Gender and Value in "1 Henry VI": The Role of Joan de Pucelle

1990 ◽  
Vol 42 (2) ◽  
pp. 183 ◽  
Author(s):  
Nancy A. Gutierrez
Keyword(s):  
Author(s):  
Alison Findlay

Queen Margaret’s words ‘Make my image but an alehouse sign’ in 2 Henry VI (III. ii. 81) offer an appropriate metaphor for the female voice in Shakespeare’s texts because they advertise the ways female characters strive to speak out within a discursive environment that silences them as images. The chapter explores how women in Shakespeare’s plays negotiate a space to speak within a poetic discourse that repeatedly objectifies them as signs, focusing on Catherine’s role in Henry V and the blason, and the Jailer’s Daughter’s self-inscription into a ballad tradition in Two Noble Kinsmen. A second section uses the analytic tools provided by corpus-linguistics to explore the poetic voices of tragic female characters: Lady Macbeth, Cleopatra, and the women of Richard III. The essay concludes by tracing the growth of an independent, poetic female voice in the role of Queen Margaret who offers an ironic commentary on Shakespeare's growing sense of his own identity as national bard.


Author(s):  
Fiona Dalziel ◽  
Andrea Pennacchi

This article describes the role of improvisation and storytelling in a student production of Shakespeare’s Henry VI, Part One at Padua University. It explains why the student directing the play and language instructor chose this challenging piece and how they attempted to increase engagement with the project by involving the participants directly in text adaptation. The article explores the improvisation and storytelling activities proposed to the students, which had the aim of fostering their language competence and creating strong group dynamics while familiarising them with the play. These tasks formed the basis of the final version for performance, which consisted in a selection of the original scenes together with some novel scenes, linked together by short narratives produced by the students themselves. In describing this experience, the authors reflect on the benefits of the multidisciplinary nature of foreign language drama, where influences as diverse as Bertolt Brecht, Peter Brook and Bruce Lee can converge in a truly learner-centred approach to second language acquisition.


2012 ◽  
Vol 13 (2) ◽  
pp. 203-204
Author(s):  
Jennifer K. Sheehan

A Lancastrian Mirror for Princes is McGerr’s study of the relationship between the illustrations and the text within a single manuscript copy of the New Statutes of England (or Nova statuta Angliae) owned by the Yale Law School. The manuscript bears the coat of arms of Margaret of Anjou, who was the consort of Henry VI. McGerr supplies a full codicological description of the manuscript (Appendix 2), as well as links between it and other known Lancastrian “mirrors for princes,” or works of advice about kingship. Her objective, as stated in the Introduction, is to explore the role of a . . .


2002 ◽  
Vol 82 ◽  
pp. 69-91 ◽  
Author(s):  
John A Goodall

The present study arose from the need to provide the background for understanding theheraldry mentioned in the post-mortem inventories of Henry VIII, and while it seems unlikely that this commentary will appear in the foreseeable future it fills agap in the heraldic literature. The role of the ‘British History’ in English royal propaganda and state ceremonials antedated the accession of Henry VII as is evidenced by the material prepared in relation to Edward IV's supersession of Henry VI in 1461. The role of heralds and kings of arms in rationalizing the arms and beasts required for the pageants etc is examined with the ways in which it was organized for entries and other ceremonials. The period also witnessed the introduction of new decorations f ortournaments – ciphers and impresses. The appendices provide editions of some hitherto unpublished texts which were devised for these purposes.


Author(s):  
Peter Lake
Keyword(s):  

This chapter focuses on 1 Henry VI. Some critics see it as the first part of a trilogy. Others have identified it as a sort of prequel, written after the success of the plays that have become known as 2 Henry VI and 3 Henry VI had rendered a return to the same subject a profitable prospect. Ultimately, 1 Henry VI reshuffles the pack of narrative tropes and ideological materials it inherited from parts II and III. It relocates the threat of female political agency outside England and organises it under the sign not merely of witchcraft but of popery. It similarly displaces the locus of ancient political virtue from civil to military affairs, and downgrades the role of the king. Still central is the topos of noble faction, but that faction is centred not on the succession but rather on the conduct of the war.


1983 ◽  
Vol 34 (3) ◽  
pp. 327-330
Author(s):  
Giorgio Melchiori
Keyword(s):  

JAMA ◽  
1966 ◽  
Vol 195 (12) ◽  
pp. 1005-1009 ◽  
Author(s):  
D. J. Fernbach
Keyword(s):  

JAMA ◽  
1966 ◽  
Vol 195 (3) ◽  
pp. 167-172 ◽  
Author(s):  
T. E. Van Metre

2018 ◽  
Vol 41 ◽  
Author(s):  
Winnifred R. Louis ◽  
Craig McGarty ◽  
Emma F. Thomas ◽  
Catherine E. Amiot ◽  
Fathali M. Moghaddam

AbstractWhitehouse adapts insights from evolutionary anthropology to interpret extreme self-sacrifice through the concept of identity fusion. The model neglects the role of normative systems in shaping behaviors, especially in relation to violent extremism. In peaceful groups, increasing fusion will actually decrease extremism. Groups collectively appraise threats and opportunities, actively debate action options, and rarely choose violence toward self or others.


2018 ◽  
Vol 41 ◽  
Author(s):  
Kevin Arceneaux

AbstractIntuitions guide decision-making, and looking to the evolutionary history of humans illuminates why some behavioral responses are more intuitive than others. Yet a place remains for cognitive processes to second-guess intuitive responses – that is, to be reflective – and individual differences abound in automatic, intuitive processing as well.


Sign in / Sign up

Export Citation Format

Share Document