scholarly journals The Dating and Attribution of Alphonsus, Emperor of Germany

Early Theatre ◽  
2018 ◽  
Vol 21 (2) ◽  
Author(s):  
Adrian Blamires
Keyword(s):  
Revenge Tragedy ◽  
British Drama ◽  
George Peele

Alphonsus, Emperor of Germany is usually considered to be an Elizabethan revenge tragedy, with 1594 often suggested as a likely date of composition; some scholars have attributed the play to George Peele. Martin Wiggins has, however, recently contested the traditional date in British Drama 1533-1642: A Catalogue, giving 1630 as his own ‘best guess'. This note questions the premises behind Wiggins’s decision while putting forward new arguments in support of the traditional dating on dramaturgical grounds — arguments that perhaps lend weight to the idea that Peele had a hand in the play.  

scholarly journals 'Such Violent Hands'

2020 ◽  
Vol 7 (2) ◽  
pp. 182-199
Author(s):  
William David Green
Keyword(s):  
William Shakespeare ◽  
Turning Point ◽  
Thomas Middleton ◽  
Original Text ◽  
Titus Andronicus ◽  
Revenge Tragedy ◽  
Text Understanding ◽  
George Peele ◽  
New Material ◽  
Selling Point

For many, ‘Titus Andronicus’ exemplifies the extreme visual horror which characterises the subgenre of Elizabethan revenge tragedy. Long recognised as a collaboration between William Shakespeare and George Peele, the play’s notorious denouement – in which a Gothic queen is tricked into eating her slaughtered sons – has often been interpreted as a satire upon the revenge genre itself. Yet the nature of the play has recently been complicated by the claim that an additional banquet scene, only present in the 1623 Folio, may be a later addition written by a third dramatist, probably Thomas Middleton, and incorporated into the play sometime after 1616. This article will consider the implications of this probability further. It will explore how the author was not simply adding new material to ‘Titus Andronicus’ in order to provide a new selling point for a later revival of the work, but was constructing a new sequence designed to mirror and complement the already infamous cannibalistic conclusion of the original text. Understanding this scene as a later addition, we can now better understand how this additional scene serves as an integral turning point in the drama’s narrative, and is far less ‘disposable’ than previous critics have been equipped to realise.

British Television's Lost New Wave Moment: Single Drama and Race

2012 ◽  
Vol 9 (4) ◽  
pp. 612-627 ◽  
Author(s):  
Eleni Liarou
Keyword(s):  
Working Class ◽  
Black Population ◽  
New Wave ◽  
Audiovisual Material ◽  
British Drama ◽  
History Of ◽  
White Working Class ◽  
Written Sources

The article argues that the working-class realism of post-WWII British television single drama is neither as English nor as white as is often implied. The surviving audiovisual material and written sources (reviews, publicity material, biographies of television writers and directors) reveal ITV's dynamic role in offering a range of views and representations of Britain's black population and their multi-layered relationship with white working-class cultures. By examining this neglected history of postwar British drama, this article argues for more inclusive historiographies of British television and sheds light on the dynamism and diversity of British television culture.

The Comic Accomplice in Elizabethan Revenge Tragedy

1966 ◽  
Vol 9 ◽  
pp. 125-139
Author(s):  
DOUGLAS COLE
Keyword(s):  
Revenge Tragedy
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