at St.John's College, Oxford in the early seventeenth century