scholarly journals Jonson e Shakespeare: a noção de autoria no teatro inglês do início da Era Moderna

2021 ◽  
Vol 20 (36) ◽  
pp. 529-541
Author(s):  
Amanda Fiorani Barreto
Keyword(s):  
William Shakespeare ◽  
Ben Jonson

No início da Era Moderna inglesa, a colaboração foi a forma de produção textual dominante do teatro renascentista (MASTEN, 1997). O âmbito teatral desse período, portanto, apresenta um conceito bem diferente de autoria em comparação com o que temos atualmente (ORGEL, 1991). O presente artigo se propõe a discutir a noção de autoria dessa era, considerando de que forma Ben Jonson (1572-1637) e William Shakespeare (1564-1616) lidaram com essa questão durante as suas carreiras. Em meio a um contexto em que a colaboração era a prática predominante (WELLS, 2006; GIDDENS, 2010), ambos parecem ter encontrado formas diferentes, porém efetivas de afirmar a sua autoria. Dessa forma, este artigo busca discutir a noção de autoria do início da Era Moderna, levando em conta como esses autores, considerados por muitos os mais representativos do período, lidaram com essa questão.

Lesse Greeke? Homer in Jonson and Shakespeare

2016 ◽  
Vol 23 (1) ◽  
pp. 101-126 ◽  
Author(s):  
Robert S. Miola
Keyword(s):  
William Shakespeare ◽  
Free Will ◽  
Ben Jonson ◽  
Dark Side ◽  
Julius Caesar ◽  
Troilus And Cressida ◽  
English Translations ◽  
Love's Labor's Lost ◽  
And Function

Throughout their careers both Jonson and Shakespeare often encountered Homer, who left a deep impress on their works. Jonson read Homer directly in Greek but Shakespeare did not, or if he did, he left no evidence of that reading in extant works. Both Jonson and Shakespeare encountered Homer indirectly in Latin recollections by Vergil, Horace, Ovid and others, in English translations, in handbooks and mythographies, in derivative poems and plays, in descendant traditions, and in plentiful allusions. Though their appropriations differ significantly, Jonson and Shakespeare both present comedic impersonations of Homeric scenes and figures – the parodic replay of the council of the gods (Iliad 1) in Poetaster (1601) 4.5 and the appearance of “sweet warman” Hector (5.2.659) in the Masque of the Nine Worthies (Love's Labor's Lost, 1588–97). Homer's Vulcan and Venus furnish positive depictions of love and marriage in The Haddington Masque (1608) as do his Hector and Andromache in Julius Caesar (1599), which features other significant recollections. Both Jonson and Shakespeare recall Homer to explore the dark side of honor and fame: Circe and Ate supply the anti-masque in the Masque of Queens (1609), and scenes from Chapman's Iliad supply the comical or tragical satire, Troilus and Cressida (c. 1601). Both poets put Homer to abstract and philosophical uses: Zeus's chain and Venus's ceston (girdle), allegorized, appears throughout Jonson's work and function as central symbols in Hymenaei (1606); Homer's depiction of the tension between fate and free will, between the omnipotent gods and willing humans, though mediated, inflects the language and action of Coriolanus (c. 1608). Ben Jonson and William Shakespeare practice a kind of inventive imitatio which, according to classical and neo-classical precept, re-reads classical texts in order to make them into something new.

Last Acts

2019 ◽  
Author(s):  
Maggie Vinter
Keyword(s):  
William Shakespeare ◽  
Early Modern ◽  
Recent Work ◽  
Ben Jonson ◽  
Christopher Marlowe ◽  
The Political ◽  
Giorgio Agamben ◽  
Economic Management ◽  
Life And Death ◽  
Art Of Dying

Last Acts: The Art of Dying on the Early Modern Stage argues that the Elizabethan and Jacobean theater offered playwrights, actors, and audiences important opportunities to practice arts of dying. Early modern plays also engage with devotional traditions that understand death less as an occasion for suffering or grieving than as an action to be performed, well or badly. Active deaths belie the narratives of helplessness and loss most often used to analyze representations of mortality and instead suggest ways that marginalized and constrained subjects might participate in the political, social, and economic management of life. Some of these strategies for dying resonate with ecclesiastical forms or with descriptions of biopolitics within the recent work of Giorgio Agamben and Roberto Esposito. Yet the art of dying is not solely a discipline imposed upon recalcitrant subjects. Since it offers suffering individuals a way to enact their deaths on their own terms, it discloses both political and dramatic action in their most minimal manifestations. Rather than mournfully marking what we cannot recover, the practice of dying reveals what we can do, even in death. By analyzing representations of dying in plays by writers including Christopher Marlowe, William Shakespeare, and Ben Jonson alongside both devotional texts and contemporary biopolitical theory, Last Acts shows how theater reflects, enables, and contests the politicization of life and death.

scholarly journals Republican friendship and the fall of the Roman Republic in late Elizabethan and early Jacobean drama

2021 ◽  
pp. 018476782110293
Author(s):  
Ross Moncrieff
Keyword(s):  
William Shakespeare ◽  
Roman Republic ◽  
Early Modern ◽  
Ben Jonson ◽  
Roman History ◽  
The Political ◽  
Historical Scholarship ◽  
Jacobean Drama ◽  
The Ideal

This article synthesises historical scholarship on early modern friendship and classical republicanism to argue that Cicero, through the ideal of ‘republican friendship’, exerted a much greater influence over early modern understandings of Roman history than has previously been realised. Exploring Roman plays by William Shakespeare and Ben Jonson, with reference to other classical dramas, it examines how dramatists used the Ciceronian ideal of republican friendship to create a historical framework for the political changes they were portraying, with Jonson using it to inform a Tacitean perspective on Roman history and Shakespeare scrutinising and challenging the nature of republican friendship itself.

scholarly journals “Put not / Beyond the sphere of your activity”: The Fictional Afterlives of Ben Jonson

2016 ◽  
Vol 23 (2) ◽  
pp. 169-191
Author(s):  
Richard O'Brien
Keyword(s):  
William Shakespeare ◽  
Alternative Model ◽  
Cultural Landscape ◽  
Ben Jonson ◽  
First Century ◽  
English Renaissance ◽  
Documentary Evidence ◽  
Cultural Assumptions ◽  
Eighteenth And Nineteenth Centuries ◽  
Holy Writ

This article investigates the cultural assumptions which underpin five twentieth and twenty-first century fictional depictions of Ben Jonson. Despite the wealth of documentary evidence for Jonson's dramatic and fractious biography, its particular richness has rarely captured the imagination of contemporary authors. To account for the much-reduced presence Jonson occupies in the ongoing fictionalization of the English Renaissance, the author outlines the development of a pseudo-biographical narrative of Jonson's life which evolved over the eighteenth and nineteenth centuries in relation to the emerging narrative of Shakespeare's. Jonson came to be presented as pedantic, ponderous, and ultimately outclassed by the dramatist who was his main contemporary rival, whose early reputation he was instrumental in creating. Furthermore, this gradual diminution of Jonson's own complexities was directly linked to his success within his lifetime. Outliving Shakespeare and offering an alternative model for theatrical achievement, Jonson presented a threat which had to be neutralized in the service of a protective impulse towards Shakespeare's reputation as a unique genius. The article offers some early instances of semi-fictional anecdotes about Jonson and Shakespeare which present the two dramatists as interchangeable subjects. It then assesses at length more recent Jonson-characters in Brahms and Simon's No Bed for Bacon, Roland Emmerich's Anonymous, Edward Bond's Bingo, Rudyard Kipling's “Proofs of Holy Writ”, and Jude Morgan's The Secret Life of William Shakespeare in the light of the historical reframing of Jonson's life and temperament. Finally, it makes the case for Jonson's story as one particularly suited to our current cultural landscape.

“William Faulkner: An Impression”

2016 ◽  
Author(s):  
John Crowe Ransom
Keyword(s):  
William Shakespeare ◽  
William Faulkner ◽  
Ben Jonson ◽  
John Webster ◽  
Light In August ◽  
As I Lay Dying ◽  
Sound And The Fury ◽  
John Crowe Ransom

In this chapter, John Crowe Ransom offers an impression of William Faulkner's achievement, an impression that he says has not changed much during the years that followed his reading of The Sound and the Fury, As I Lay Dying, and Light in August. According to Ransom, these three early novels are proof of the narrative power and the detailed poetry of Faulkner's creations. He argues that Faulkner's books are unequal, and that the style is less than consistently sustained. Faulkner is therefore not Ben Jonson, he is not even William Shakespeare; he is John Webster. The chapter concludes with the opinion that there are imperfections in Faulkner's work, but that his perfections are wonderful, well sustained, and without exact precedent anywhere.

Medieval American Literature: Antebellum Narratives and the “Map of the Infinite”

2011 ◽  
Author(s):  
Paul Giles
Keyword(s):  
Nineteenth Century ◽  
Seventeenth Century ◽  
William Shakespeare ◽  
American Literature ◽  
Nathaniel Hawthorne ◽  
American Culture ◽  
Ben Jonson ◽  
American Renaissance ◽  
Native Soil ◽  
The Subject

This chapter examines how the notion of medieval American literature not only makes a paradoxical kind of sense but might be seen as integral to the construction of the subject more generally. It argues that antebellum narratives situate native soil on a highly charged and fraught boundary between past and present, circumference and displacement. In itself, the idea of medieval American literature is hardly more peculiar than F. O. Matthiessen's conception of an “American Renaissance.” Matthiessen sought to justify his subject by aligning nineteenth-century American writers such as Ralph Waldo Emerson and Nathaniel Hawthorne with seventeenth-century English forerunners such as William Shakespeare and Ben Jonson. The chapter considers resonances of medievalism within nineteenth-century American culture and how many antebellum writers consciously foreground within their texts the shifting, permeable boundaries of time and space, suggesting how fiction and cartography, the writing of history and the writing of geography, are commensurate with each other.

A KORA ÚJKORI POPULÁRIS KULTÚRA VÁLTOZATAI ANGLIÁBAN

2016 ◽  
Vol 17 (2) ◽  
pp. 14
Author(s):  
Natália PIKLI
Keyword(s):  
William Shakespeare ◽  
Ben Jonson

A tanulmány röviden felvázolja azokat a jelenségeket, melyek a kora újkori Angliában a korabeli populáris és elit kultúra közti komplex interakciók eredményeként jöttek létre, főként William Shakespeare, Ben Jonson és más, kevésbé ismert szerzők (Philip Stubbes, Nicholas Breton) műveire támaszkodva, elemezve azt, hogy a korabeli közszínház és népszerű könyvkiadás miként használta fel és alakította át az eredetileg orális-rituális és nem profitorientált alkotásokat saját szórakoztatóipari, politikai vagy kritikai céljai érdekében. A kutatás különböző státuszú, eredetű és műfajú szövegeket vizsgál meg, hogy az általánosabb tendenciák kirajzolódjanak, azonban szem előtt tartja azokat a finom különbségeket, melyek részben abból adódnak, hogy szóbeli-rituális jelenségeket írott szövegeken keresztül igyekszünk feltérképezni (erről lásd Jan Assmann elméletét a kulturális emlékezetről), részben pedig arra vezethetők vissza, hogy különböző szerzők saját céljaik érdekében más-más módon használták fel a korabeli populáris kultúra elemeit.

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